Podcasts about Pulitzer

“Taking down sacred cows” has never really been our thing here, but we'll happily make an exception for the David O. Selznick-produced adaptation of Margaret Mitchell's bestselling valentine to the Antebellum South, one of the most commercially successful and critically acclaimed movies of all time, a vile work of racist propaganda and misogyny. Cultural critic and Pulitzer finalist Soraya Nadia McDonald joins in the fun!Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. The Pulitzer Prize for Drama: “Hamilton”2016 Pulitzer winner “Hamilton” by Lin-Manuel Miranda Hamilton Wikipedia pagehttps://wikipedia.org/wiki/Hamilton_(musical) Lin-Manuel Miranda Wikipedia pagehttps://wikipedia.org/wiki/Lin-Manuel_Miranda Lin-Manuel Miranda: The Education of read more

Puntata a cura di Jacopo Bulgarini d'Elci e Livio PacellaThe Beast in Me (Netflix, 2025) è una miniserie statunitense di 8 episodi dalla durata variabile (41–54 minuti ciascuno), creata da Gabe Rotter, e ha come showrunner Howard Gordon, già co‑creatore di Homeland. Protagonista assoluta di The Beast in Me la coppia Claire Danes e Matthew Rhys : lei scrittrice premio Pulitzer in blocco creativo dopo una tragedia familiare, lui ricco immobiliarista con un passato oscuro (e sospettato di aver fatto sparire la moglie, anni prima) che diventa suo vicino di casa. La scrittrice decide di scrivere il suo nuovo libro sull'ingombrante e potente vicino. Ma da questa relazione tra due apparenti opposti nascono tensioni, dubbi e ambiguità profondi: chi è davvero lui? Amico, predatore, o entrambe le cose? E qual è la vera natura di lei? “2 voci, 1 serie”: dialoghi sulle cose che ci piacciono, o ci interessano, nel podcast di Mondoserie.Leggi anche il nostro articolo su The Best in Me: https://www.mondoserie.it/the-beast-in-me/ Parte del progetto: https://www.mondoserie.it/  Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast  Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoserie https://www.instagram.com/mondoserie.it/   https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ  https://www.linkedin.com/in/mondoserie/ 

Alvin and Special guest, Pulitzer prize winning journalist, Maggie Freeleng delve into the complexities of the Bone Valley season 3 case, exploring themes of wrongful conviction, the role of citizen detectives, and the emotional toll on victims and their families. They discuss the impact of media on justice narratives and the racial dynamics within the criminal justice system. Maggie shares updates on Quincy Cross's case and reflects on the importance of integrity in storytelling, emphasizing the need for truthful narratives in the face of systemic failures. Catch up on Bone Valley and all the latest from Graves County HERE! Learn more about your ad choices. Visit podcastchoices.com/adchoices

A young Chicago couple—one is an undocumented immigrant from Poland, and the other is a U.S. citizen—face a choice: stay in the place they've called home—or give up on the place that doesn't seem to want them anymore. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Children as young as 12 can legally work on California's farms, picking strawberries and pruning blueberry bushes along with a host of other physically demanding jobs. Pulitzer prize-winning journalist Robert J. Lopez spoke with 61 children who work in the fields of the Salinas, Santa Maria, San Joaquin and Pajaro valleys. They described unsafe and unsanitary conditions, extreme heat — and a fear of speaking up, because they can't afford to lose their jobs. Lopez reports that in California, “enforcement of child labor laws has been inconsistent, the number of workplace safety inspections and citations issued to employers have dropped and repeat offenders were not fined for hundreds of violations of pesticide safety laws.” He joins us to share his reporting, and how the state is responding to it. Guests: Erica Diaz-Cervantes, senior policy advocate, Central Coast Alliance United for a Sustainable Economy (CAUSE) - an organization committed to social, economic, and environmental justice for working-class and immigrant communities in California's Central Coast; former underage farmworker Robert J. Lopez, Pulitzer prize-winning independent journalist, and fellow at the McGraw Center for Business Journalism; his reporting is titled “California's child farmworkers: Exhausted, underpaid and toiling in toxic fields” and “Lax oversight, few inspections leave child farmworkers exposed to toxic pesticides” Learn more about your ad choices. Visit megaphone.fm/adchoices

The Author Events Series presents Carol Leonnig and Aaron C. Davis | Injustice: How Politics and Fear Vanquished America's Justice Department In Conversation with Ankush Khardori Throughout his first administration, Trump did more than any other president to politicize the nation's top law enforcement agency, pressuring appointees to shield him, to target his enemies, and even to help him cling to power after his 2020 election defeat. The department, pressed into a defensive crouch, has never fully recovered. Injustice exposes not only the Trump administration's efforts to undermine the department at every turn but also how delays in investigating Trump's effort to overturn the will of voters under Attorney General Merrick Garland helped prevent the country from holding Trump accountable and enabled his return to power. With never-before-told accounts, Carol Leonnig and Aaron C. Davis take readers inside as prosecutors convulsed over Trump's disdain for the rule of law, and FBI agents, the department's storied investigators, at times retreated in fear. They take you to the rooms where Special Counsel Jack Smith's team set off on an all-but-impossible race to investigate Trump for absconding with classified documents and waging an assault on democracy-and inside his prosecution's heroic and fateful choices that ultimately backfired. With a plethora of sources deeply embedded in the ranks of three presidencies, Leonnig and Davis reveal the daily war secretly waged for the soul of the department, how it has been shredded by propaganda and partisanship, and how-if the United States hopes to live on with its same form of government-Trump's war with the Justice Department will mark a turning point from which it will be hard to recover. Injustice is the jaw-dropping account of partisans and enablers undoing democracy, heroes still battling to preserve a nation governed by laws, and a call to action for those who believe in liberty and justice for all. Carol Leonnig, a five-time winner of the Pulitzer Prize, is the author of three bestselling books and an investigative reporter who has worked at The Washington Post for the last twenty-five years. She won the 2015 Pulitzer Prize for her reporting on security failures by the Secret Service. She also was part of Post teams awarded Pulitzers in 2024, 2022, 2018, and 2014. Leonnig, a contributor to MSNBC, is the author of Zero Fail and coauthor of A Very Stable Genius and I Alone Can Fix It. Aaron C. Davis is an investigative reporter for The Washington Post who has won the Pulitzer Prize twice and has been a finalist three times. He was a lead writer and reporter on the Post's investigative series into the January 6 attack, which won the George Polk Award, the Toner Prize, and, with other Post coverage, the 2022 Pulitzer Prize for Public Service. In 2018, he was part of a Post team that won the Pulitzer for Investigative Reporting. Davis has reported from fourteen countries. He began at The Washington Post in 2008, after reporting for the Associated Press, The Mercury News, and Florida Today. Ankush Khardori is based in Washington, D.C. and a senior writer for Politico Magazine, where he writes a column and features about national legal issues. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 11/13/2025)

Send us a textThese three writers all wrote just one novel of renown but they were gargantuan titles. We celebrate their impact on American Literature in this episode. Harper Lee offered several writing tips centered on persistence, humility, and the importance of craft over reward. She emphasized a love for language and a dedication to writing for oneself. Key Writing Tips from Harper LeeDevelop a thick hide Write for yourself A writer worth their salt writes to please an audience of one: themselves. Writing is a self-exploratory process, an exorcism of "divine discontent," not a pursuit for external validation or monetary gain.Be a steady, slow worker Embrace the revision process Master the English sentence Write what you know and use vivid imagery Nurture the creative spirit  Fundamentally, Lee's advice was to focus on the integrity of the work and the process itself, hoping for the best but expecting nothing in return.J.D. Salinger's writing approach prioritized authenticity, a distinctive narrative voice, and emotional depth achieved through minimalist prose and realistic dialogue. His tips for writers can be distilled into the following principles: Write for yourself, first and foremostPrioritize a strong, authentic voiceEmbrace minimalism and precisionKnow your characters inside and outUse naturalistic dialogueWork with focus and disciplineRead extensivelyMargaret Mitchell's writing tips and style emphasize thorough research, relentless rewriting, and a simple, direct prose. She prioritized her creative work and was known for working methodically on a single project at a time. Key Writing TipsPrioritize writing above all elseEmbrace rewriting: She famously said, "I do not write with ease, nor am I ever pleased with anything I write. And so I rewrite". She emphasized that "Pulitzer-type writing... comes in the rewriting".Research thoroughlyWrite with simplicity and clarityFocus on the story and what mattersPlan meticulously but be flexibleWork with discipline and enduranceAvoid digressionsWork on one project at a timePersonal Habits and Style"Show, Don't Tell" (selectively)Character and dialogue-drivenGumption is keyAnswer fan mail Questions or comments at , Randalrgw1@aol.com , https://twitter.com/randal_wallace , and http://www.randalwallace.com/Please Leave us a review at wherever you get your podcastsThanks for listening!!

Le 4 mai 1953, Ernest Hemingway reçoit le prix Pulitzer pour Le Vieil homme et la mer, récit apparemment simple d'un vieux pêcheur cubain, Santiago, luttant sans relâche contre un gigantesque poisson, métaphore de la dignité et de la résistance humaine face à l'adversité. Derrière cette nouvelle de 120 pages se cache toute la vie de son auteur : ancien ambulancier de la Croix-Rouge grièvement blessé en 1918, reporter de guerre, témoin des horreurs des deux conflits mondiaux et de la guerre d'Espagne, Hemingway transforme ses traumatismes en littérature au style dépouillé, direct, presque “télégraphique”. De L'Adieu aux armes à Pour qui sonne le glas, il impose une écriture neuve, sans fioritures, nourrie de son expérience du danger, de la douleur et du courage. Mais au moment où le succès littéraire atteint son apogée avec le Pulitzer, puis le Nobel en 1954, l'homme est déjà physiquement et psychiquement brisé : accidents, alcool, dépression, électrochocs et surveillance des services américains le rongent. Isolé dans sa maison de l'Idaho, hanté par le suicide de son père et celui d'autres membres de sa famille, Hemingway finit par se donner la mort en 1961, au fusil. Le Vieil homme et la mer restera son dernier grand texte publié de son vivant, comme un testament littéraire résumant sa conviction intime : “L'homme peut être détruit, mais il ne peut pas être vaincu.” Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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

Do individuals or broader forces shape history? In the 2025 Reith lectures on BBC Radio 4, Rutger Bregman argues that small groups of individuals can have an outsize influence and he looks to examples in history from suffragism to the ending of slavery. In the Free Thinking studio for Radio 4's round-table discussion about the history of ideas, Matthew Sweet is joined by:Anne Applebaum, Pulitzer prize winning historian and author of Autocracy Inc, which looks at the networks linking powerful people in our world Jake Subryan Richards, New Generation Thinker on the scheme run by the BBC and AHRC which puts research on radio. His new book is The Bonds of Freedom: Liberated Africans and the End of the Slave Trade Selina Todd, historian and author of The People: The Rise and Fall of the Working Class Clare Jackson, historian of seventeenth century Britain, whose latest book is Mirror of Great Britain: A Life of James VI & I Rupert Read, philosopher, climate advocate and co author of Transformative Adaptation and The Climate Majority ProjectProducer: Eliane Glaser

Australia is about to become the first country in the world to ban kids under 16 from having social-media accounts. Other countries have attempted partial restrictions, but Australia's Online Safety Amendment is the first real ban, and it comes with heavy fines for social-media companies that fail to comply. In this episode, we hear from the woman in charge of enforcing the policy, the teens who will be affected by it starting next week, and a researcher who doesn't think Australia's plan is the right answer.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer prize-winner Frank Main has been covering criminal justice in Chicago since 1998.  Readers of the Sun-Times are drawn to his work for heeding the journalism mantra "inflict the comfortable, and comfort the afflicted."   In this episode of The Crisis Cast, we travel back to a discussion with Lissa & Thom about COVID's lasting impact on crime in upper Midwest cities like Minneapolis, Chicago, Detroit.  They also examine two behaviors that began surging in the early 2020s at alarming rates:  car-jacking and police retirements. This conversation was originally released in February 2021.

This podcast is hosted by edWeb.The webinar recording can be accessed here.Lin-Manuel Miranda has transformed the world of musical storytelling with his giant stage and screen hits: Hamilton, In the Heights, Moana, Encanto, and more. But this Grammy-, Tony-, Emmy-, and Pulitzer-winning songwriter didn't do it alone. As a new book, Lin-Manuel Miranda: The Education of an Artist, argues, Miranda's success stems not only from innate genius, but from a lifetime of insatiable curiosity and an overwhelming appetite to learn from everyone around him.Join author Daniel Pollack-Pelzner for this edWeb podcast to explore the teachers who shaped Miranda's journey from the shy, sensitive child of Puerto Rican parents, growing up in an immigrant neighborhood in the northernmost tip of Manhattan, to the galvanizing force who would expand America's sense of its own story. How can we, as educators, nurture the future Lin-Manuels in our classrooms and communities? What are the parenting, teaching, collaborative, and creative lessons that Miranda's story reveals?This edWeb podcast is of interest to K-12 teachers and school leaders, as well as higher education educators interested in the arts.Learn more about viewing live edWeb presentations and on-demand recordings, earning CE certificates, and using accessibility features.

For most people, being caught in a war zone with no weapon would be the stuff of nightmares, but for Pulitzer prize-winning Photojournalist Lynsey Addario, that is a basic element of her job…Lynsey is the subject of a new documentary called ‘Love+War', and joins Seán to discuss.

For most people, being caught in a war zone with no weapon would be the stuff of nightmares, but for Pulitzer prize-winning Photojournalist Lynsey Addario, that is a basic element of her job…Lynsey is the subject of a new documentary called ‘Love+War', and joins Seán to discuss.

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder, and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.” David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David’s claim of innocence credible? In Death & Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.” The results will shock the listener and reduce Maggie to tears and self-doubt. This is not your typical wrongful conviction story. In fact, it turns the genre on its head. It asks the question: What if our champions are foolish? New episodes of The Burden: Death & Deceit in Alliance are every Tuesday and Friday wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.See omnystudio.com/listener for privacy information.

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder, and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.” David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David’s claim of innocence credible? In Death & Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.” The results will shock the listener and reduce Maggie to tears and self-doubt. This is not your typical wrongful conviction story. In fact, it turns the genre on its head. It asks the question: What if our champions are foolish? New episodes of The Burden: Death & Deceit in Alliance are available every Tuesday and Friday wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.See omnystudio.com/listener for privacy information.

Foreign editor Alexis Self discusses a ‘pivotal week’ for diplomacy as Macron and Zelensky meet in Paris. Plus: a documentary about Pulitzer-winning war photographer Lynsey Addario. And: Monocle’s Switzerland Handbook. See omnystudio.com/listener for privacy information.

Queridos Rímerlers: Interrumpimos excepcionalmente nuestra programación habitual, totalmente dedicada al espantajerío y la mamarrachez, para publicar un episodio que nos ha hecho mucha ilusión hacer. Porque la vida da unas vueltas que una no se imagina, en este nuevo capítulo ha venido a divertirse a RYC... ¡¡EMILIO DELGADO!! Para quien aún no lo sepa, portavoz adjunto de Más Madrid. Entonces, a saber: * Hemos puesto velas a las diosas de la información, como Silvia Intxaurrondo y Julia Otero, para ver si nos poseía el espíritu de periodistas serias que nunca hemos tenido. * Nos hemos preparado preguntas para el invitado que creíamos pertinentes, porque este podcast no va de política, pero sí de rojos y maricones, así que POR SUPUESTO es importantísimo hacer lo que una pueda para que los discursos que interesan se extiendan, que ya para bulos y mentiras tenemos medios allegedly serios. La verdad es que ha sido muy guay poder preguntar a un político lo que siempre has querido preguntar a un político. * Eso sí, también hemos llevado a Emilio a nuestro terreno, no os vayáis a creer. Le preguntamos por muchos personajes del mundo RYC para que se mojase porque chica, si la política no viene a nosotras habrá que ir a buscarla. Y sí, le hemos preguntado por AR. Estamos segurísimas de que esta entrevista nos valdrá un Pulitzer y que a partir de ahora todos los entrevistadores querrán preguntarle a Emilio qué opina de La Pelopony, pero vosotras lo habéis escuchado aquí primero, bitches. Claramente, en algún momento nos pedirán ir en Falcon a hacer la siguiente, pero tenemos una agenda apretadísima y no podemos con todo. Ahora en serio: muchas gracias, Emilio, por haberte venido, que ya es mucho para nosotras, y por ponérnoslo tan fácil, nos lo hemos pasado genial y esperamos que nos visites de nuevo alguna vez. En fin, amigues, disfrutadlo mucho y tratadlo con cariño, amigues. Besitos a todos!!

Our latest episode was recorded with the keynote speaker for the 2025 North Words Writers Symposium in Skagway, Alaska.  Pulitzer prize nominee Eowyn Ivey talks with guest host Summer Christiansen about her writing discipline, the challenges and joys of writing from rural Alaska and why her latest book, Black Woods, Blue Sky, is her most personal yet. Learn more about Eowyn and her work at her website, eowynivey.com. Please help grow our podcast audience by liking it on social media or sharing  with friends and family. This conversation was recorded at KTOO Juneau. Music by Liz Snyder and Alex Kotlarz.  Please subscribe and follow the 49 Writers Active Voice podcast on Apple, Spotify and 49writers.org. And help spread the word by liking it on podcast platforms or sharing with friends and family. This conversation was recorded at KTOO Juneau. Music by Liz Snyder and Alex Kotlarz. .

Journey with Scary Savannah and Beyond to Georgia's historic and haunted Jekyll Island, once the exclusive Gilded Age retreat of America's wealthiest families—Rockefeller, Vanderbilt, J.P. Morgan, Pulitzer, and more. In this episode, we dive into the island's luxurious past, its role in birthing the Federal Reserve, the rise of modern golf, and its darker side: ghostly sightings at the Jekyll Island Club Resort, spectral bellhops, phantom cigar smoke, pacing presidents, eerie cottage hauntings, shadow figures in ancient cemeteries, and firsthand accounts of overwhelming dread from guests and staff. Blending history, mystery, and haunting lore, we uncover why Jekyll Island remains one of the most fascinating—and paranormally active—places on the Georgia coast. Whether you love true ghost stories, Southern history, or haunted travel, this episode brings the island's restless echoes to life.

Pulitzer-nominated author Timothy Gay sits down with Matt to talk about his new book Rory Land: The Up-and-Down World of Golf's Global Icon.In it he tells the story of one of golf's biggest stars off the back of his incredible sporting year. Hit Play on this page to listen now

In Alison Roman's newest cookbook, “Something From Nothing,” her pantry is her primary inspiration. In this live conversation, we talk with Roman about her family Thanksgiving, why she makes her own baby food, and why simple really is better. We also discuss food trends, and what life is like for her as a solo creator. Then, we put the cookbook's philosophy of simplicity to the test with an onstage game in which Alison must choose three pantry ingredients from a bag and come up with a delicious dinner.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

As Treasury Secretary, former Federal Reserve Chairwoman and Chair of the White House Council of Economic Advisers, Janet Yellen is one the most powerful woman in American economic history. Award-winning economics writer and author Jon Hilsenrath joins with insights about her life and work from his book, Yellen: The Trailblazing Economist Who Navigated an Era of Upheaval. He shares how she navigated the sexism in her industry and in politics, her unconventional partnership in marriage and work with Nobel Laureate George Akerlof and why she didn't always "lean in."More about Jon Hilsenrath: He is a senior writer for the Wall Street Journal, where he has been since 1997, reporting from Hong Kong, New York, and Washington, DC. He was a Pulitzer Prize finalist in 2014 for his coverage of the Federal Reserve; part of a team of 2009 Pulitzer finalists for coverage of the global financial crisis; and contributed on-the-scene reporting from the World Trade Center on September 11, 2001, which helped the WSJ win a Pulitzer in 2002. Hosted on Acast. See acast.com/privacy for more information.

It's not quite accurate to say that Hester Kaplan's father Justin Kaplan was a man of few words because Justin Kaplan was a man of many. His first book, a biography of Mark Twain published in 1966, won both the Pulitzer and the National Book Award, a debut that ensured Kaplan would enjoy a long and prestigious career as an author and editor. It was an idyllic life in Cambridge, Massachusetts, that he shared with his wife Anne Bernays, also a novelist, and their three daughters.But Hester doesn't remember her father ever looking her in the eyes or letting any of his three kids call him ‘Dad,' not out of any cruelty or neglect, but more of a mysterious inability to go there. Hester remembers the steady clickety clack of his typing behind the study door as a child as he wrote, his quiet retreat in a household filled with estrogen, and craved the connection over his own memories of growing up that were never revealed.Even after Hester became an author herself, she had never read any of her father's work - nor had he read hers. But after his death in 2014, Hester embarked on a new book, TWICE BORN: Finding My Father in the Margins of Biography (available now), wherein she biographs the biographer, unearthing not only the parallels between Joe/Justin's interior life and those of the literary giants he memorialized, but also finds intimacy in her memories of a surprisingly tender man who eschewed sentimentality but nevertheless always had a chestnut for the people he loved. Here's more of my conversation with Hester Kaplan. Get full access to Tell Me About Your Father at tellmeaboutyourfather.substack.com/subscribe

Debut novelist Eileen Lynch discusses her Chicago-set novel "Splenditude" and its mental health themes, plus a classic 2011 interview with Pulitzer winner William Kennedy

November is a month when communities around the world commemorate the Holodomor–Stalin's genocide famine in Ukraine that, in 1933, starved millions to death, the vast majority of them Ukrainians. Conservative estimates place the death toll at 3.9 million. During the famine, a death certificate listed the cause of death simply as "Ukrainian." In the years leading up to Russia's full-scale invasion of Ukraine today, Vladimir Putin's KGB dictatorship revived the cult of mass-murdering dictator Joseph Stalin–producing propaganda textbooks, putting up Stalin statues, and outlawing acknowledgment of the fact that Stalin helped launch World War II by invading Poland two weeks after Nazi Germany, then holding joint military parades with the Nazis. Stalin monuments and billboards are today in regions of Ukraine under Russian occupation. Back in the early 1930s, as Stalin laid the groundwork for his man-made famine–a diabolically efficient way of killing millions before the invention of the atomic bomb–the New York Times praised his regime. Walter Duranty, the paper's Moscow bureau chief, won a Pulitzer for Soviet propaganda and went on to gaslight readers by insisting, "There is no famine." Challenging the media establishment, political elites, and industry leaders eager to profit from helping Stalin modernize his empire was a young Welsh journalist, Gareth Jones. Idealistic and courageous, he risked his life and career to become a vital independent witness to the genocide. His story is told in the film Mr. Jones and in the award-winning graphic novel In the Shadow of Stalin: The Story of Mr. Jones. The film was developed with support from historical advisors, including Timothy Snyder, whose classic Bloodlands: Europe Between Hitler and Stalin opens with Jones's story. To commemorate the Holodomor this year, we're sharing the audio from a video interview from September 2024 featuring In the Shadow of Stalin: The Story of Mr. Jones, which recently won a Ringo Award for Best Nonfiction and received the honor of being a Junior Library Guild Gold Standard selection. (You can find the video in the show notes). Andrea Chalupa of Gaslit Nation, the writer/producer of the Mr. Jones film and comic In the Shadow of Stalin, speaks with Anastasia Ulanowicz, an Associate Professor of English at the University of Florida who specializes in comics as a medium for personal and historical memory. If you're looking for a way to help Ukraine, consider purchasing a copy of In the Shadow of Stalin: The Story of Mr. Jones for your local school or library. Hundreds of copies have already been given to members of Congress and sold to raise funds for Razom for Ukraine–Andrea has given away so many copies that she will never see any royalties for this as those books must be paid off to the publisher to cover their costs. When you purchase a book to give away to raise awareness, you're supporting Ukraine, not the author. Any effort to help spread this story is deeply appreciated. For those who haven't seen Mr. Jones, it's available here, and Andrea's short documentary Stalin's Secret Genocide–which screened at the United Nations in 2016 and features Timothy Snyder; Anne Applebaum; Norman Naimark of Stanford, author of Stalin's Genocides; Serhii Plokhii of Harvard, author of The Gates of Europe: A History of Ukraine; and other leading historians–is available here. Thank you to everyone who continues to raise their voices for Ukraine during the country's existential fight for survival–and for the freedom of the world against Russian fascist lawlessness.   Show Notes: Buy a copy for your local school or library: In the Shadow of Stalin: The Story of Mr. Jones By Andrea Chalupa, Illustrated by Ivan Rodrigues https://www.simonandschuster.com/books/In-the-Shadow-of-Stalin-The-Story-of-Mr-Jones/Andrea-Chalupa/9781637152775   Watch the video discussion of the Mr. Jones graphic novel In the Shadow of Stalin: The Story of Mr. Jones:  https://education.holodomor.ca/new-webinar-holodomor-hot-off-the-press/   Watch Stalin's Secret Genocide: https://youtu.be/Sr5WkhEiqcY   Where to watch Mr. Jones http://www.samuelgoldwynfilms.com/mr-jones/   Music: Prayer for Ukraine: https://www.youtube.com/watch?v=zn0_p1ZR3hg&list=RDzn0_p1ZR3hg&start_radio=1

Brad Onishi sits down with Pulitzer Prize winner Paul Starr to dig into his new book, American Contradiction, and the idea that the United States is less a shining city on a hill and more a city built on a fault line. Starr traces how the nation's promise of liberty has always coexisted with exclusion, hierarchy, and inequality, and how those tensions erupted in new ways during the 1990s. Together they unpack how the end of the Cold War, the rise of culture wars, and the shockwaves of policies like NAFTA reshaped party coalitions, fueled resentment, and set the stage for today's political divide. Starr explains why the 90s were a turning point and how institutional structures like the Senate and Electoral College amplify polarization rather than contain it. The conversation also explores the growing gap between social progress and economic inequality and the challenges facing a Democratic Party trying to represent both progressive activists and working class voters. Bradley and Paul talk about the power of political storytelling, from nostalgia for an imagined past to despair over historical injustices, and how both shape the current moment. Despite everything, Starr ends with a measure of hope that the United States still has the capacity for reinvention and surprise if it can finally reckon with its contradictions and build a more inclusive national story. Subscribe for $5.99 a month to get bonus content most Mondays, bonus episodes every month, ad-free listening, access to the entire 850-episode archive, Discord access, and more: https://axismundi.supercast.com/ Linktree: https://linktr.ee/StraightWhiteJC Order Brad's book: https://bookshop.org/a/95982/9781506482163 Subscribe to Teología Sin Vergüenza Subscribe to American Exceptionalism Learn more about your ad choices. Visit megaphone.fm/adchoices

If I asked you why we communicate with others, what would your reply be? I think my mind initially went to sharing information. But as you will soon hear, my guest cites that only 15-18% of our daily communications are about mere information. What is the primary reason we communicate then? We communicate to connect with others. My interest then is considering how much of my communication actually results in true connection. I have a world expert with me. Charles Duhigg. Charles is a Pulitzer prize-winning journalist and the author of The Power of Habit, which spent over three years on bestseller lists is my favorite book on habits. In February of 2024 I had him here on the show for the first time to talk about his then new book, Supercommunicators: How to Unlock the Secret Language of Connection. The book has already sold over a million copies and I brought him back on to talk further about my own evolution in connecting, and to celebrate the release of the paperback version of Supercommunicators. Charles also writes for The New Yorker magazine and previously wrote for The New York Times and is a graduate of Yale University and Harvard Business School. You can connect with him at charlesduhigg.com. Sign up for your $1/month trial period at shopify.com/kevin Go to shipstation.com and use code KEVIN to start your free trial. Learn more about your ad choices. Visit megaphone.fm/adchoices

00:08  Michael Willrich is a Professor of History at Brandeis University. His latest book, a Pulitzer finalist, is American Anarchy: The Epic Struggle between Immigrant Radicals and the US Government at the Dawn of the Twentieth Century. The post Michael Willrich on Emma Goldman and the how the Federal Government used Immigration Law against the left appeared first on KPFA.

When the Trump administration promised a mass deportation campaign they initially relied on Immigration and Customs Enforcement.  Disappointed with ICE's pace and tactics, the White House turned to the Border Patrol for more sweeping, military-style enforcement. Commander-at-large Gregory Bovino has brought his green-uniformed agents (and his film crew) to Los Angeles, Chicago, now North Carolina, and perhaps soon New York City. Staff writer Nick Miroff on what happens when an agency trained for dangerous desert borders operates in crowded American cities. — Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Arts 24, we look at "Fall of Freedom" – a nationwide wave of performances, readings and public art events as artists across the United States mobilise against mounting censorship and political pressure on cultural institutions. Hundreds of theatres, museums, and libraries are taking part on November 21 and 22 in what organisers call an urgent stand for artistic freedom. Joining us from New York are two of the movement's leading voices: Pulitzer Prize–winning playwright Lynn Nottage and visual artist Dread Scott. They discuss why they believe democracy is at risk, how cultural institutions are being pressured into silence, and why artists are uniting now. Among the stars participating in "Fall of Freedom" are filmmaker Michael Moore, director Ava DuVernay, musicians John Legend and Amanda Palmer, Pulitzer-winning novelist Jennifer Egan and visual artists Marilyn Minter. Events include staged readings, public art installations, concerts, film screenings, and library programs, all aimed at defending free expression.

The money keeps coming. Global spending on artificial intelligence is projected to hit $375 billion this year. In 2026, the figure is supposed to approach half a trillion dollars. The sums invested already are so staggering that the United States is beginning to look like an “Nvidia-state,” where the tech boom is fueling a great majority of economic growth. But lately, tech watchers have started to ask the obvious question: Is this boom in fact a bubble? We talk to the Atlantic staff writer Charlie Warzel about what might happen—to companies, to the economy, to ordinary Americans—if one day that bubble were to burst. Charlie covers tech and all the strange, unmooring things it does to culture. And he has a new Atlantic video podcast called Galaxy Brain launching this week. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Percival Everett has made a career out of exploring the nature of absurdity. You may have become aware of Everett in the last few years when his novel “Erasure” was adapted into the movie “American Fiction” in 2023, or when his book “James” won the Pulitzer prize last year. But Everett has written 24 novels since 1983 along with several books of poetry and short story collections, each of them tackling a different genre of writing and a different angle on nonsense, absurdity or irony. As he says, “to accept the absurdity of a situation is to accept the humanness of it.” We talk to Percival Everett in front of an audience of students at McDaniel High School in Portland.

Hour 1 Hour 1 of https://RushToReason.com kicks off with fiery debate and unapologetic truth. John Rush and Andy Peth welcome back America's Money Answer Man, Jordan Goodman, to unpack the chaos of a government shutdown, its ripple effects on the economy, and what it reveals about America's growing dependence on government aid. Will the shutdown be a wake-up call—or just another chapter in Washington's spending spree? As federal workers await back pay and air travel across the nation melts down, the conversation turns sharp: Should millions of Americans on SNAP benefits be expected to work? Is “something for nothing” destroying the nation's work ethic? With strong opinions, real-world economics, and no political sugarcoating, this hour delivers a bold challenge to how America views responsibility, resilience, and reward. HOUR 2 Hour 2 of Rush to Reason dives deep into one of today's most heated political divides—America's stance on Israel. Andy Peth and John Rush challenge the growing anti-Israel sentiment within conservative circles, exposing what they call false narratives driven by media voices like Tucker Carlson. Is support for Israel really a betrayal of “America First,” or is that a dangerous distortion of the truth? Andy dismantles common misconceptions—arguing that his backing of Israel isn't rooted in religion but in strategy, principle, and reality. Together, he and John confront claims of “genocide,” clarify biblical context, and defend Israel's right to survive against enemies who target civilians. As they call out hypocrisy and misplaced outrage, one question looms: has America forgotten who its true allies are? HOUR 3 Hour 3 opens with a Veterans Day salute that turns into a robust, personal conversation with Dr. Josh McConkey (https://www.joshmcconkey.com) —a North Carolina lieutenant governor candidate, combat veteran, emergency physician with over two decades of experience, and author of the Pulitzer-nominated Be the Weight Behind the Spear. What happens when the people who carried the weight of war come home to a VA bureaucracy that treats them like numbers? McConkey spotlights the unseen “weight behind the spear”—families, coaches, teachers, and communities—and shows how their sacrifices sharpen every mission's tip. From IED injuries tragically dismissed as “depression” to a “COVID generation” struggling with lost resilience and leadership, John and Andy challenge listeners on how to take action. Hour 3 of Rush to Reason shifts from honoring veterans to confronting political reality with unfiltered honesty. John Rush and Andy Peth dissect the GOP's crushing losses, asking whether it was a “blue state sweep” or a failure to communicate. From affordability to local elections, they reveal how poor messaging—not policy—cost conservatives dearly. As Andy highlights party infighting and John rejects blame-shifting, both warn that unless Republicans reconnect with voters and sharpen their message, 2026 could bring an even bigger reckoning.

Hour 1 Hour 1 of https://RushToReason.com kicks off with fiery debate and unapologetic truth. John Rush and Andy Peth welcome back America's Money Answer Man, Jordan Goodman, to unpack the chaos of a government shutdown, its ripple effects on the economy, and what it reveals about America's growing dependence on government aid. Will the shutdown be a wake-up call—or just another chapter in Washington's spending spree? As federal workers await back pay and air travel across the nation melts down, the conversation turns sharp: Should millions of Americans on SNAP benefits be expected to work? Is “something for nothing” destroying the nation's work ethic? With strong opinions, real-world economics, and no political sugarcoating, this hour delivers a bold challenge to how America views responsibility, resilience, and reward. HOUR 2 Hour 2 of Rush to Reason dives deep into one of today's most heated political divides—America's stance on Israel. Andy Peth and John Rush challenge the growing anti-Israel sentiment within conservative circles, exposing what they call false narratives driven by media voices like Tucker Carlson. Is support for Israel really a betrayal of “America First,” or is that a dangerous distortion of the truth? Andy dismantles common misconceptions—arguing that his backing of Israel isn't rooted in religion but in strategy, principle, and reality. Together, he and John confront claims of “genocide,” clarify biblical context, and defend Israel's right to survive against enemies who target civilians. As they call out hypocrisy and misplaced outrage, one question looms: has America forgotten who its true allies are? HOUR 3 Hour 3 opens with a Veterans Day salute that turns into a robust, personal conversation with Dr. Josh McConkey (https://www.joshmcconkey.com) —a North Carolina lieutenant governor candidate, combat veteran, emergency physician with over two decades of experience, and author of the Pulitzer-nominated Be the Weight Behind the Spear. What happens when the people who carried the weight of war come home to a VA bureaucracy that treats them like numbers? McConkey spotlights the unseen “weight behind the spear”—families, coaches, teachers, and communities—and shows how their sacrifices sharpen every mission's tip. From IED injuries tragically dismissed as “depression” to a “COVID generation” struggling with lost resilience and leadership, John and Andy challenge listeners on how to take action. Hour 3 of Rush to Reason shifts from honoring veterans to confronting political reality with unfiltered honesty. John Rush and Andy Peth dissect the GOP's crushing losses, asking whether it was a “blue state sweep” or a failure to communicate. From affordability to local elections, they reveal how poor messaging—not policy—cost conservatives dearly. As Andy highlights party infighting and John rejects blame-shifting, both warn that unless Republicans reconnect with voters and sharpen their message, 2026 could bring an even bigger reckoning.

Hour 1 Hour 1 of https://RushToReason.com kicks off with fiery debate and unapologetic truth. John Rush and Andy Peth welcome back America's Money Answer Man, Jordan Goodman, to unpack the chaos of a government shutdown, its ripple effects on the economy, and what it reveals about America's growing dependence on government aid. Will the shutdown be a wake-up call—or just another chapter in Washington's spending spree? As federal workers await back pay and air travel across the nation melts down, the conversation turns sharp: Should millions of Americans on SNAP benefits be expected to work? Is “something for nothing” destroying the nation's work ethic? With strong opinions, real-world economics, and no political sugarcoating, this hour delivers a bold challenge to how America views responsibility, resilience, and reward. HOUR 2 Hour 2 of Rush to Reason dives deep into one of today's most heated political divides—America's stance on Israel. Andy Peth and John Rush challenge the growing anti-Israel sentiment within conservative circles, exposing what they call false narratives driven by media voices like Tucker Carlson. Is support for Israel really a betrayal of “America First,” or is that a dangerous distortion of the truth? Andy dismantles common misconceptions—arguing that his backing of Israel isn't rooted in religion but in strategy, principle, and reality. Together, he and John confront claims of “genocide,” clarify biblical context, and defend Israel's right to survive against enemies who target civilians. As they call out hypocrisy and misplaced outrage, one question looms: has America forgotten who its true allies are? HOUR 3 Hour 3 opens with a Veterans Day salute that turns into a robust, personal conversation with Dr. Josh McConkey (https://www.joshmcconkey.com) —a North Carolina lieutenant governor candidate, combat veteran, emergency physician with over two decades of experience, and author of the Pulitzer-nominated Be the Weight Behind the Spear. What happens when the people who carried the weight of war come home to a VA bureaucracy that treats them like numbers? McConkey spotlights the unseen “weight behind the spear”—families, coaches, teachers, and communities—and shows how their sacrifices sharpen every mission's tip. From IED injuries tragically dismissed as “depression” to a “COVID generation” struggling with lost resilience and leadership, John and Andy challenge listeners on how to take action. Hour 3 of Rush to Reason shifts from honoring veterans to confronting political reality with unfiltered honesty. John Rush and Andy Peth dissect the GOP's crushing losses, asking whether it was a “blue state sweep” or a failure to communicate. From affordability to local elections, they reveal how poor messaging—not policy—cost conservatives dearly. As Andy highlights party infighting and John rejects blame-shifting, both warn that unless Republicans reconnect with voters and sharpen their message, 2026 could bring an even bigger reckoning.

In Rehab: An American Scandal (Simon and Schuster, 2025), Pulitzer finalist Shoshana Walter exposes the country's failed response to the opioid crisis, and the malfeasance, corruption, and snake oil which blight the drug rehabilitation industry. Our country's leaders all seem to agree: People who suffer from addiction need treatment. Today, more people have access to treatment than ever before. So why isn't it working? The answer is that in America—where anyone can get addicted—only certain people get a real chance to recover. Despite record numbers of overdose deaths, our default response is still to punish, while rehabs across the United States fail to incorporate scientifically proven strategies and exploit patients. We've heard a great deal about the opioid crisis foisted on America by Big Pharma, but we've heard too little about the other half of this epidemic—the reason why so many remain mired in addiction. Until now. In this book, you'll find the stories of four people who represent the failures of the rehab-industrial complex, and the ways our treatment system often prevents recovery. April is a black mom in Philadelphia, who witnessed firsthand how the government's punitive response to the crack epidemic impeded her own mother's recovery—and then her own. Chris, a young middle-class white man from Louisiana, received more opportunities in his addiction than April, including the chance to go to treatment instead of prison. Yet the only program the judge permitted was one that forced him to perform unpaid back-breaking labor at for-profit companies. Wendy is a mother from a wealthy suburb of Los Angeles, whose son died in a sober living home. She began investigating for-profit treatment programs—yet law enforcement and regulators routinely ignored her warnings, allowing rehab patients to die, again and again. Larry is a surgeon who himself struggled with addiction, who would eventually become one of the first Suboxone prescribers in the nation, drawing the scrutiny of the Drug Enforcement Administration. Together, these four stories illustrate the pitfalls of a system that not only fails to meet the needs of people with addiction, but actively benefits from maintaining their lower status. They also offer insight into how we might fix that system and save lives. More of Shoshana's work: - Her reporting on hospital drug testing - Her reporting on moms reported to child welfare authorities for taking medication-assisted treatment during pregnancy - The American Rehab podcast Emily Dufton is the author of Grass Roots: The Rise and Fall and Rise of Marijuana in America (Basic Books, 2017). Her new book, Addiction, Inc.: Medication-Assisted Treatment and America's Forgotten War on Drugs, will be released next year. 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 Rehab: An American Scandal (Simon and Schuster, 2025), Pulitzer finalist Shoshana Walter exposes the country's failed response to the opioid crisis, and the malfeasance, corruption, and snake oil which blight the drug rehabilitation industry. Our country's leaders all seem to agree: People who suffer from addiction need treatment. Today, more people have access to treatment than ever before. So why isn't it working? The answer is that in America—where anyone can get addicted—only certain people get a real chance to recover. Despite record numbers of overdose deaths, our default response is still to punish, while rehabs across the United States fail to incorporate scientifically proven strategies and exploit patients. We've heard a great deal about the opioid crisis foisted on America by Big Pharma, but we've heard too little about the other half of this epidemic—the reason why so many remain mired in addiction. Until now. In this book, you'll find the stories of four people who represent the failures of the rehab-industrial complex, and the ways our treatment system often prevents recovery. April is a black mom in Philadelphia, who witnessed firsthand how the government's punitive response to the crack epidemic impeded her own mother's recovery—and then her own. Chris, a young middle-class white man from Louisiana, received more opportunities in his addiction than April, including the chance to go to treatment instead of prison. Yet the only program the judge permitted was one that forced him to perform unpaid back-breaking labor at for-profit companies. Wendy is a mother from a wealthy suburb of Los Angeles, whose son died in a sober living home. She began investigating for-profit treatment programs—yet law enforcement and regulators routinely ignored her warnings, allowing rehab patients to die, again and again. Larry is a surgeon who himself struggled with addiction, who would eventually become one of the first Suboxone prescribers in the nation, drawing the scrutiny of the Drug Enforcement Administration. Together, these four stories illustrate the pitfalls of a system that not only fails to meet the needs of people with addiction, but actively benefits from maintaining their lower status. They also offer insight into how we might fix that system and save lives. More of Shoshana's work: - Her reporting on hospital drug testing - Her reporting on moms reported to child welfare authorities for taking medication-assisted treatment during pregnancy - The American Rehab podcast Emily Dufton is the author of Grass Roots: The Rise and Fall and Rise of Marijuana in America (Basic Books, 2017). Her new book, Addiction, Inc.: Medication-Assisted Treatment and America's Forgotten War on Drugs, will be released next year. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Go ahead, Democrats. Enjoy your victory parties. But after that, brace yourselves, because Republicans may not be playing by the same rules a year from now. Since President Donald Trump took office for his second term—indeed, since his loss in 2020—he has shown his willingness to subvert the rules of free and fair elections. In various ways, he's used his power to intimidate potential opponents, Democratic donors, and even voters who might oppose him. We talk to the Atlantic staff writer David A. Graham about this week's election as a test run for 2026, the gerrymandering arms race, and future possible scenarios of election meddling. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in to the “DMZ America Podcast” as nationally-syndicated editorial cartoonists Ted Rall and Scott Stantis interview Pulitzer Prize-winning political cartoonist Matt Wuerker of “The Politico.” They'll discuss their own cartoons about the news and issues of the week, as well as those of their peers. Don't be surprised if the state of the media and cartooning come up as well.Matt Wuerker, born in 1956, is renowned for his incisive, visually rich commentary on the absurdities of power. A graduate of Lewis & Clark College with a BA in 1979, he honed his craft as chief editorial cartoonist for the student newspaper, The Pioneer Log, blending satire with masterful draftsmanship inspired by Saul Steinberg and 19th-century masters like A.B. Frost.Since 2006, Wuerker has been Politico's founding staff cartoonist, his watercolors, cross-hatching, and animated works appearing on front pages and gracing outlets like The Washington Post, The New York Times, and The Nation. A 2009 and 2010 Pulitzer finalist, he clinched the prize in 2012 for cartoons that "persuade rather than rant," alongside the 2010 Herblock Award for courageous editorial art. Based in D.C. near the National Zoo, Wuerker delights in the "political circus," wielding humor to illuminate truth with minimal supervision.TranscriptSupport the showThe DMZ America Podcast is recorded weekly by political cartoonists Ted Rall and Scott Stantis. Twitter/X: @scottstantis and @tedrallWeb: Rall.com

durée : 00:45:05 - La 20e heure - par : Eva Bester - L'écrivain, professeur américain Percival Everett, dont les écrits se situent à la frontière de plusieurs genres littéraires, vient nous parler de son livre "James" sorti aux Éditions de l'Olivier pour lequel il fut lauréat du prix Pulitzer de la fiction cette année. - invités : Percival EVERETT - Percival Everett : romancier américain - réalisé par : Lola COSTANTINI Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The true story of America is that it was built on a caste system comparable to India's, says Pulitzer-prize-winning American journalist Isabel Wilkerson. The author argues that it's key to recognize the roots of the U.S. caste "structure" as she calls it, to understand why conflicts relating to race and class persist. Wilkerson delivered the 2025 Beatty Lecture at McGill University in Montreal.

So far, the U.S. has blown up 14 boats in the Caribbean and the Pacific, killing at least 57 people. In the two months since the strikes began, the administration has consistently offered the same explanation: The U.S. has a fentanyl overdose problem, and these boats are a source of that drug. The federal government has stuck to that line despite the Drug Enforcement Administration and Department of Homeland Security saying most of the fentanyl brought into this country comes from Mexico, not through the Caribbean. Nancy Youssef covers national security for The Atlantic. She joins the show to discuss the strikes, the administration's changes to the military, and the lack of transparency in the transformed Pentagon. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Kathryn Bigelow's new movie, A House of Dynamite, the clock is ticking. The film's fictional president of the United States has less than 20 minutes and very little information to decide whether or not to retaliate against a nuclear missile, launched at the United States, from an unknown source. As with Bigelow's other war movies, the story is disturbingly plausible. During the Cold War, the likely scenario was a war with the Soviet Union. Now there are nine nuclear powers, which makes the possibility of error, rogue actors, or a total information vacuum more likely. We talk with “A House of Dynamite” screenwriter Noah Oppenheim and Tom Nichols, a national-security writer at the Atlantic, who consulted on the movie. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at theAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Giuseppe Castellano talks to illustrator and storyteller, Fahmida Azim, about where and how illustrators can find validation; why a creative's self-worth should not come from their work; what illustration really is; and more.To learn more about Fahmida, visit fahmida-azim.com. If you find value in this podcast, you can support it by subscribing to our best-selling publication, Notes On Illustration, on Substack. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week on Sibling Rivalry, Bob and Monét go through the Rolling Stone Top 10 Songs of the 21st Century and debate whether the list is accurate or just rage bait. They ask when a song officially becomes an oldie, discuss Pulitzer-winning rappers, Beyoncé's essential tracks, and which Taylor Swift era Bob followed. Bob talks about his voice lessons while they get mixed up between The White Stripes and Whitesnake before naming their top five songs (for now). Plus, Bob reveals his all-time favorite diva, they discuss artists' secret albums, the makeup-in-bed dilemma, and which country is doing too much with kiss greetings. Rula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/rivalry #rulapod Open an account in 2 minutes at https://Chime.com/RIVALRY. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, the Supreme Court heard oral arguments about the last remaining section of the Voting Rights Act, a civil rights law designed to ensure that states could not get in the way of nonwhite citizens voting. We talk to Stacey Abrams, voting rights activist and former candidate for Georgia governor, and Atlantic staff writer Vann Newkirk about the case and a world without the Voting Rights Act.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at theAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer-winner Caroline Fraser maps the lives and crimes of Ted Bundy and his infamous peers—the Green River Killer, the I-5 Killer, the Night Stalker, the Hillside Strangler, and even Charles Manson—and explores an intriguing hypothesis: might environmental factors have played a role in the rise of serial killers in the 1970s and '80s? Caroline Fraser is the author of Prairie Fires: The American Dreams of Laura Ingalls Wilder, which won the Pulitzer Prize. She is also the author of God's Perfect Child: Living and Dying in the Christian Science Church, and her writing has appeared in The New York Review of Books, The New Yorker, The Atlantic, Los Angeles Times, and London Review of Books, among other publications. Her new book is Murderland: Crime and Bloodlust in the Time of Serial Killers.