Podcast appearances and mentions of Philip Roth

Alan Reinhardt, is an educator, mentor and friend. In September of 2025 he published a collection of poetry, selected from more than 40 years of his creative works. This special podcast celebrates Alan's wit, wisdom, and his wonder of the human connection.   Along the way we discuss – # 200 (1:00), the Tome (2:00), the Tree (6:45), Section One: Childhood Memories (8:30), Encountering Ed Gilfeather (11:15), Dead Man's Curve (14:15), The Waiting Room (16:30), Section Two: Portraits (18:35), Aerophobia (20:30), Blue Flowers (23:30), Section Three: Observations of Life (24:20), A Landscape of Suitable Distance (26:00), Greetings from Brussels (28:30), Dean's Complaint (30:55), the Creative Process (32:00), Episode # 300 (35:15) and Philip Roth (36:30). Bonus – Mosholu Parkway (41:30). Find Alan's book @  A Landscape of Suitable Distance   Special thanks to our guest readers – Andrea Becker, Elizabeth Bitgood, Ted Glynn, Janet Newman, Sonya Reinhardt, and Natalie Glynn-Reinhardt.  This podcast is partnered with LukeLeaders1248, a nonprofit that provides scholarships for the children of military Veterans. Send a donation, large or small, through PayPal @LukeLeaders1248; Venmo @LukeLeaders1248; or our website @ www.lukeleaders1248.com. You can also donate your used vehicle @ this hyperlink – CARS donation to LL1248.  Music intro and outro from the creative brilliance of Kenny Kilgore. Lowriders and Beautiful Rainy Day.

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

This week Jeremy welcomes the first ever third timer, Ned Russin, of the bands Glitterer and Title Fight On this episode, Jeremy and Ned talk public transport, author Philip Roth, the writing process for Glitterer, operating Purple Circle Records, the band The Microphones, playing in total darkness, international touring, Q And Not U, the new Glitterer album, and so much more!!! SUBSCRIBE TO THE PATREON for a bonus episode where Ned answered questions that were submitted by subscribers! FOLLOW THE SHOW ON INSTAGRAM / X

Lavinia Bianca"La vita potenziale"Gramma Feltrinelliwww.feltrinellieditore.itMartedì 25 novembre ore 18.30 – Feltrinelli Largo di Torre Argentina 5, Roma​​Dalle molestie via chat al revenge porn, dalla dipendenza da video hardcore alla mercificazione del corpo femminile: come si conciliano libertà e consenso?​Insieme allo psichiatra Vittorio Lingiardi, alla scrittrice Lavinia Bianca e a Giulia Mariani e Angela di Berardino, giornaliste e curatrici del podcast A nudo. Il massacro del Circeo, per i 50 anni dai fatti del Circeo (Emons Record in mediapartnership con Il Fatto Quotidiano)Modera Silvia D'Onghia, giornalista de Il Fatto Quotidiano.Cresciuta in una provincia agiata e moralista, tra amici gretti e genitori poco inclini ai compiti propri di una famiglia, Lavinia si imbatte presto nelle due ossessioni che vampirizzano le sue energie psicofisiche: il sesso e il culto del corpo come antidoto alla morte. Adolescente, assiste alla scomparsa prematura del padre, stroncato da un infarto sul divano di casa. In anni in cui si è alla ricerca di una propria identità, quella morte le lascia una ferita indelebile. Approdata a Roma, Lavinia decide allora di costruire una vita potenziale, un universo virtuale nel quale creare numerosi alter ego. Con l'ausilio di una penna sfrontata, sparge in rete profili disparati, in una disinibita galleria di attitudini e pratiche sessuali, capaci di adescare e soggiogare insieme. Lo fa come un esercizio di potere, lontano da ogni forma di godimento, come un canovaccio dagli esiti collaudati che esclude ogni imprevisto e agisce soltanto da scudo e da palcoscenico. Le crescenti insidie della vita virtuale la indurranno a prendersi una pausa dal web e ad affrontare ciò che non ha mai osato nella sua giovane esistenza: la vita reale fatta di corpi e desideri concreti. Ai corpi, tuttavia, e ai desideri reali appartengono dolori, lutti, ombre e fragilità insopportabili. Lavinia decide allora di ritornare nell'unico luogo per lei sicuro e in fondo appagante: seduta di fronte alla luce blu del monitor.Romanzo d'esordio scritto con una maturità e una modernità di scrittura sorprendenti, La vita potenziale affronta lo scandalo del sesso e del desiderio nella nostra epoca. Riflessione psicologica, digressioni colte (Roth e Freud sono i numi tutelari che sorreggono la narrazione) e considerazioni ironiche si piegano nelle sue pagine a celebrare il lutto più grande: la morte del reale.“La sessualità è il miglior terreno sul quale dare sfogo al sé primordiale. Il merito risiede nel non lasciare che tale potenziale distruttivo ci soggioghi. Non lasciare che sfugga al nostro controllo. Tenerlo a bada, addomesticarlo e conviverci. La sfida è non essere se stessi.” Lavinia Bianca vive e lavora a Roma, ed è un personaggio che nasce su un blog nei primi anni 2000 e si trasferisce sui social dopo il 2010. Alter ego e pseudonimo dell'autrice, ha un debito con la narrativa di Philip Roth e si ispira più direttamente al sarcasmo tagliente dei comedians inglesi. Le sue storie provano a esplorare le intricate sfumature dell'animo umano e in particolare l'inevitabile intersezione tra sesso e morte, con un tono di voce marcatamente audace e sfrontato. Per Feltrinelli Gramma è uscito La vita potenziale (2025).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Au bonheur des livres s'intéresse cette semaine aux amitiés littéraires en accueillant Marc Weitzmann, récent lauréat du prix Femina Essai pour « La Part sauvage » (Ed. Grasset), et Sylvie Le Bihan pour son beau roman « L'ami Louis » (Ed. Denoël). Le premier propose ainsi un essai sur le grand écrivain américain Philip Roth (1933-2018), dont il ne livre pas exactement une biographie, mais plutôt le récit, passionnant, de l'amitié qui les a unis et qui est l'occasion de faire le point sur l'une des oeuvres les plus importantes, sans doute, de la deuxième moitié du XXe siècle. Sylvie Le Bihan, quant à elle, raconte de façon légèrement fictionnalisée l'amitié qui a rapproché Albert Camus et un grand romancier un peu oublié aujourd'hui, Louis Guilloux (1899-1980), l'auteur du « Sang noir », auquel sa famille a été lointainement liée. Le dialogue entre ces invités sera l'occasion pour Claire Chazal d'évoquer la question, plus que jamais contemporaine, du rapport des écrivains avec la société, en se demandant si la littérature n'est pas parfois, comme le disait Saint-John Perse de la poésie, la « mauvaise conscience de son temps » ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On the fifth edition of Chi Chi's exclusive Patreon bookclub, we discuss WHEN SHE WAS GOOD by Philip Roth. Subscribe to the Patreon to join us next time: patreon.com/imsopopular

In Ep. 210, Laura McGrath, author of the popular Substack newsletter, textCrunch, joins Sarah to take a sharp look at the State of the Publishing Industry in 2025. This packed episode covers a high-level look at the top sales and book trends, as well as Laura's insights into the future of the book world for 2026. Also, Laura shares her favorite books of 2025! This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Laura McGrath's book Middlemen (publishing April 28, 2026) is available for pre-order here: Amazon | Bookshop.org  Fiction's performance in the sales charts since 2019. The trend seen in nonfiction over the past few years and where it may be headed. The continued debate about whether 2025 has a "Book of the Year." Surprising sales trends in religious books and imprints. How self-publishing still brings us successful authors. What Laura sees in her research that she thinks publishers should be paying attention to. A bit about the current outlook for mid-list and debut authors. Laura's predictions for 2026 book trends. State of the Publishing Industry in 2025 HIGH-LEVEL OVERVIEW [2:45]  Onyx Storm (Empyrean, 3) by Rebecca Yarros (2025) | Amazon | Bookshop.org  [7:49] Fourth Wing (series, 1) by Rebecca Yarros | Amazon | Bookshop.org [8:58]  The Women by Kristin Hannah (2024) | Amazon | Bookshop.org  [9:21] James by Percival Everett (2024) | Amazon | Bookshop.org  [9:59] The God of the Woods by Liz Moore (2024) | Amazon | Bookshop.org  [10:02] Flashlight by Susan Choi (2025) | Amazon | Bookshop.org  [10:25] The Dream Hotel by Laila Lalami (2025) | Amazon | Bookshop.org  [11:58] The Emperor of Gladness by Ocean Vuong (2025) | Amazon | Bookshop.org  [12:04] A Guardian and a Thief by Leela Tapryal (2025) | Amazon | Bookshop.org  [12:31] The Names by Florence Knapp (2025) | Amazon | Bookshop.org  [13:19] Audition by Katie Kitamura (2025) | Amazon | Bookshop.org  [13:57] The Wilderness by Angela Flournoy (2025) | Amazon | Bookshop.org  [13:59] 2025 BOOK SALES & TRENDS [14:41]   The Martian by Andy Weir (2011) | Amazon | Bookshop.org [17:03]  The River Is Waiting by Wally Lamb (2025) | Amazon | Bookshop.org  [21:38]   The Bright Years by Sarah Damoff (2025) | Amazon | Bookshop.org  [21:40]   Heart the Lover by Lily King (2025) | Amazon | Bookshop.org [21:42]  BIG BOOK STORIES OF 2025 [30:18]  Catch-22 by Joseph Heller (1961) | Amazon | Bookshop.org  [33:30]  V by Thomas Pynchon (1963) | Amazon | Bookshop.org  [33:32]  Portnoy's Complaint by Philip Roth (1969) | Amazon | Bookshop.org  [33:41]  The Intuitionist by Colson Whitehead (1999) | Amazon | Bookshop.org  [33:47]  The Mothers by Brit Bennett (2016) | Amazon | Bookshop.org  [33:54]  2026 PUBLISHING PREDICTIONS [42:29]  Audition by Katie Kitamura (2025) | Amazon | Bookshop.org  [4:41] Pick a Color by Souvankham Thammavongsa (2025) | Amazon | Bookshop.org [43:55]  Discipline by Larissa Pham (January 20, 2026) | Amazon | Bookshop.org [45:01]  Under Water by Tara Menon (March 17, 2026) | Amazon | Bookshop.org [45:07]  Laura's 3 Favorites Books of 2025 [45:31]  Culpability by Bruce Holsinger (2025) | Amazon | Bookshop.org [46:17]  Wild Dark Shore by Charlotte McConaghey (2025) | Amazon | Bookshop.org[47:59]  The Wilderness by Angela Flournoy (2025) | Amazon | Bookshop.org  [49:38] Other Links The New York Times | The Dogged, Irrational Persistence of Literary Fictionby Gerald Howard The Walrus | Publishing Has a Gambling Problem by Tajja Isen Time | How Taylor Jenkins Reid Became a Publishing Powerhouse by Lucy Feldman Book Riot | How Much Does Genre Matter to Readers? (Podcast Episode) Public Books | Who Cares About Literary Prizes? by Alexander Manshel, Laura B. Mcgrath, & J. D. Porter

Marc Weitzmann "La part sauvage" (Grasset)Prix Femina Essai.« Philip Roth est mort le 22 mai 2018. J'avais fait sa connaissance presque vingt ans plus tôt, en 1999 – vingt années qui de Jérusalem à New York et Paris, avaient vu le monde global exploser, la haine et le populisme tout submerger et ma propre vie basculer, mais durant lesquelles nous étions devenus amis. Il avait tenu dans ma vie comme dans celle de ses lecteurs le rôle de refuge mental et de boussole. Et maintenant qu'il était en train de mourir, le pays qui lui avait fourni la matière première de ses livres était détricoté par Donald Trump.Le choc intime de sa mort a alors pris un autre sens : celui de la fin d'un monde au profit de la violence, de la montée de l'antisémitisme, du retour en force des idéologies.Depuis l'Amérique telle qu'elle aurait pu être, ce livre révèle les Etats-Unis tels qu'ils sont. » M. W.Musique: « Voodoo child » de Jimmy HendrixHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

« Quand je suis à l'hôpital, je parle de recherche. Quand je suis en recherche, je parle de l'hôpital. »Aujourd'hui, Zoé Varier a rendez-vous avec l'oncologue-chercheur Manuel Rodrigues, qui l'accueille dans son « bureau-jardin ». Un espace où s'entremêlent un cactus de Noël, un genêt, un terrarium peuplé de minuscules personnages. Un décor qu'il a voulu apaisant, pour lui comme pour ceux qui franchissent la porte.Ici, la conversation commence souvent par la botanique. Ou par la littérature. Sur l'étagère, Camus, Tolstoï, Philip Roth, Le Pavillon des cancéreux. Ces lectures nourrissent sa pratique médicale. Pour lui, l'art de la consultation n'est pas enseigné, et pourtant, c'est là que tout se joue : choisir les mots, penser ses silences, observer un geste, un regard.Manuel Rodrigues soigne les cancers de l'œil et les cancers gynécologiques. Il anime une équipe de chercheurs qui a déjà une longue histoire de travaux sur les signatures de l'ADN, ces empreintes caractéristiques qui permettent de reconnaître le type de cassures de l'ADN à l'origine des tumeurs et en particulier certains cancers du sein ou de l'ovaire. L'une de ces signatures est aujourd'hui utilisée dans le monde entier.Dans son laboratoire, il tente aussi de recréer, en boîte de Petri, des cancers rares de l'œil pour mieux les comprendre et les combattre. Peu d'équipes travaillent sur ce sujet dans le monde. Une responsabilité qu'il assume avec conviction… et humanité.Pour en savoir plus sur les recherches de Manuel Rodrigues : Réparation de l'ADN et Mélanome Uvéal (D.R.U.M) - Institut Curie–Têtes chercheuses est un podcast qui donne la parole aux scientifiques passionnés de l'Institut Curie qui ouvrent la voie à de nouvelles connaissances et donnent à entendre la richesse du vivant. Ce HORS-SERIE est proposé par L'Institut Curie. La Rédaction n'a pas participé à sa réalisation.Crédits : Ecriture et interview : Zoé VarierRéalisation : Claudine GhebaurMix : Benjamin TouronMusique originale : Alice-Anne BrassacProduction : Chloé TavitianProduction déléguée : 13 ProdsGraphisme : Brigitte Nataï Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Jake and Phil discuss Philip Roth's 1961 essay "Writing American Fiction" and the Qohelet, also known as the Book of Ecclesiastes The Manifesto: Philip Roth, "Writing American Fiction" https://www.commentary.org/articles/philip-roth/writing-american-fiction/ The Qohelet https://www.biblegateway.com/passage/?search=Ecclesiastes%201&version=KJV

Philip Roth est mort le 22 mai 2018. J'avais fait sa connaissance presque vingt ans plus tôt, en 1999 – vingt années qui de Jérusalem à New York et Paris, avaient vu le monde global exploser, la haine et le populisme tout submerger et ma propre vie basculer, mais durant lesquelles nous étions devenus amis. Il avait tenu dans ma vie comme dans celle de ses lecteurs le rôle de refuge mental et de boussole. Et maintenant qu'il était en train de mourir, le pays qui lui avait fourni la matière première de ses livres était détricoté par Donald Trump.Le choc intime de sa mort a alors pris un autre sens : celui de la fin d'un monde au profit de la violence, de la montée de l'antisémitisme, du retour en force des idéologies.Depuis l'Amérique telle qu'elle aurait pu être, ce livre révèle les Etats-Unis tels qu'ils sont.

durée : 00:52:17 - Répliques - par : Alain Finkielkraut - Sept ans après sa disparition, Philip Roth continue d'interroger notre rapport à la vérité, à la filiation et à l'Amérique. Alain Finkielkraut en débat avec Astrid von Busekist et Marc Weitzmann. - réalisation : Alexandra Malka - invités : Marc Weitzmann Ecrivain et producteur de l'émission "Signes des temps" sur France Culture; Astrid Von Busekist Professeure à Sciences Po Paris et Rédactrice en chef de la revue Raisons Politiques

durée : 00:58:23 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - Traductrice de plus d'une cinquantaine de romans dont ceux de John Irving, Philip Roth, Jonathan Coe, Richard Ford ou Joan Didion, Josée Kamoun avoue une passion pour "Les Hauts de Hurlevent" d'Emily Brontë, jusque dans leur version cinématographique. - réalisation : Nicolas Berger - invités : Josée Kamoun Traductrice

durée : 00:46:24 - La 20e heure - par : Eva Bester - Le journaliste, critique et chroniqueur radio mais aussi essayiste Marc Weitzmann vient nous parler entre autres de "La part sauvage. Le monde de Philip Roth et le chaos américain : retour sur vingt ans d'amitié" sorti chez Grasset le 10 septembre dernier. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Gavron, Assaf www.deutschlandfunkkultur.de, Lesart

Gavron, Assaf www.deutschlandfunkkultur.de, Lesart

Gavron, Assaf www.deutschlandfunkkultur.de, Lesart

durée : 00:25:20 - L'invité de 8h20 : le grand entretien - par : Nicolas Demorand, Benjamin Duhamel - Marc Weitzmann, écrivain, producteur pendant 7 ans de l'émission “Signes des temps” sur France Culture, auteur de “La part sauvage. Le monde de Philip Roth et le chaos américain : retour sur vingt ans d'amitié” (Grasset) et Josyane Savigneau, journaliste, auteure de “Avec Philip Roth” (Gallimard). - invités : Marc Weitzmann, Josyane Savigneau - Marc Weitzmann : Ecrivain et producteur de l'émission "Signes des temps" sur France Culture, Josyane Savigneau : Écrivaine et journaliste Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 03:59:16 - La Grande matinale - par : Nicolas Demorand, Sonia Devillers, Benjamin Duhamel, Anne-Laure Sugier - Ce matin sur France Inter, à 7h50, l'ambassadeur de France en Russie de 2020 à 2024 Pierre Lévy. À 8h20, Philip Roth et l'Amérique Et à 9h20, Jérôme Clément Wilz, réalisateur, pour son film documentaire “ceci est mon corps” diffusé le 6 octobre sur Arte. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:20 - L'invité de 8h20 : le grand entretien - par : Nicolas Demorand, Benjamin Duhamel - Marc Weitzmann, écrivain, producteur pendant 7 ans de l'émission “Signes des temps” sur France Culture, auteur de “La part sauvage. Le monde de Philip Roth et le chaos américain : retour sur vingt ans d'amitié” (Grasset) et Josyane Savigneau, journaliste, auteure de “Avec Philip Roth” (Gallimard). - invités : Marc Weitzmann, Josyane Savigneau - Marc Weitzmann : Ecrivain et producteur de l'émission "Signes des temps" sur France Culture, Josyane Savigneau : Écrivaine et journaliste Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 03:58:57 - La Grande matinale - par : Nicolas Demorand, Sonia Devillers, Benjamin Duhamel, Anne-Laure Sugier - Ce matin sur France Inter, à 7h50 le producteur et animateur Arthur pour son nouveau libre. À 8h20 un plateau sur l'Amérique de Philip Roth. Et à 9h20 Vincent Clergerie, vice procureur près le tribunal judiciaire de Tarascon. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:09:54 - Le Point culture - par : Marie Sorbier - Décédé en 2018, Philip Roth est considéré comme l'un des plus grands auteurs américains du XXe siècle. Pourtant, son œuvre a toujours suscité la polémique. Alors qu'un nouveau tome de sa Pléiade sort, on peut se demander si un appareil critique est désormais nécessaire pour lire ses romans ? - réalisation : Laurence Malonda - invités : Maxime Decout Professeur de littérature à Sorbonne-Université

durée : 00:59:08 - Toute une vie - par : Virginie Bloch-Lainé - L'écrivain, peintre des États-Unis dans chacun de ses romans, a observé au fil des ans la sauvagerie gagner l'Amérique, sauvagerie psychique à l'œuvre particulièrement aujourd'hui. - réalisation : Félix Levacher

In his literary biography, Philip Roth: Stung by Life (Yale UP, 2025), Steven J. Zipperstein captures the complex life and astonishing work of Philip Roth (1933–2018), one of America's most celebrated writers. Born in Newark, New Jersey—where his short stories and books were often set—Roth wrote with ambition and awareness of what was required to produce great literature. No writer was more dedicated to his craft, even as he was rubbing shoulders with the Kennedys and engaging in a spate of famous and infamous romances. And yet, as much as Roth wrote about sex and self, he viewed himself as socially withdrawn, living much like an “unchaste monk” (his words). Zipperstein explores the unprecedented range of Roth's work—from “Goodbye, Columbus” and Portnoy's Complaint to the Pulitzer Prize–winning American Pastoral and The Plot Against America. Drawing on extensive archival materials and over one hundred interviews, including conversations with Roth about his life and work, Zipperstein provides an intimate and insightful look at one of the twentieth century's most influential writers, placing his work in the context of his obsessions, as well as American Jewishness, freedom, and sexuality. Interviewee: Steven J. Zipperstein is the Daniel E. Koshland Professor in Jewish Culture and History at Stanford University. Host: Schneur Zalman Newfield is an Associate Professor of Sociology and Jewish Studies at Hunter College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his literary biography, Philip Roth: Stung by Life (Yale UP, 2025), Steven J. Zipperstein captures the complex life and astonishing work of Philip Roth (1933–2018), one of America's most celebrated writers. Born in Newark, New Jersey—where his short stories and books were often set—Roth wrote with ambition and awareness of what was required to produce great literature. No writer was more dedicated to his craft, even as he was rubbing shoulders with the Kennedys and engaging in a spate of famous and infamous romances. And yet, as much as Roth wrote about sex and self, he viewed himself as socially withdrawn, living much like an “unchaste monk” (his words). Zipperstein explores the unprecedented range of Roth's work—from “Goodbye, Columbus” and Portnoy's Complaint to the Pulitzer Prize–winning American Pastoral and The Plot Against America. Drawing on extensive archival materials and over one hundred interviews, including conversations with Roth about his life and work, Zipperstein provides an intimate and insightful look at one of the twentieth century's most influential writers, placing his work in the context of his obsessions, as well as American Jewishness, freedom, and sexuality. Interviewee: Steven J. Zipperstein is the Daniel E. Koshland Professor in Jewish Culture and History at Stanford University. Host: Schneur Zalman Newfield is an Associate Professor of Sociology and Jewish Studies at Hunter College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In his literary biography, Philip Roth: Stung by Life (Yale UP, 2025), Steven J. Zipperstein captures the complex life and astonishing work of Philip Roth (1933–2018), one of America's most celebrated writers. Born in Newark, New Jersey—where his short stories and books were often set—Roth wrote with ambition and awareness of what was required to produce great literature. No writer was more dedicated to his craft, even as he was rubbing shoulders with the Kennedys and engaging in a spate of famous and infamous romances. And yet, as much as Roth wrote about sex and self, he viewed himself as socially withdrawn, living much like an “unchaste monk” (his words). Zipperstein explores the unprecedented range of Roth's work—from “Goodbye, Columbus” and Portnoy's Complaint to the Pulitzer Prize–winning American Pastoral and The Plot Against America. Drawing on extensive archival materials and over one hundred interviews, including conversations with Roth about his life and work, Zipperstein provides an intimate and insightful look at one of the twentieth century's most influential writers, placing his work in the context of his obsessions, as well as American Jewishness, freedom, and sexuality. Interviewee: Steven J. Zipperstein is the Daniel E. Koshland Professor in Jewish Culture and History at Stanford University. Host: Schneur Zalman Newfield is an Associate Professor of Sociology and Jewish Studies at Hunter College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Dans son dernier essai en date, « L'ère des impostures », Astrid von Busekist, professeure de Théorie politique à Sciences Po, propose une nouvelle fois une analyse précise de notre société occidentale en s'intéressant aux dérives contemporaines liées aux identités. À l'heure où chacun revendique le droit de se définir librement, l'auteure interroge les limites de cette liberté : peut-on vraiment choisir son origine, sa race, sa mémoire ? Et que se passe-t-il lorsque cette revendication devient mensonge ? Ce sont les questions qu'elle traite au fil des pages de ce livre publié aux éditions Albin Michel. Elle est l'invitée d'IDÉES cette semaine. À travers des exemples littéraires, historiques et médiatiques, Astrid von Busekist que nous retrouvons avec plaisir dans l'émission explore avec sa clarté et sa précision habituelles, le phénomène de l'imposture identitaire — ces cas où des individus s'approprient une histoire ou une appartenance qui ne leur revient pas. De Coleman Silk, personnage de Philip Roth dans son roman « La tâche », aux faux rescapés de la Shoah, en passant par les controverses autour de figures se disant autochtones ou racisées, l'essai met en lumière une tension fondamentale : entre le désir d'émancipation individuelle et les exigences de vérité et de justice. Mais « L'ère des impostures » ne se contente pas de dénoncer. Le livre invite à réfléchir sur la manière dont nos sociétés construisent et verrouillent les identités, parfois au détriment de la complexité humaine. La philosophe critique une vision « carcérale » de l'appartenance, où l'origine devient une frontière infranchissable, et où toute tentative de déplacement est perçue comme une trahison. Astrid von Busekist interroge les fondements de notre rapport à nous-mêmes et aux autres. Son essai, à la fois philosophique et politique, s'adresse à tous ceux qui veulent comprendre les enjeux profonds de notre époque : entre quête de soi, mémoire collective et vérité partagée. Elle en parle avec pertinence, clarté, et énergie au micro de Pierre-Édouard Deldique dans ce nouveau numéro d'IDÉES, le magazine qui interroge celles et ceux qui pensent le monde.   Programmation musicale - Jowee Omicil - Cry 4 Help - Arnaud Dolmen, Jowee Omicil et Michel Alibo - Silent Echoes.

Dans son dernier essai en date, « L'ère des impostures », Astrid von Busekist, professeure de Théorie politique à Sciences Po, propose une nouvelle fois une analyse précise de notre société occidentale en s'intéressant aux dérives contemporaines liées aux identités. À l'heure où chacun revendique le droit de se définir librement, l'auteure interroge les limites de cette liberté : peut-on vraiment choisir son origine, sa race, sa mémoire ? Et que se passe-t-il lorsque cette revendication devient mensonge ? Ce sont les questions qu'elle traite au fil des pages de ce livre publié aux éditions Albin Michel. Elle est l'invitée d'IDÉES cette semaine. À travers des exemples littéraires, historiques et médiatiques, Astrid von Busekist que nous retrouvons avec plaisir dans l'émission explore avec sa clarté et sa précision habituelles, le phénomène de l'imposture identitaire — ces cas où des individus s'approprient une histoire ou une appartenance qui ne leur revient pas. De Coleman Silk, personnage de Philip Roth dans son roman « La tâche », aux faux rescapés de la Shoah, en passant par les controverses autour de figures se disant autochtones ou racisées, l'essai met en lumière une tension fondamentale : entre le désir d'émancipation individuelle et les exigences de vérité et de justice. Mais « L'ère des impostures » ne se contente pas de dénoncer. Le livre invite à réfléchir sur la manière dont nos sociétés construisent et verrouillent les identités, parfois au détriment de la complexité humaine. La philosophe critique une vision « carcérale » de l'appartenance, où l'origine devient une frontière infranchissable, et où toute tentative de déplacement est perçue comme une trahison. Astrid von Busekist interroge les fondements de notre rapport à nous-mêmes et aux autres. Son essai, à la fois philosophique et politique, s'adresse à tous ceux qui veulent comprendre les enjeux profonds de notre époque : entre quête de soi, mémoire collective et vérité partagée. Elle en parle avec pertinence, clarté, et énergie au micro de Pierre-Édouard Deldique dans ce nouveau numéro d'IDÉES, le magazine qui interroge celles et ceux qui pensent le monde.   Programmation musicale - Jowee Omicil - Cry 4 Help - Arnaud Dolmen, Jowee Omicil et Michel Alibo - Silent Echoes.

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

For lonely young men who have forgotten how to read, the LA Times book critic Bethanne Patrick some some simple advice: Get Queer Quicker. And to make her point, Patrick discusses five great books on today's male identity crisis - including from Keen On alums like Jessa Crispin and Andrew Lipstein. Patrick argues that reports of the literary man's death are greatly exaggerated - he's just evolved beyond the Philip Roth archetype. From Michael Douglas movies to Danish masculinity models, from toxic fathers to cross-dressing ceramicists, these books reveal how modern men are navigating identity in an era where traditional patriarchal roles have crumbled, replaced by what Crispin calls a system where "you just need to buy your way to the top." So today's anxiety-ridden men who want to get beyond the self-stimulation of Portnoy's Complaint, go to your local (indie) bookstore and GQQ. You'll find that the pages of today's books on the dilemma of maleness are a lot less sticky. 1. The Literary Man Hasn't Disappeared—He's DiversifiedReports of the "death" of literary men are exaggerated. Today's prestigious male writers are just "less likely to also be straight and white"—think Ocean Vuong, Kwame Alexander, and Alexander Chee rather than Philip Roth and Norman Mailer.2. Gen Z is "Getting Queerer Quicker"Younger generations are rejecting rigid gender binaries in literature and life, refusing categories like "romances are for women, thrillers are for men." They're making intentional choices about identity rather than accepting traditional roles.3. The Crisis is About Class, Not Just GenderBoth Jessica Crispin and Jared Yates Sexton argue that male identity crisis stems from economic inequality. The old patriarchy based on "role and responsibilities" was replaced by a system where "you just need to buy your way to the top"—leaving working-class men adrift.4. Men Need Permission to Read DiverselyPatrick's husband didn't read fiction until audiobooks gave him privacy from judgment. Men face social anxiety about being seen reading "feminine" genres, but when freed from scrutiny, they explore widely—from cozy mysteries to historical novels by women.5. Publishing's Gender ParadoxThe industry is "largely female...up to a certain level, but the C-suite people are still predominantly male." This creates resistance to books addressing men's real struggles, making important works like Richard Reeves' Of Boys and Men hard to publish through traditional channels.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Blake Bailey is the author of biographies of Philip Roth, John Cheever, Richard Yates, and Charles Jackson. He won the National Book Critics Circle Award, the Francis Parkman Prize from the Society of American Historians, a Literature Award from the American Academy of Arts and Letters, and a Guggenheim Fellowship. He was also a finalist for the Pulitzer and James Tait Black Prizes. A previous memoir, The Splendid Things We Planned, was a finalist for the National Book Critics Circle Award in Autobiography. Get Blake's book "Canceled Lives: My Father, My Scandal, and Me" here: https://amzn.to/3UL09t0 Sol Gittleman is the Alice and Nathan Gantcher University Professor Emeritus at Tufts University, where he taught from 1964 until his retirement in 2015. He served as provost from 1981 to 2002 and has received many awards, fellowships, and honorary degrees for his teaching and service. About the host: Anthony Scaramucci is the founder and managing partner of SkyBridge, a global alternative investment firm, and founder and chairman of SALT, a global thought leadership forum and venture studio. He is the host of the podcast Open Book with Anthony Scaramucci. A graduate of Tufts University and Harvard Law School, he lives in Manhasset, Long Island. Learn more about your ad choices. Visit megaphone.fm/adchoices

La expectativa de conocer la lista real ha tomado niveles insospechados, obligando a Trump a echar mano de todo tema a su alcance para mover la atención a otro lado, sean los aranceles, la guerra de Rusia y Ucrania o la invasión de Israel a Gaza

Ari Aster's wildly divisive new movie “Eddington” drops audiences back into the chaos of May, 2020: a moment when the confluence of the COVID-19 pandemic, the murder of George Floyd and subsequent Black Lives Matter protests, the rise in conspiracy theories, and political strife shattered something in our society. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz situate “Eddington” in the lineage of “the indigenous American berserk,” a phrase coined by Philip Roth in his 1997 novel “American Pastoral.” They consider an array of works that have tried to depict moments of social rupture throughout the country's history—and debate whether the exercise is ultimately a futile one. “I think when you're dealing with the realm of the American berserk, the big risk is getting the bends,” Schwartz says. “You're trying to describe a warping. So how do you not get warped in the process?”Read, watch, and listen with the critics:“Eddington” (2025)“Writing American Fiction,” by Philip Roth (Commentary)“Stalking the Billion-Footed Beast,” by Tom Wolfe (Harper's)“American Pastoral,” by Philip Roth“Natural Born Killers” (1994)“Benito Cereno,” by Herman Melville“The Bonfire of the Vanities,” by Tom Wolfe“Apocalypse Now” (1979)“Hearts of Darkness: A Filmmaker's Apocalypse” (1991)“War Movies: What Are They Good For?” (The New Yorker)“Sorry to Bother You” (2018)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

A review of Portnoy's Complaint by Philip Roth ---Become part of the Hermitix community: Hermitix Twitter - ⁠⁠ / hermitixpodcast⁠⁠ Support Hermitix: Patreon - ⁠⁠ patreon.com/hermitix⁠⁠ Donations: - ⁠⁠https://www.paypal.me/hermitixpod⁠⁠ Hermitix Merchandise - ⁠⁠http://teespring.com/stores/hermitix-2⁠⁠ Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLK Ethereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

This week's book guest is Portnoy's Complaint by Philip Roth.Sara and Cariad are joined by award-winning comedian, writer and 1/3 of sketch group Sheeps - Liam Williams.In this episode they discuss Kafka, addiction, wanking, wanking, wanking and Geoffrey Archer.Trigger warning: In this episode we discuss racism, racist language and antisemitism.Thank you for reading with us. We like reading with you!Portnoy's Complaint by Philip Roth is available to buy here.Tickets to see Liam in Sheeps: A Very Sheeps Christmas – Live in Concert! In the Summer! are available to buy here.Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Geoffrey Beene by Geoffrey Beene (1998) + The Human Stain by Philip Roth (2000) + Robert Benton's The Human Stain (2003)  with Bob Kaye 6/19/25 S7E40 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Mark Sarvas is the award-winning author of the novels @UGMAN (ITNA Press), MEMENTO PARK (FSG, Picador) and HARRY, REVISED (Bloomsbury). MEMENTO PARK is the winner of a 2019 American Book Award (Before Columbus Foundation), and the 2019 American Jewish Library Association Fiction Award. It was a finalist for the Sami Rohr Prize for Jewish Literature, and was shortlisted for the JQ Wingate Literary Prize and longlisted for the Sophie Brody Medal. His debut novel, HARRY, REVISED, was published in more than a dozen countries around the world, earning raves from Le Monde to The Australian. A finalist for the Southern California Independent Booksellers Association's 2008 Fiction Award and a Denver Post 2008 Good Read, HARRY, REVISED has been called "A remarkable debut" by Booker Prize winner John Banville, and was compared to John Updike and Philip Roth by the Chicago Tribune. He was awarded a 2018 Santa Monica Arts Fellowship and is a 2021 Guild Hall Artist in Residence. Want to be a guest on Book 101 Review? Send Daniel Lucas a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/17372807971394464fea5bae3 Hosted on Acast. See acast.com/privacy for more information.

To celebrate the release of their new film Pavements, Alex Ross Perry and Robert Greene joined me on the show. We talked about the band, taste-making and influences, irony, Philip Roth, and more. Get an extra episode every week and support the show at patreon.com/extended_clip extendedclippodcast@gmail.com Go see Pavements! In select theaters now and expanding, eventually landing on Mubi.

"We know no spectacle so ridiculous as the British public in one of its periodical fits of morality,” a man once said, When it has come to the pursuit of Kneecap, the ridiculousness has extended far beyond the British public to its media and politicians too. It has reached the Irish political class and media as well.Kneecap have apologised to the families of murdered MPs but still they are pursued by those lost in what Philip Roth called the “ecstasy of sanctimony”.On Free State, Joe and Dion ask what does it tell us about the ability to comment freely in the modern world? At a time when n it seems critical to be able to speak out, it is under constant threat.Dion also recalls a GAA road trip while Joe explains why he considers Jesus Christ a role model. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:59 - Toute une vie - par : Mariannick Bellot - Aharon Appelfeld, écrivain israélien, a marqué la littérature par la justesse et la densité de son œuvre. Cet « écrivain errant de fictions errantes », comme le qualifiait son ami Philip Roth, n'a eu de cesse de traduire son expérience d'enfant ayant survécu à la destruction des Juifs d'Europe. - réalisation : Lionel Quantin - invités : Valérie Zenatti Autrice, traductrice et scénariste pour le cinéma; Judith Appelfeld Épouse de Aharon Appelfeld; Yigal Schwartz Editeur, directeur des archives de littérature à HEKSHERIM; Michal Govrin Écrivaine; Olivier Cohen Editeur, romancier, fondateur des éditions de L'Olivier; Michel Spinosa Cinéaste

Episode 306Guest: Blake BaileyBook: Canceled Lives---This week Kyler welcomes acclaimed author Blake Bailey to discuss his new memoir Canceled Lives. Known for his masterful biographies, including the celebrated work on Philip Roth, shares his journey through the complexities of personal scandal and the intricate relationship he had with his father.The conversation delves into the fallout from the controversies surrounding his Roth biography, exploring how public perception can shift dramatically and how it impacted Blake's life and career. He reflects on the profound bond he shared with his father, a celebrated attorney, and how their relationship evolved amidst the turbulence of Blake's own challenges.Listeners will find this episode engaging as it tackles themes of cancel culture, the ethics of biography, and the importance of freedom of speech in literature. Blake's candidness about his experiences and the vulnerability displayed in Canceled Lives make this a compelling discussion for anyone interested in the intersections of personal narrative and public life.Thanks for listening!---Episode Links:PURCHASE Canceled Lives---SLD Podcast Info:www.saltlakedirt.comRadio Broadcast every Monday on KPCR 92.9 FM Los Gatos & 101.9FM Santa Cruz - 6PM - 8PM PSTListen on SPOTIFYListen on APPLE PodcastsInstagram: @saltlakedirtFollow KPCR on Instagram

durée : 02:30:08 - Les Matins - par : Guillaume Erner, Isabelle de Gaulmyn - . - réalisation : Félicie Faugère

durée : 00:38:30 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - Dans "Le Complot contre l'Amérique", Philip Roth imaginait son pays tombé aux mains d'un dirigeant fasciste, fervent défenseur de l'"America First". Deux décennies après sa parution, cette uchronie nous offre un éclairage salutaire sur l'actualité. - réalisation : Félicie Faugère - invités : Josyane Savigneau Écrivaine et journaliste; Marc Weitzmann Ecrivain et producteur de l'émission "Signes des temps" sur France Culture; Virginie Bloch-Lainé Productrice à France Culture, critique littéraire, romancière.

Kate Wolf and Medaya Ocher are joined by Deborah Treisman, the fiction editor at The New Yorker and host of The New Yorker's Fiction podcast. Deborah is the editor of a new anthology of short stories, A Century of Fiction in The New Yorker, 1925-2025, which features some of the incredible writers that The New Yorker has published over the past 100 years. There are stories by J.D. Salinger, Philip Roth, Muriel Spark, Vladimir Nabokov, Jamaica Kincaid, Mary Gaitskill, Don DeLillo and Zadie Smith and many, many more. Deborah discusses how she put the collection together and how she thinks about the short story as a form.

On this episode, Erin & Elizabeth talk to animal intuitive Phoebe Hoffman, one of the stars of the new documentary about NYC psychics, Look Into My Eyes (currently on Max). The film hints at Phoebe's colorful life growing up with her divorced father Stanley, who Phoebe lived with in a studio apartment in Manhattan throughout her teenage years, when she dropped out of LaGuardia High School of Music and Art in 9th grade. Stanley, an English teacher who nonetheless played fast and loose with the concept of mentoring, was compared to Philip Roth in 1974 when his debut novel was published, but his literary dreams ended with a gig writing forScrew magazine. As Phoebe chain-smoked the Marlboros her dad procured for her, she skipped school to watch John Waters movies on repeat, all while longing for boundaries, apologies, and parenting. A botched stint in therapy with Stanley led to Phoebe finding a way to lovingly detach from her dad, and led to an unlikely new purpose in life: pet psychic. Phoebe tells us about an otherworldly experience with a horse changed everything, what's up with animals as the conduits of our dead loved ones, and whether our pets love us as much as we love them.