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Katie Kitamura is the author of the novel Audition, available from Riverhead Books. Kitamura's other novels include A Separation and Intimacies, which was longlisted for the National Book Award and the PEN/Faulkner Award and was a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, a Lannan fellowship, and many other honors, and her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University. *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
Send us a textEpisode Summary: In this inspiring episode, Beth and Lisa welcome bestselling author and illustrator Brian Selznick to discuss his latest YA novel Run Away With Me. Brian shares how personal history, queer identity, and the haunting beauty of an empty Rome during the pandemic shaped this deeply moving love story.Guest Bio: Brian Selznick is the Caldecott Medal-winning author of The Invention of Hugo Cabret, which became Martin Scorsese's Oscar-winning film Hugo. His innovative storytelling style blends narrative and illustration, captivating readers of all ages. Selznick's books have sold millions of copies, been translated into over 35 languages, and include the bestsellers Wonderstruck and The Marvels. He lives in Brooklyn and La Jolla with his husband, Dr. David Serlin.Key Discussion Points:Origins of Run Away With Me: Inspired by time spent in a deserted Rome during the pandemic and Brian's husband's Rome Prize fellowship.Setting the Story in 1986: Chosen for its pre-digital intimacy, connection to Fellini's Intervista, and poignant resonance with the emerging AIDS crisis.YA Shift: This novel marks a shift to older characters and more intimate, emotional themes, including first love and sexual awakening.Illustration vs. Text: Originally intended as a text-only novel, illustrations were later added to immerse readers in Rome and enhance storytelling rhythmically.Building Empathy: Through vulnerability and layered character flaws, Brian explores how readers connect with characters even through their mistakes.Worldbuilding & Pacing: Brian discusses how his illustrations function as visual memory aids, reducing exposition and preserving narrative flow.Film Adaptation Insight: Brian details how Hugo was faithfully adapted by Martin Scorsese, who honored the visual storytelling of the book.Conclusion: Brian Selznick offers a masterclass in layered storytelling, blending history, personal experience, and imaginative worldbuilding. Run Away With Me is a love letter to young queer love, art, and the haunting beauty of solitude and discovery. This episode is a must-listen for aspiring authors and fans of emotionally resonant fiction.Mentioned Links:Run Away With Me by Brian Selznick: Publisher's PageBrian Selznick's website Support the show Visit the WebsiteWriters with Wrinkles Link Tree for socials and more!
This special author interview pulled from our archives is Part 2 of our conversation with bestselling writer Anthony Doerr, author of Pulitzer Prize-winning All the Light We Cannot See, as well as best-sellers Cloud Cuckoo Land and Four Seasons in Rome. Be sure to listen to Part 1 if you haven't already! As the conversation continues, Anthony tells the story of finding out he had won the prestigious Rome Prize literally the same day his twin sons were born, and what it took for he and his wife to make the monumental decision to pack up their newborns and move to Rome for a year. He also explains how writing a book set in a foreign city can change your experience of the place. He also discusses his work as the editor of The Best American Short Stories 2019. Find Anthony on Instagram or at his website. ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
“I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“ I've lived in Philadelphia for about 16 years. The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient, a lot of people struggling with addiction and a lot of women doing sex work to fund their physical addiction to opioids. You find out about their past, their road into addiction, their aspirations, their fears. I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught. I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.”Liz Moore is the author of the New York Times bestselling novel Long Bright River, which was one of Barack Obama's favorite books of the year, and has been made into a Peacock series starring Amanda Seyfried. Set against the opioid crisis and a string of mysterious murders, it's a love story between two very different sisters and their path to recovery. Moore is winner of the 2014-2015 Rome Prize in Literature. Her other books include The God of the Woods, Heft, and The Unseen World.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Author Events Series presents Katie Kitamura | Audition: A Novel REGISTER In Conversation with Adam Dalva One woman, the performance of a lifetime. Or two. An exhilarating, destabilizing Möbius strip of a novel that asks whether we ever really know the people we love. Two people meet for lunch in a Manhattan restaurant. She's an accomplished actress in rehearsals for an upcoming premiere. He's attractive, troubling, young-young enough to be her son. Who is he to her, and who is she to him? In this compulsively readable, brilliantly constructed novel, two competing narratives unspool, rewriting our understanding of the roles we play every day – partner, parent, creator, muse – and the truths every performance masks, especially from those who think they know us most intimately. Taut and hypnotic, Audition is Katie Kitamura at her virtuosic best. Katie Kitamura is the author of four previous novels, most recently A Separation and Intimacies, which was longlisted for the National Book Award and the PEN/Faulkner Award and was a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, a Lannan fellowship, and many other honors, and her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University. Adam Dalva's writing has appeared in The New Yorker, The Paris Review, and The New York Review of Books. He serves on the board of the National Book Critics Circle and is a Contributing Fiction Editor of The Yale Review. The 2024/25 Author Events Series is presented by Comcast. 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 4/9/2025)
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I'm really interested in the formal aspect of characters who are channeling language, who are speaking the words of other people, and in characters who are aware of how little agency they actually have, who have passivity forced upon them, who perhaps even embrace their passivity to a certain extent but eventually seek out where they can enact their agency.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Host Jason Blitman talks to Katie Kitamura (Audition) about learned behaviors, the nature of intimacy, the art of performance, and her immersive process of writing. Perhaps most importantly, they talk at length about french fries. Jason is then joined by Guest Gay Reader Nathan Lee Graham, currently starring in Hulu's Mid-Century Modern to talk about what he's reading. Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Nathan Lee Graham is an American cabaret artist, actor, singer, writer, and director. He is known for roles in Zoolander and its sequel, Sweet Home Alabama, and Hitch, along with appearances in films like Confessions of an Action Star, Bad Actress, and Trophy Kids. On television, he originated the role of Peter in The Comeback and guest-starred on Scrubs, Absolutely Fabulous, and Law & Order SVU. Graham's stage credits include the original Broadway cast of The Wild Party and Miss Understanding in Priscilla, Queen of the Desert. He received a Drama League nomination for his role in Wig Out! and won a Los Angeles Drama Critics Circle Award in 2006 for Best Featured Performer in The Wild Party (LA premiere). More recently, he played Carson in Hit the Wall at the Barrow Street Theatre. As a soloist, he earned a 2005 Grammy Award for Best Classical Album for Songs of Innocence and of Experience.SUBSTACK!https://gaysreading.substack.com/ BOOK CLUB!Use code GAYSREADING at checkout to get first book for only $4 + free shipping! Restrictions apply.http://aardvarkbookclub.com WATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com
“I'm really interested in the formal aspect of characters who are channeling language, who are speaking the words of other people, and in characters who are aware of how little agency they actually have, who have passivity forced upon them, who perhaps even embrace their passivity to a certain extent but eventually seek out where they can enact their agency.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I'm really interested in the formal aspect of characters who are channeling language, who are speaking the words of other people, and in characters who are aware of how little agency they actually have, who have passivity forced upon them, who perhaps even embrace their passivity to a certain extent but eventually seek out where they can enact their agency.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
" I think the narrative structure of those story ballets, which were some of the biggest stories of my childhood. I grew up watching Swan Lake. Giselle, La Bayadère, these were stories that were as present to me as anything that I read. Those story ballets are often split in two parts in a way. You have the White Swan and the Black Swan. In Giselle, you have the young girl and then you have the shade, the kind of ghost who comes to haunt her, her lover. Very similar in La Bayadère. And the structure of this novel is in two parts and it's two versions, in a way, of the same character. And now that you said it, I wonder if in some way, without realizing it, that narrative structure had really seeped into my brain."Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“I'm really interested in the formal aspect of characters who are channeling language, who are speaking the words of other people, and in characters who are aware of how little agency they actually have, who have passivity forced upon them, who perhaps even embrace their passivity to a certain extent but eventually seek out where they can enact their agency.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
LOVE - What is love? Relationships, Personal Stories, Love Life, Sex, Dating, The Creative Process
“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Jacob White of "Jamaican Clash" presents two important interviews examining the intersection of poetry, liberation, and reggae music. Kwame Dawes is the Poet Laureate of Jamaica as well as reggae scholar and the author of over 30 books. He's done award-winning reporting on AIDS in Haiti.Ishion Hutchinson is the author of three books of poetry and has won the National Book Critics Circle Award, the Rome Prize, a Guggenheim Fellowship, a Whiting Award, and other honors. His newest book, School of Instructions: Poems, explores the role of West Indian soldiers in WWI.
David Humphrey has maintained a forty-year commitment to making formally inventive, psycho-socially engaged paintings. Over this time he has continued to transform images from the public realm into imaginative hybrids of the social and eccentrically individual, the historic and vividly contemporary. His work celebrates the peculiar nesting within the familiar. Mixing various representational schema with improvisational abstraction, he tells stories of vexed intimacy, political/ socio reality, and imaginative projections crashing into the real. David Humphrey (b. 1955) has been the subject of 44 solo exhibitions including McKee Gallery, NY; Sikkema Jenkins, NY; Fredric Snitzer Gallery, Miami; and Contemporary Art Center, Cincinnati. His work is in the collections of several museums and public collections including Walker Art Center, Minneapolis; Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston as well as the Saatchi Gallery, London. He is currently teaching in the MFA program of Columbia. He was awarded the Rome Prize in 2008. Humphrey has had five solo exhibitions at Fredericks & Freiser. David Humphrey, Colored Drinks, 2024 Acrylic on canvas 72 x 60 inches David Humphrey, Plant Thoughts, 2024 Acrylic on canvas 60 x 72 inches David Humphrey, Wolf, 2024 Acrylic on canvas 54 x 44 inches
Historically Thinking: Conversations about historical knowledge and how we achieve it
Marcus Tullius Cicero lived from 106 BC to his murder in 43 BC. He was a writer, a philosopher, a traveller, a consul of the Roman Republic, and perhaps one of the last people to take the Roman Republic seriously–even when it was long past its shelf date. But most importantly, Cicero was a lawyer—and it was his practice of the law that was at the heart of his philosophy, politics, and devotion to the republic. Josiah Osgood has written a biography of Cicero that is a biography of some of his most famous legal cases. Through this narrative, we see a gifted young lawyer literally take the stage in Rome, and over a career make impassioned speeches that will in time would undermine that same republic which he held so dear. Josiah Osgood is professor of classics at Georgetown University. A winner of the Rome Prize, he is the author of six books on Roman history, the most recent of which is Lawless Republic: The Rise of Cicero and the Decline of Rome.
Sean Carroll's Mindscape: Science, Society, Philosophy, Culture, Arts, and Ideas
Not too long ago, Brad Pitt and Eric Bana starred in a (loose) adaptation of Homer's epic poem The Iliad; next month, Ralph Fiennes and Juliette Binoche will headline a film based on The Odyssey. Given that the originals were written (or at least written down) in the 8th century BCE, that is some impressive staying power. But they were also written in a very different time than ours, with different cultural context and narrative expectations. We talk about the issues of translation in general, and these Greek classics in particular, with Emily Wilson, whose recent translations of The Iliad and The Odyssey have garnered worldwide acclaim.Support Mindscape on Patreon.Blog post with transcript: https://www.preposterousuniverse.com/podcast/2024/11/25/297-emily-wilson-on-homer-poetry-and-translation/Emily Wilson received her Ph.D. in classical and comparative literature from Yale. She is currently Professor of Classical Studies at the University of Pennsylvania. Among her awards are the Charles Berheimer Prize from the American Comparative Literature Association, a Rome Prize fellowship from the American Academy in Rome, and Guggenheim and MacArthur fellowships.Web siteUPenn web pageWikipediaAmazon.com author pageYouTubeSubstackBlueSkySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Tonight, Writers for Blue is offering a special opportunity to learn about writing your first pages. We'll have four award-winning authors, including myself, Aaron Hamburger, Nancy Johnson, and Pulitzer Prize-winner Jayne Anne Phillips, workshopping seven first-page writing submissions in support of electing Kamala Harris, our first female president—and our 47th. We'll also hear about ways you might use your words in the upcoming election cycle, including how to write politically-charged topics, canvassing, and more, from writers Charles Coe, Rishi Reddi, Daphne Kalotay, Julia Rold, and Gish Jen. All of these authors have donated their time, energy, and talents in support of this event. We're hoping you might follow suit and consider donating to our Writers for Blue campaign. Go to writersforblue.com to get started. And, if you're looking for specific links and resources mentioned during the event, see below.AUTHORS FEATURED:Charles Coe, author of five books of poetry and one novel, teaches in the Newport MFA writing program, and is renowned both as a writer and a performer; we are honored to have him speaking as well as kindly reading aloud our sample pages.Aaron Hamburger is author of four acclaimed books of fiction, winner of the Rome Prize and a 2023 Lambda Literary prize; his new novel HOTEL CUBA has been featured on NPR; Aaron does political activism with Swing Left and is on the faculty at Stonecoast MFA.Author of nine acclaimed books, most recently a ‘best book' choice by the Oprah Book Club, NPR and the New Yorker, Gish Jen writes about charged issues with humor and heart, as in her latest collection, THANK YOU, MR NIXON.Nancy Johnson's acclaimed debut novel THE KINDEST LIE, was a New York Times Editor's Choice and Indie Booksellers choice; Nancy's also an Emmy-nominated award-winning journalist as well as author of the forthcoming 2025 novel, PEOPLE OF MEANS.Daphne Kalotay is the author, most recently, of the story collection THE ARCHIVISTS, winner of the Grace Paley Prize, a Boston Authors Club “Notable Book” and long-listed for the Joyce Carol Oates Prize and Massachusetts Book Award. National bestselling author of NIGHT SWIM and WOMEN IN BED; Jessica Keener is the Co-Chair with Randy Susan Meyers and, from the start, the driving force of Writers for Blue.From the iconic story collection BLACK TICKETS through 6 more indelible books of fiction to her 2024 Pulitzer Prize winning novel, NIGHT WATCH Jayne Anne Phillips is—as Caroline Leavitt said on A Mighty Blaze—‘everyone's literary heroine.'Rishi Reddi is the PEN New England award winning author of KARMA AND OTHER STORIES and the novel PASSAGE WEST; when not writing, she is an environmental lawyer and lobbies for sound climate policy in her day-job. Julia Rold is a writer, playwright and Novel Incubator alum who has worked on political campaigns in Massachusetts, NH, NY, Florida, and her home state of Kentucky.LINKS TO RESOURCES:DIRECT LINK TO WritersForBlue DONATION PAGE.WRITERS FOR BLUE website: https://writersforblue.com/Our partners:WRITERS FOR DEMOCRATIC ACTION (WDA)A MIGHTY BLAZEMarkers for Democracy: https://markersfordemocracy.org/postcarding (get out the vote cards to Democratic voters. has a monthly writing bootcamp online)Swing Blue: https://swingbluealliance.org/ (coordinating with Working America on postcard campaign focused on Healthcare for independent voters in PA)VoteForward: https://votefwd.org/instructions (letter-writing you can download yourself. Excellent examples of positive, nonpartisan "let's go vote!" messages)More suggested messages (specifically for postcards to swing state voters), stats to support the effort, and ways to order postcards: https://turnoutpac.org/If folks are interested in supporting Dems in Arizona, Wednesday night at 7pm ET, my Swing Left group is hosting an Arizona Zoom Fundraiser. Sign up here. Door-to-door canvassing resources.Canvassing in NH: https://www.mobilize.us/massdems/event/627702/Canvassing in PA: https://www.mobilize.us/2024pavictory/event/645465/https://www.31ststreet.org sends out weekly emails with canvassing, donating, phone banking, and letter writing opportunities. Sign up!One way of targeting critical races is to think about donating to Crimson Goes Blue. It's a Harvard group, but don't be put off by that! They do great research, and their record in giving to races that turned out to be super tight, and where money made the difference is impressive. Highly recommended! Here's a Slide with a lot of resources about door-to-door canvassing. LISTS OF AND INFO ON BANNED BOOKS:https://socialjusticebooks.org/booklists/banned-books/SWING LEFT: VOLUNTEER IN A VARIETY OF WAYS— LETTER-WRITING, POST-CARDING, CANVASSING, PHONE-CALLING and MORE for DEMOCRAT CANDIDATES UP AND DOWN THE BALLOT:PEN AMERICA, sponsoring many activities such as WRITING LETTERS to free political prisoners around the world and teaching writing in prisons; also programs addressing online abuse and misinformation:Photo by sydney Rae on Unsplash This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com
This week, Jordan talks to the novelist Sigrid Nunez about her youthful preoccupation with mimicking the prose of Virginia Woolf, the step-by-step intuitive way she writes prose now, and the best way to make overnight oats.Sigrid Nunez has published nine novels, including A Feather on the Breath of God, The Last of Her Kind, The Friend, What Are You Going Through, and, most recently, The Vulnerables. Nunez is also the author of Sempre Susan: A Memoir of Susan Sontag. The Friend, a New York Times bestseller, won the 2018 National Book Award and was a finalist for the 2019 Simpson/Joyce Carol Oates Prize. In 2024, The New York Times listed The Friend among the 100 Best Books of the 21st Century. The Friend has been adapted for film by directors David Siegel and Scott McGehee (2024). What Are You Going Through has been adapted for a film directed by Pedro Almodóvar, The Room Next Door (2024). Nunez's other honors and awards include a Whiting Award, a Berlin Prize Fellowship, the Rosenthal Family Foundation Award, the Rome Prize in Literature, and a Guggenheim Fellowship. She is a member of the American Academy of Arts and Letters. Hosted on Acast. See acast.com/privacy for more information.
Sarah Manguso is the author of nine books, most recently the novel LIARS. Her work's been recognized by an American Academy of Arts and Letters Literature Award, a Guggenheim Fellowship, and the Rome Prize, and her writing has been translated into thirteen languages. On today's show, Sarah and Annmarie discuss marriage and how our best intentions often crumble in the face of gender roles, misogyny, the patriarchy, and myriad forces so much larger than we are. Episode Sponsors: McNally Jackson – Independent booksellers with locations in Nolita, Williamsburg, Seaport, Rockefeller, and Downtown Brooklyn. To find your next great read, drop by or shop online at www.mcnallyjackson.com Annabelle's Book Club LA – A highly curated collection of books and gifts with a modern point of view. Founded by 17-year-old Annabelle Chang, this YA-focused bookstore aims to spark imagination, inspire connection, and bring joy to people of all ages. Stop or find us online at annabellesbookclubla.com. Stories Mentioned in this Episode: Liars, by Sarah Manguso Learn more about Amber Heard and Gabby Petito. Creep, by Myriam Gurba Follow Sarah Manguso: sarahmanguso.com Photo Credit: Beowulf Sheehan Learn more about your ad choices. Visit megaphone.fm/adchoices
Valzhyna Mort joins Kevin Young to read “Testimonies” by Victoria Amelina, which Mort translated from the Ukrainian, and “Map,” by Wisława Szymborska, which was translated, from the Polish, by Clare Cavanagh. Mort's collection “Music for the Dead and Resurrected” won the 2021 International Griffin Poetry Prize and the 2022 UNT Rilke Prize. Her other honors include a 2021 Rome Prize in literature and fellowships from the Guggenheim Foundation, the Lannan Foundation, and the Amy Clampitt Fund.
Sarah Manguso has written the ultimate chump novel: Liars. Jane is a woman who endures marriage to, and divorce from, a textbook fuckwit. It dramatizes marital betrayal, narcissistic abuse, and coercive control in a way we all know deep in our bones. Manguso says, "It's a novel, so of course it's all fiction—except for the parts that are true." During the pandemic, Manguso's cheating husband abandoned her and their son. It became fodder for Liars. She the author of nine books, most recently the novel Very Cold People. Liars, is forthcoming on July 23 from Hogarth Books in the US and August 22 from Picador in the UK. Her other books include a story collection, two poetry collections, and four acclaimed works of nonfiction: 300 Arguments, Ongoingness, The Guardians, and The Two Kinds of Decay. Her work has been recognized by a Guggenheim Fellowship and the Rome Prize, and her writing has been translated into twelve languages. She grew up in Massachusetts and now lives in Los Angeles.
In this episode of One Symphony, conductor Devin Patrick Hughes sits down with renowned composer Pierre Jalbert to explore Jalbert's musical journey, creative process, and the spiritual influences that shape his work. Jalbert shares intimate stories about his childhood in Vermont, his collaborations with world-class musicians, and the importance of resonance and reverberation in his compositions. He also pays tribute to his mentor, the late Larry Rachleff, and discusses his genre-bending project with the Apollo Chamber Players. Throughout the interview, Jalbert offers insights into the challenges and rewards of writing for both chamber groups and large ensembles and reveals how he strives to create music that serves the audience. Join us for a fascinating glimpse into the mind of one of today's best composers. Earning widespread notice for his richly colored and superbly crafted scores, Pierre Jalbert's music has been described as “immediately captures one's attention with its strong gesture and vitality” by the American Academy of Arts and Letters. Among his many honors are the Rome Prize, the BBC Masterprize, a Guggenheim Fellowship, and the Fromm Foundation commission. Jalbert's music has been performed worldwide in such venues as Carnegie Hall, Wigmore Hall, Lincoln Center, the Kennedy Center, and the Barbican. Recent orchestral performances include those by the Boston Symphony, the National Symphony, the Houston Symphony, the Cabrillo Festival Orchestra, and the Cincinnati Symphony Orchestra. He has served as Composer-in-Residence with the Los Angeles Chamber Orchestra, the California Symphony, and Music in the Loft in Chicago. Select chamber music commissions and performances include those of the Ying, Borromeo, Maia, Enso, Chiara, Escher, Del Sol, and Emerson String Quartets, as well as violinist Midori. Three new CDs of his music have been recently released: Violin Concerto, Piano Quintet and Secret Alchemy, and Piano Trio No. 2. Jalbert is Professor of Music at Rice University's Shepherd School of Music in Houston, and he is a co-founder of Musiqa, a Houston-based new music collective. His music is published by Schott Helicon Music Corporation, New York. Thank you for joining us on One Symphony. Thanks to Pierre Jalbert for sharing her music and stories. You can find more info at https://www.pierrejalbert.com. Pierre Jalbert composed all music featured in this episode, with one exception. String Theory was performed live by the Kaleidoscope Chamber Orchestra. Mystical and With Great Energy, from Secret Alchemy, from the album Music From Copland House performed by Curtis Macomber, Danielle Farina, Alexis Pia Gerlach and Michael Boriskin. The first movement from From Dusk to Starry Night “The Night in Silence” on a text by Walt Whitman features Sasha Cooke and the River Oaks Chamber Orchestra. Violin Concerto, featuring Steven Copes on violin. Performed by The Saint Paul Chamber Orchestra with Thomas Zehetmair as the conductor. “Fiddle Dance” from L'espirit du nord. Performed by the Apollo Chamber Players. Mozart Piano Concerto K488 in A major, first movement improvised cadenza performed by Robert Levin with the Cluj-Nacopa Philharmonic in Romania with Nicole Moldovenau as the conductor. “Chanson de Lisette” from Le'spirit du nord. Performed by the Apollo Chamber Players. “Music of air and fire” performed by the Houston Youth Symphony conducted by Michael Isadore. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!
Rosa Lowinger joins Let's Talk Memoir for a conversation about growing up in Cuba, her storied career in art restoration, taking a closer look at the complicated and evolving relationship she's had with her mother, sending manuscripts to family and exes before they go to press, protecting loved ones in our work, how much metaphor is too much, and her new memoir Dwell Time. Also in this episode: -finding community -working with book coaches -approaching writing like a job Books mentioned in this episode: Educated by Tara Westover Born a Crime by Trevor Noah Blow Your House Down by Gina Frangelo Little Failure by Gary Shteyngart The Year of Magical Thinking by Jon Didion H is for Hawk by Helen MacDonald Liar by Rob Roberge The Distance Between Us by Rayna Grande Avid Reader by Robert Gottlieb When She Comes Back by Ronit Plank Rosa Lowinger is a Cuban-born American art conservator and founder of RLA Conservation of Art + Architecture, LLC. (www.rlaconservation.com), the U.S.'s largest woman-owned materials conservation practice. She is also a published author, most well-known for Tropicana Nights: The Life and Times of the Legendary Cuban Nightclub (Harcourt, 2005), a book on Havana's pre-Castro nightclub era. Other fictional works by Rosa include The Encanto File, a play produced off-Broadway by the Women's Project and Productions and published in Rowing to America and Sixteen Other Short Plays, edited by Julia Miles (Smith & Kraus, 2002), and The Empress of the Waves, a short story published in the anthology Island in the Light/Isla en la Luz (Trapublishing, 2019). Rosa's academic and professional distinctions include the 2008-09 Rome Prize at the American Academy in Rome, where she researched the history of vandalism, graffiti, and street art; and Fellow status in the American Institute for Conservation and the Association for Preservation Technology. She holds an M.A. in Art History and Conservation from NYU's Institute of Fine Arts, lectures regularly at numerous universities around the country, and serves on the boards of the Amigos of the Cuban Heritage Collection at University of Miami, Florida Association of Museums, the Partnership for Sacred Places, and the Florida Association of Public Art Professionals. Rosa co-curated the exhibits Promising Paradise: Cuban Allure American Seduction (Wolfsonian Museum, 2016) and Concrete Paradise: Miami Marine Stadium (Coral Gables Museum, 2013). She writes regularly for academic and popular media about conservation, the arts, and Cuba. Her 1999 cover story on Havana for Preservation spawned a career in cultural travel that has taken her to Cuba over 100 times since 1992. She lives in Los Angeles and Miami and is married to Todd Kessler. Connect with Rosa: Rosa's Website:www.rosalowinger.com Instagram:https://www.instagram.com/rosa_Lowinger RLA Conservation's Website: www.rlaconservation.com Instagram: https://www.instagram.com/rlaconservation Purchase Dwell Time: https://www.barnesandnoble.com/w/dwell-time-rosa-lowinger/1143192800 https://www.simonandschuster.com/books/Dwell-Time/Rosa-Lowinger/9781955905275 — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers
Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Lucy Corin & Deb Olin Unferth about their travels in the Sahara, ancient chickens, disappointments, true love, and why great books are so necessary. Our next episode will feature Melissa Febos & Donika Kelly, out December 22, 2023. Links Libsyn Blog www.annieliontas.com www.litovelazquez.com https://www.lucycorin.com https://debolinunferth.com LitFriends LinkTree LitFriends Insta LitFriends Facebook Transcript Annie Lito (00:00.118) Welcome to Lit Friends! Hey Lit Friends! Lito: Welcome to the show. Annie: Today we're speaking with Lucy Corin and Deb Olin Unferth, great writers, thinkers, and LitFriend besties. Lito: About chickens, the Sahara, and bad reviews. Annie: So grab your bestie Annie & Lito: And get ready to get lit! Lito: You know those like stones that you can get when you're on like a trip to like Tennessee somewhere or something, they're like worry stones? Like people used to like worry them with their thumb or something whenever they had a problem and it would like supposedly calm you down. Well, it's not quite the same thing, but I love how Deb describes her and Lucy's relationship is like, “worry a problem with me.” Like let's, let's cut this gem from all the angles and really like rub it down to its essential context and meaning and understanding. And I think essentially that's what like writers, great writers, offer the world. They've worked through a problem and they have answers. There's not one answer, there's not a resolution to it, but the answers that lead to better, more better questions. Annie: Yeah, and there's something so special about them because they're, worry tends to be something we do in isolation, almost kind of worrying ourselves into the ground. Lito: Right. Annie: But they're doing it together in collaboration. Lito: It's a collaborative worry. Yes, I love that. Annie: A less lonely worrying. Lito: It's a less lonely place to think through these things. And the intimacy between them is so special. The way I think they just weave in and out of their lives with each other, even though they're far away from each other. I think there's a romantic notion that you're tuned into about Lucy and Deb's trip to the desert. Do you want to say something about that? There's a metaphor in it that you really love, right? Annie: (1:52) Yeah. Well, so I remember when we first talked about doing this podcast and invited them, we were at a bar at AWP, the writer's conference. And they were like, oh, this is perfect. We just went to the Sahara together. And I was like, what? You writers just decided to take a trip together through the desert? And they said, yeah, it was perfect. And they have adorable photos, which we of course are going to share with the world. Um, but it felt like such a, I mean, the fact that they would go on that kind of adventure together and didn't really plan ahead, I think it was just Deb saying, I really want to go to the desert. And Lucy saying, sure, let's go. Which feels very much a kind of metonym of their friendship in some ways. Lito: Absolutely. Annie: (2:42) Yeah. That they wandered these spaces together. They come back to art, right? Art is a way for them to recreate themselves and recreate their friendship. And they're doing such different things on the page. Lito: Oh yeah, no, they're very different writers but they do share a curiosity that's unique I think in their friendship, then unique to them. Annie: Yeah and a kind of rigorousness and a love for the word. Lito: (3:10) Oh and a love for thinking and reading the world in every capacity. Annie: Tell me about your friendship with Lucy because you're quite close. Lito: I was at UC Davis before it was an MFA program. It was just a Master's. After undergrad, I went to the master's program because I wasn't sure if I wanted to be an academic or do the studio option and get an MFA. I loved how Lucy and the other professors there, Pam Houston, Yiyun Li, showed us the different ways to be a writer. They couldn't be more different, the three of them. And, I particularly was drawn to Lucy because of her sense of art and play and how those things interact. Lito: (03:59) And here was someone that was extremely cerebral, extremely intelligent, thinking through every aspect of existence. And yet it was all done through the idea of play and experimentation, but not experimentation in that sort of like negative way that we think of experimentation, which is to say writing that doesn't work, but experimentation in the sense of innovation. And. Lucy brought out my sense of play. I got it right away, what she was going for, that there is an intellectual pleasure to the work of reading and writing that people in the world respond to, but don't often articulate. Lucy's able to articulate it, and I admire her forever for that. Lito: (4:52) And perhaps I'm not speaking about our friendship, but it comes from a place of deep admiration for the work that she does and the way she approaches life. You have a special relationship with Deb. I would love to hear more about that. Annie: (5:04) Yeah, I think I've been fangirling over Deb for years. Deb is such a special person. I mean, she's incredibly innovative and has this agility on the page, like almost no other writer I know. Also quite playful, but I love most her humanity. Deb is a vegan who, in Barn 8, brings such life to chickens in a way that we as humans rarely consider. There's an amazing scene which she's like with a chicken 2000 years into the future. Also, I know Deb through my work with Pen City, her writing workshop with incarcerated writers at the Connally Unit, a maximum security penitentiary in Southern Texas. Lito: How does that work? Is it all by letter or do you go there? Annie: (5:58) Well, the primary program, you know, the workshop that Deb teaches is on site, and it's certified. So students are getting, the incarcerated writers, are getting now college credit because it's an accredited program. So Deb will be on site and work with them directly. And those of us who volunteer as mentors, the program has evolved a little bit since then, (06:22) but it's kind of a pen pal situation. So I had a chance to work with a number of writers, some who had been there for years and years. And a lot of folks are writing auto-fiction or fiction that's deeply inspired by the places they've lived and their experiences. It's such a special program, it's such a special experience. And what I saw from Deb was just this absolute fierceness. You know, like Deb can appear to be fragile in some ways (06:53.216), and it's her humanity, but actually there's this solid steel core to Deb, and it's about fortitude and a kind of moral alignment that says, we need to do better. Lito: We have this weird connotation with the word fragile that it's somehow bad, but actually, what it means is that someone's vulnerable. And to me, there is no greater superpower than vulnerability, especially with art, and especially in artwork that is like what she does at the penitentiary. But, can I ask a question? Annie: Sure. Lito: Why is it so special working with incarcerated folks? Annie: (7:27) Oh, that's a great question. I mean, we need its own podcast to answer it. Lito: Of course, but just sort of the... Annie: I think my personal experience with it is that so many incarcerated writers have been disenfranchised on all levels of identity and experience. Voting rights, decent food, accommodations, mental health, physical, you know, physical well-being. And we can't solve all those problems necessarily, at least all at once, and it's an up, it's a constant battle. But nothing to me offers or recognizes a person's humanity like saying, "tell us your story. Tell us what's on your mind. We are here to hear you and listen." And those stories and they do come out, you know, there have been other programs that have done this kind of work, they get out in the world and there's, we're bridging this gap of people we have almost entirely forgotten out of absolute choice. (8:27) And Deb is doing that work, really, I mean she's been doing that work for a long time and finally got some recognition for it, but Deb does it because she's committed. Lito: That is really powerful. Tell us your story. Tell us your story, Lit Fam. Tell us your story. Find us in all your social media @LitFriendsPodcast or email us at LitFriendsPodcast@gmail.com Annie: We will read all your stories. We'll be right back with Lucy and Deb. Lito: (09:00) And now, our interview with Lucy Corrin and Deb. Lucy Corin is the author of two short story collections, 100 Apocalypses and Other Apocalypses and The Entire Predicament, and two novels, Everyday Psychokillers and The Swank Hotel. In addition to winning the Rome Prize, Lucy was awarded a fellowship in literature from the NEA. She is a 2023 Guggenheim Fellow and a professor of English in the MFA program at UC Davis. Annie: Deb Olin-Unferth is the author of six books, including Barn 8, and her memoir, Revolution: The Year I Fell in Love and Went to Join the War, which was a finalist for the National Book Critics Circle Award. Deb is an associate professor in creative writing at the University of Texas at Austin. She founded and runs Pen City Writers, a two-year creative writing certificate program at Connally, a maximum security prison in southern Texas. For this work, she was awarded the 2017 Texas Governor's Criminal Justice Service Award. Lito: (09:58) Annie and I thought this up a year ago, and we were talking about what is special about literary friendships and how writing gets made, not as we all think, totally solitary in our rooms alone, but we have conversations, at least I think this way. They're part of long conversations with our friends, our literary friends and living and dead, and you know, all times, in all times of history. But the idea here is that we get to talk to our literary friends and people we admire and writers who are close friends with each other and friendships in which literature plays a large role. Annie: (10:37) Yeah, and I'll just add that when we first floated the idea of this podcast, you know, your names came up immediately. We're so in awe of you as people and practitioners and literary citizens, and we love your literary friendship. I mean, I really hold it dear as one of the best that I know of personally. Lucy, I think of you as, you know, this craftsperson of invention who's always trying to undo what's been done and who's such an amazing mentor to emerging writers. And Deb, you know, I'm always returning to your work to see the world in a new way, to see something I might have missed. And I just, I'm so moved by your generosity in your work and in your life's work with Penn City and elsewhere, which I'm sure we'll have a chance to talk more about. Annie: (11:30) But I think I recall the first day I realized how close the two of you were when Deb told me that you all were taking a trip to the Sahara. And I was like, oh, of course, like, of course, they're going to have desert adventures together. Like, this makes so much sense. So I hope we'll, you know, we'll talk more about that too. Annie (11:53) But we're so grateful to have you here and to have you in our lives. And we're going to ask you some questions to get to know a little bit more about you. Deb: Sounds great. Lucy: Thanks. Deb: It's great to be here. It's really great to see everybody. Lito: Thank you so much for being here. Deb, will you tell us about Lucy? Deb: (12:16) I mean, Lucy's just one of my very favorite people. And I feel like our friendship just started really slowly and just kind of grew over a period of many years. And some of the things that I love about Lucy is she is, well, of course, she's a brilliant genius writer. Like, I mean, no one writes weird like Lucy writes weird and no one writes like more emotionally, and more inventively and some of her books are some of my favorite books that have ever been written. Especially her last two books I think have just been such just major literary accomplishments and I just hold them so dear. (13:05) And as a friend some things that I really love about her is that she will worry a problem with me that's just bugging me about like literary culture or about writing or about, you know, just it could be anything about aesthetics at all. And then she'll literally talk to me about it for like five or six days straight without stopping. Like we'll just constantly, dinner after dinner, like, you know, if we're on a trip together, just like all day, like I'll wake up in the morning and I'll be like, here's another piece of that pie. And then she'll say, oh, and I was thinking, and then we'll like go off and work and then we'll come back at lunch and be like, "and furthermore," you know? And by the end, I remember at one point we were doing this and she said, this is a very interesting essay you're writing. And of course, like it wasn't an essay at all, but it was just like a way of thinking about the way that we were talking. (14:06) And then she is hilarious and delightful and just like so warm. I don't know, I just love her to pieces. She's just one of my favorite people in the whole world. I could say more, but I'll stop right there for a minute. Annie: Lucy, tell us about Deb. Lucy: (14:24) Yeah, I mean, Deb, I mean, the first thing, I mean, the first thing you'll notice is that Deb is sort of effortlessly enthusiastic about the things that she cares about. And that's at the core of the way that she moves through the world and the way that she encounters people and the way that she encounters books. (14:44) I'm more reserved, so I'll just preface what I'm going to say by saying that like, my tone might not betray my true enthusiasms, but I'll try to list some of the things that I think are special and extraordinary about my friend Deb. One is that there's this conversation that never stops between the way that she's thinking about her own work and the way that she's thinking about the state of the world and the way that she's thinking about the very specific encounters that she's having in daily life. And so like moving through a conversation with Deb or moving through a period of time with Deb in the world, those things are always in flux and in conversation. So it's a really wonderful mind space to be in, to be in her presence. (15:35) The other thing is that she's like the most truly ethical person that I am close to and in the sense that like she thinks really hard about every move she makes. The comparison I would make is like you know Deb is like at the core like, the first thing you might notice about Deb's work is that she's a stylist, that she works sentence by sentence and that she always does. But then the other thing she does is that she's always thinking hard about the world and the work, that it never stays purely a love of the sentence. The love of the sentence is part of the love of trying to understand the relationship between words and the world. (16:15) And, and they're both an ethics. I think it's an ethics of aesthetics and an ethics of trying to be alive in as decent way as you can manage. And so those things feed into the friendship where she's one of the people who I know will tell me what she really thinks about something because we can have a baseline of trust where then you can talk about things that are either dangerous or you might have different ideas about things or you may have conflict. (16:47) But because of my sense of who she is as a person, and also who she is with me, we can have challenging conversations about what's right about how to behave and what's right about how to write. And that also means that when the other parts of friendship, which are just like outside of literature, but always connected, which, you know, about your own, you know, your other friendships, your, the rest of your life, your job, your family, things like that, that you wanna talk about with your friends. Yeah, I don't know anybody better to sort through those things than Deb. And it's in part because we're writers, and you can't separate out the questions that you're having about the other parts of your life from who you're trying to be as a writer. And that's always built into the conversation. Annie: (17:40) I knew we asked you here for a reason. Lito: We'll be right back. Lito (17:58) Back to the show. Annie: I'm hearing you, you know, you're both, you're sort of really seeing one another, which is really lovely. You know, you're, Deb, you're talking about Lucy wearing a problem with you, which I think conveys a kind of strength and... Of course, like I'm quite familiar with Deb's like strong moral anchors. I think we all are and truly respect, but I'm just wondering, what do you most admire about your friend? What do you think they give to the world in light of this portrait that you've given us? Deb: (18:28) Lucy is a very careful thinker, and she's incredibly fair. And I've just seen her act, just behave that way and write that way for so many years and it just the quality of it always surprises me. Like I mean, there was a writer, most recently there was a writer who's been cancelled, who we have spent an enormous amount of time talking about and trying to figure out just exactly what was going on there. And I felt like Lucy had insights into what had happened and what it was like on his end and what about his culture could have influenced what happened. Just all of these things that were. (19:36.202) It was so insightful and I felt like there's no way that I could have moved that moved forward that many steps in my understanding of what had happened. And in my own like how I was going to approach what had happened. Like there's no way I could have done that without that just constant just really careful thought and really fair thought. Just like trying to deeply understand. Like Lucy has an emotional intelligence that is just completely unparalleled. That's one thing I really love about her. Another thing is that she's like up for anything. Like when I asked her to go to the Sahara with me, I mean, she said yes in like, it was like not even 12 seconds. It was like 3 seconds, I think, that she was like, yeah. Annie: You need a friend who is just gonna go to the Sahara. Lucy: Deb, I don't even know if you actually invited me. The way I remember it is that you said something like, Lucy, no one will go to the Sahara with me. And I said, I would go to the Sahara with you. Lito: That is lovely. Lucy: (20:53) It's in Africa, right? Lito: Was there something specific about the Sahara that you need to go over for? Deb: Yeah, I mean, there was. It's a book I'm still working on, hopefully finishing soon. But it's mostly it's like...I just always wanted to go to the Sahara. My whole life, I wanted to go to Morocco, I wanted to go to the Sahara, I wanted to be surrounded by just sand and one line. You look in 360 degrees and you just see one line. I just wanted to see what that was like so badly, stripping everything out, coming down to just that one element of blue and beige. I just wanted that so much. And I wanted to know that it just went on and on and on and on. (21:48) Yeah, and you know, people talk a big talk, but most people would not go. And so at one point I was just kind of rallying, asking everyone. And then Lucy happened to be in town and I just mentioned to her that this is happening. And then she said, yeah, and then we went for like a long time. Like we went to Morocco for like over three weeks. Like we went for like a month. Lucy: A month. Deb: Yeah, crazy. But she's always like that. Like whatever I want to do, she's just up for it. I mean, and she called me up and she's like, hey, we want to come to Austin and like, go to this place that's two hours from Austin where you can see five million bats, right? Five million bats? Or was it more? Was it like 20 million? Lucy: That's right. Deb: It was like 20 million bats and a lot of them are baby bats. It's like mama bats and baby bats. Lucy: Yeah, like it's more when there's the babies. Deb: (22:46) And yeah, and you were like, I want to come with them as the babies. Yeah, we like went and she just like came and Andrea came, and it was just absolutely beautiful. Lucy: Well, you were just right for that adventure. I knew you would want to see some bats. Lucy: Well, I could I could say a couple of more things about what Deb gives the world. Annie: Sure. Love it. Lucy: So some of the things that Deb gives the world and though when I listen to you talking about me, I realized why these things are so important to me, is that you have a very steady sense of who you are and a kind of confidence in your instincts. That I know that some of the ways that I worry things through are really productive and some of them are just an ability to see why I could be wrong all the time, and that can stymie me. (23:48) And one of the things that I love about you and the model that you provide for me in my life is an ability to understand what your truth is and not be afraid to hold onto it while you're thinking about other people's perspectives, that you're able to really tell the difference between the way that other people think about things and the way that you do. And it doesn't mean that you don't rethink things, you constantly are, but when you have a conviction, you don't have a problem with having a conviction. And I admire it enormously. And I think it allows you to have a kind of openness to the world and an openness to people who are various and different and will challenge you and will show you new things because you have that sense that you're not gonna lose yourself in the wind. Deb: Mmm. That's really nice. Lito: I am in awe of everything you've said about each other. And it makes me think about how you first met each other. Can you tell us that story? And why did you keep coming back? What was the person like when you first met? And why did you keep coming back to each other? Do you want to tell Lucy? Lucy: Yeah, I'll start and you can add what I'm missing and... (25:06) tell a different origin story if you want. But I think that what we might've come to for our origin story is that it was one of the, one of the early &Now Festivals. And the &Now Festival is really great. Lito: Could you say what that is? Yeah, say a little bit about what that is. Luch: Oh, it's a literary conference that was started to focus on small press and more innovative—is the term that they used at the time anyhow—innovative writing as a kind of response to the market-driven culture of AWP and to try to get people who are working more experimentally or more like on the edge of literary culture less mainstream and give them a place to come together and have conversations about writing and share their work. So it was one of the early ones of those. But I think it was, I think we figured out that there were like, yeah, there were three women. It was me, you, and Shelley Jackson. But it was, there were not that many women at this conference at the time. And we were, and I think we were noting, noting our solidarity. Yeah. And that, that's what. That's like some of the first images. But I knew we were like aware of each other because in some ways we have tended to be up for the same jobs—Deb gets them—up for the same prizes—Deb gets them first, I'll get them later. And so I see her as somebody who's traveling through the literary world in ways that are... I mean, we're very different writers, but as people... You know what I mean? But I still... We still actually...come from a lot of the same literary roots. And so it makes sense that there's something of each other in the work that makes us appeal to overlapping parts of the literary world. Deb: Yeah, I definitely think that there was in our origins, not only do we come from the same sort of influences, and just things that we admired and stuff, but I also feel like (27:28.018) a lot of our early work would have appealed more easily to the exact same people. As we've gotten older, our work isn't quite as similar. We're a little more different than we used to be. But there's still enough there that, you know, you can see a lot of the same people admiring or liking it. But I was remembering that first time that we met, you playing pool. And we were, so we were like at a bar and you were like, and you were playing pool, and you had like just had a book out with FSG, I think, or something. I don't know if I even had— Lucy: FC2. Very different. Deb: FC2. That's right. FC2. And the FC2 editor was there. And I don't think I even had a book out. I don't remember what year this was. But I don't think I had any kind of book out. All I had was I had nothing, you know. And I was just so in awe of FC2 and the editor there, and you there, and like you could play pool, and I can't play pool at all. And it was just, it was— Annie: Lucy's so cool. Yeah, she was cool. She was cool. And Shelly Jackson was cool. And it was like all the cool people were there and I got to be there, and it was great. And then, yeah, and then I think how it continued, I don't know how it continued, we just kind of kept running into each other and just slowly it built up into a really deep friendship. Like at some point you would come through town and stay with me. (29:25.782) And we moved, we both moved around a lot. So for a while there, so we kind of kept running into each other in different places. We've never lived in the same place. Lucy: No, never. Lito: How have you managed that then? Is it always phone or is it texting, phone calls? Lucy: Well, we'll go through a spate of texting. Deb: Yeah, we do both. I think I like to talk on the phone. Lucy: Yeah, I will talk on the phone for Deb. Annie: The mark of a true friendship. Lito: (30:01) Time for a break. Annie Lito (30:12.43) We're talking with Lucy Corin and Deb Olin Unferth. Lito: How has literature shaped your friendship then? Despite being cool. What kind of books, movies, art do you love to discuss? You can name names. What do you love talking about? Deb: Well, I remember the moment with Donald Barthelme. Lucy: That was what I was gonna say. Deb: No, you go ahead. Lucy: Well, why don't? Deb: Oh, okay, you can tell it. Lucy: I mean, I'll tell part and then you can tell part. It's not that elaborate, but we were, one of the things that Deb and I do is find a pretty place, rent a space, and go work together. And one time we were doing that in Mendocino and Deb was in the late stages of drafting Barn 8 and really thinking about the ancient chickens and the chickens in an ancient space. And we went for a walk in one of those very ferny forests, and Deb was thinking about the chickens and among the giant ferns. And I don't know how it happened, but Deb said something with a rhythm. And we both said to each other the exact line from Donald Barthelme's "The School" that has that rhythm. (31:34) Is that how you remember it though? You have to tell me if that's how you remember it. Deb: That's exactly how I remember it. Yeah. And then we like said a few more lines. Like we knew even... Lito: You remember the line now? Lucy: I mean, I don't... You do. If you said it, I could do it. I'm just... I was thinking before this, I'm like, oh God, I should go look up the line because I'm not going to get it right, like under pressure. It was just in the moment. It came so naturally. Deb: It was one of those lines that goes... (32:03) Da da da-da da, da da da-da-da. There's a little parenthetical, it's not really in parentheses in the story, but it might be a little dash mark. But it has, it's something like, "I told them that they should not be afraid, although I am often afraid." I think it was that one. Deb: I am often afraid. Yeah. And then it was like, we just both remembered a whole bunch of lines like from the end, because the ending of that story is so amazing. And it's, so the fact that we had both unconsciously memorized it and could just like. And it was something about just like walking under those giant trees and having this weekend together. And like we're like marching along, like calling out lines from Donald Barthelme. And it just felt really like pure and deep. Annie: It's I mean, I can't imagine anything sounding more like true love than spontaneously reciting a line in unison from Barthelme. And, you know, you both are talking about how your work really converged at the start and that there are some new divergences and I think of you both as so distinct you know on and off the page. There's like the ferociousness of the pros and an eye towards cultural criticism and I always think of you as writing ahead of your time. So I'm just wondering how would you describe your lit friends work to someone, and is there something even after all this time that surprises you about their writing or their voice? Lucy: I mean, what surprised me recently about Deb's voice is its elasticity. I came to love the work through the short stories and the micros. And those have such a distinct, wry kind of distance. They sort of float a little separate from the world, and they float a little separate from the page. (34:10) And they have a kind of, they have a very distinct attitude and tone, even if the pieces are different from each other, like as a unit. And that's just really different than the voice that you get in a book like Barn 8 that moves through a lot of different narrators, but that also has just a softer relationship with the world. Like it's a little more blends with the world as you know, it doesn't stay as distant. And I didn't know that until later. Vacation is also really stark and sort of like has that distinctiveness from the world. And so watching Deb move into, you know, in some ways like just more realistic, more realistic writing that's still voice-centered and that still is music centered was a recent surprising thing for me. But I'm also really excited about what I've read in the book that in the new book because I think that new book is sort of the pieces that the bits that I've read from it are they're marking a territory that's sort of right down the middle of the aesthetic poles that Deb's work has already hit I mean the other thing is that you know Deb does all the genres. All of the prose genres. Every book sort of is taking on it is taking on a genre And the next one is doing that too, but with content in a way that others have been taking on new genres and form. And so... Lito: I love that. And I like that it's related to the music of the pros and sound. I feel like musicians do that a lot, right? There's some musicians that every album is a new genre or totally different sound. And then there's artists who do the same thing over and over again. We love both those things. Sorry, so Deb... Deb: So I love how complicated Lucy can get with just an image or an idea. I just feel like no one can do it the way that she can do it. And my like her last in her last book, which I love so much, we're just brought through all these different places and each one is sort of (36:31.29) dragging behind it, everything that came before, so that you can just feel all of this like, pressure of like the past and of the situations and like even like a word will resonate. Like you'll bring like, there's like a word on maybe page like 82 that you encountered on like page 20 that like the word meant so much on page 20 that it like really, you can really feel its power when it comes on page 80. And you feel the constant like shifting of meaning and just like the way that the prose is bringing so much more and like it's like reinterpreting that word again and again and again, just like the deeper that you go, like whatever the word is be it you know house or home or stair or um you know sex, whatever it is, it's like constantly shifting. (37:40.952) And that's just part of like who Lucy is, is this like worrying of a problem or worrying of a word and like carrying it forward. And so yeah, so like in that last book, it just was such a big accomplishment. And I felt like it was like her best work yet. Lucy: So I will say, try and say something a little bit more specific, then. (38:09) Like I guess in the sort of 10 stories that I teach as often as possible in part because I get bored so easily that I need to teach stories that I can return to that often and still feel like I'm reading something that is new to me is the title story from Wait Till You See Me Dance and that story is a really amazing combination of methodical in its execution, which sounds really dull. But what it does is sort of toss one ball in the air and then toss another ball in the air and then toss another ball in the air. And then, you know, the balls move, but you know, the balls are brightly colored and they're handled by a master juggler. So it's methodical, but it's joyful and hilarious. And then, and then, and you don't And the other thing is that Deb's narrators are wicked and like they're wicked in the way that like… They are, they're willing to do and say the things that you secretly wish somebody would do and say. That's the same way that like, you know, in the great existential novels, you love and also worry about the protagonists, right? They're troubled, but their trouble allows them to speak truthfully because they can't help it. Or they can't help it when they're in the space of the short story. It's that like, you know, the stories are able to access—a story like this one and like many of Deb's—are able to access that really special space of narrator, of narration, where you get to speak, you get to speak in a whisper. Annie: You get to speak in a whisper. That's beautiful, Lucy. You get to speak in a whisper. Lito: We'll be right back. Lito: (40:15) Welcome back. Annie: I'm wondering about what this means, you know, how this crosses over to your own personal lives, right? Because of course, literary friendships, we're thinking about the work all of the time. But we're also, you know, when I think of my literary friendship with Lito, I think of him as like a compatriot and somebody who's really carrying me through the world sometimes. I'm wondering if there was for either of you, a hard time that you went through personally, professionally, you know, whether it's about publishing or just getting words on the page or something, you know, um, you know, family related or whatever, where you, um, you know, what it meant to have a literary friend nearby at that time. Lucy: I mean that's the heart of it. Deb: Yeah, I mean for sure. Lucy: One happened last week and I'm sort of still in the middle of it where you know my literary mentor is aging and struggling and so that's painful for me and who gets that? Deb gets that. The other one, the other big one for me was that the release of my last novel was really complicated. And it brought up a lot of, it intersected with a lot of the things going on in my family that are challenging and a lot of things that are going on in the literary world that are challenging. There were parts of that release that were really satisfying and joyful, and there were parts of it that were just devastatingly painful for me. And, you know, Deb really helped me find my way through that. And it was a lot, like it was a lot of emotional contact and a lot of thinking through things really hard and a lot of being like, "wait, why do we do this? But remember, why do we do this?" And Deb was the person who could say, "no, you're a novelist." Like things that like I was doubting, Deb could tell me. And the other thing is that I would come closer to being able to believe those things because she could tell them to me. Annie: Lucy, can you talk a little more about that? Like what did that? (42:27.126) What did that look like, right? Like you talked about resistance to phone calls, and you're not in the same place. Lucy: It was phone. Right, it would be phone or it would be Zoom or it would be texting. And then, you know, when we would see each other that would be, we would reflect on those times in person even though that wasn't those immediate moments of support and coaching and, you know, wisdom. Annie: And that requires a kind of vulnerability, I think, that is hard to do in this industry, right? And I'm just wondering if that was new for you or if that was special to this friendship, right? Or like what allowed for that kind of openness on your part to be able to connect with Deb in that way? Lucy: I mean, I think I was just really lucky that we've had, like even though we have really, I think, only noticed that we were close since that Morocco trip. Like that was a little bit of a leap of faith. Like, "oh my gosh, how well do I know this person and we're gonna travel together in like circumstances, and do we really know each other this way?" But the combination of the years that we've known each other in more of a warm acquaintance, occasional, great conversation kind of way towards being somebody that you, that you trust and believe and that you have that stuff built in. And, you know, that over the years you've seen the choices that they've made in the literary world, the choices they've made in their career, when they, you know, everything from, you know, supporting, you know, being a small, being small press identified and championing certain kinds of books over other kinds of books. And like those, just like watching a person make choices for art that you think are in line with the writer that, watching her make choices in art that are in line with the writer that I wanna be in the world makes it so that when you come to something that is frightening, that's the kind of person you wanna talk to because she's done that thinking. Deb: Yeah, I mean, I feel like there are like so many things that I could say about that. Like one thing is that the kind of time that I spend with Lucy is really different from the kind of time that I spend with most people. Like most people, (44:51) they come to town and I have dinner with them. Or I go to like AWP or whatever and we go out for dinner. Or maybe I spend like one night at their house like with their partner and kid or something, you know. But Lucy and I, we get together and we spend like four days or something all alone, just the two of us, you know, or a month or whatever. And we don't spend a ton of time with other people. And so there's, but then we also do that, but just like not very much. And so there is something that just creates, like that's a really good mode for me. It's a, that's like the way that I make really deep friendships that are kind of like forever-people in my life. And I've always been like that. And so, but not a lot of people are willing to sort of do that with me. Like, I have so many acquaintances, I've got like a million, I feel like I could have dinner with someone just about any night, as long as it's only like once every few months or something, you know, but I don't have people who are willing to be this close to me, like spend that kind of time with me one-on-one. And the fact is like, they're not that many people that I really feel like doing that with. And you know, every time Lucy and I do one of these, I just come away feeling like I thought about some really important things and I talked about some really important things and I saw some beautiful things because Lucy always makes sure that we're somewhere where we can see a lot of beauty. And so that just means so much to me. And it's like, and so for me it creates like a space where, Yeah, I can be honest and vulnerable, and I can also tell her, if I can tell her things that I don't tell other people, or I can be really honest with her if I feel like, if I'm giving her advice about something, I can just be honest about it. And so it's really, really nice. (47:07) I mean, the other thing is like, we're so similar. Like we've made so many similar life choices. And we've talked about that. Lucy and I have talked about that. Like, you know, we both chose not to have kids. We live pretty, like we're both like kind of loners, even though we have partners. Like I think our partners are more like, they just kind of would, they would prefer that we. I don't know, I shouldn't probably say anything, but I know that Matt would prefer if I was not quite as much of a loner as I am. Yeah, so I look at Lucy and I see the kind of person that I am, the kind of person I wanna be, so if I have a question, I mean, it happens. Lucy mentioned a couple of things. I have... You know, she's had some pretty major, major things. I have like little things that happen all the time, and they just like bring me to tears. Like there was this one moment during the pandemic when I was like driving across the country by myself. I was like in Marfa, and I was trying to get to California and I had like a toilet in the back seat. Remember when we were all doing that kind of thing? Lucy: It was really amazing. Deb: It was so crazy. Lucy: But Deb, not everybody had a toilet in their back seat. Annie: I know. I need that now. Deb: It still comes in handy. Annie: I'm sure. Deb: (48:43) And I was in, and yeah, Lucy is amazing. She'll talk to me on the phone, but Lucy will do because I love to talk on the phone and I love to Zoom. Lucy does not. So she'll tell me in advance, okay, I will talk to you, but it's gonna be for like 20 minutes or I'm gonna have to get off like pretty soon. But she Zoomed with me and Marfa and I just didn't realize how upset I was about this one rejection that I'd gotten. And it was a really small rejection, I don't know why it bothered me so much, but I just like started crying and like I was like way out in like so many miles from any so many hours from anyone I knew and you know the world was going to shit, and I'd gotten this like tiny rejection from a magazine like a little like I had it was the page was it was like a piece that was like a page long or something, and Lucy just like knew exactly why I I was so upset, and just was able to talk to me about what that meant to me. And just refocus me to like, "look, you don't have to write those. You don't have to be that writer. You don't have to do that." And it was so freeing to know that I didn't always have to be, I don't even know how to describe it, but it was meant a lot. And things like that happen all the time. Annie: (50:15.265) That's such a wonderful model of mutual support. Lucy: We'll be right back. Annie: Hi Lit Fam. We hope you're enjoying our conversation with Lucy Corin and Deb Olin Unferth, and their love for the word, the world, and each other. If you love what we're doing here at LitFriends, please take a moment now to follow, subscribe, rate, and review our podcasts on Apple Podcasts, Spotify, or wherever you listen to podcasts. Just a few minutes of your time will help us so much to continue to bring you great conversations like this week after week. Thank you for listening. Back to a conversation with Lucy Corin and Deb Olin Unferth. Annie: I'm also aware that we're working in an industry that's a zero-sum construct. And, you know, Lucy, you were sort of joking earlier about... Deb winning all of the awards that you later got. But I am curious, like, what about competition between literary friends when we're living in a world with basically shrinking resources? Lucy: I feel competition, but I don't really feel it with my literary friends. Does that make sense? Like, I'll feel it with my idea of somebody that I don't really know except for their literary profile, right? But when someone like Deb gets something, it makes the world seem right and true, right? And so that's not hard to bear, right? That's just a sign of a good thing in a world that you're afraid isn't so good. Deb: I guess I feel like if Lucy gets something, then that raises the chances that I'm gonna get something. I'm gonna get the same thing. Because if we're kind of in the same, like we both published with Grey Wolf, we both have the same editor, so we've multiple times that we've been on these trips, we've both been working on books that were supposed to come out with Graywolf with Ethan. (52:16.3) You know, so I feel like if Lucy gets something, then the chances go up. Like there was just, something just happened recently where Lucy was telling me that she had a little, like a column coming out with The Believer. And I was like, "oh my God, I didn't even know that they were back." I'm like, "man, I really wanna be in The Believer. Like, I can't believe like, you know, they're back and I'm not in them. I gotta be in it. I said that to Lucy on the phone. And then, like the very next day, Rita wrote me and said, "Hey, do you want to write something?" And so I wrote to Lucy immediately. I was like, did you write to Rita? And she was like, "no, I really didn't." So it's like, we're in the same— Did you, Lucy? Lucy: No, I didn't! Rita did that all by herself. Lito: You put it out into the universe, Deb. Annie: Lucy did it. Hot cut, Lucy did it! Deb: So we're like, we're like in the same, I feel a lot of the time like we're kind of in the same lane and so that really helps because like, I do have writer friends who are not in the same lane as me and maybe. Like I'm not as close, but maybe that would be, but if I was as close, maybe that would cause me more confusion. Like I would be like, you know, "geez, how can I get that too? Or it's hopeless, I'll never get that, you know? So I just don't do that thing," or something. So that's really comforting. Lito: What are your obsessions? Lucy: Well, I mean- Lito: How do they show up on the page? Lucy: I feel like it's so obvious with Deb that like, you know, Deb got obsessed with chickens, and there was a whole bunch of stuff about chickens. First there was a really smart, brilliant Harper's essay where she learned her stuff. And then there was the novel where she, you know, imagined out the chickens (54:19) to touch on everything, right? Annie: Then there was a chicken a thousand years in advance. Lucy: Right, and then there's a beautiful chicken art in the house, and there's, you know. And I'm sure that she's gotten way more chicken gifts than she knows what to do with. But then the Sahara, like, you know, she was obsessed with the Sahara and you'll see it in the next book. It's gonna be— It's not gonna be in a literal way, right? But it'll be like, you'll feel the sand, you'll feel that landscape. So I don't know, like I feel like the obsessions show up in the books. I mean, are there, I mean, this is a question like, Deb, do you think you have obsessions that don't show up in your work? We both have really cute little black dogs. Deb: (55:07) Oh, not really. I mean, but I do get obsessed. Like I just get so, so like obsessed in an unhealthy way. And then I just have to wait it out. I just have to like wait until I'm not obsessed anymore. And it's like an ongoing just I'm like, OK, here it comes. It's like sleeping over me. Like how many years of my life is going to be are going to be gone as a result of this? So I'm always like so relieved when I'm not in that space. Like Lucy's obsession comes down to that, with her language, that she's like exploring one idea, like she'll take an idea and she like worries that over the course of a whole book and that she'll just it's like almost like a cubist approach. She'll be like approaching it from so many different standpoints. And that is like, I mean, Lucy is so smart and the way that she does that is just so genius. And so I feel like that's the thing that really keeps drawing me to her obsessions, that keeps bringing me back to that page to read her work again and again. And yeah, and that's how she is in person too. Lito: Why do you write? What does it do for the world, if anything? Lucy: (56:37) I know I had a little tiny throat clear, but I think it was because I'm still trying to figure it out because I feel like the answer is different in this world order than it was in earlier world orders. Like when I first answered those questions for myself when I was deciding to make these big life choices and say, "you know, fuck everything except for writing," like I was answering, I was answering that question a different way than I would now, but I don't quite have it to spit out right now, except that I do think it has something to do with a place where the world can be saved. Like, writing now is a place of respite from the rest of the world where you can still have all of these things that I always assumed were widely valued, that feel more and more narrowly valued. And so I write to be able to have that in my life and to be able to connect with the other people who share those kinds of values that are about careful thinking, that are about the glory of the imagination, that are about the sanctity of people having made things. Annie: Lucy, I need that on my wall. I just need to hear that every day. Deb: I mean, I feel like if I can think about it in terms of my reading life, that like art changes my mind all the time. Like that's the thing that teaches me. Like I remember when I was a kid, and I lived right near the Art Institute of Chicago, and I remember going in, and they had the Jacob Lawrence immigration panels, migration panels up there that was like a traveling exhibition. And I had none of that information. I did not know about the Great Migration. I just didn't know any of that. So I just remember walking from panel to panel and reading and studying it, (58:47.952) reading it and studying it and just like getting like just getting just it was like a It was such a revelation and I just learned so much and like changed my mind about so many things just in that moment that it was like I'll never forget that. And I feel like I, I totally agree with Lucy that the reasons that I write now and the reasons that I read now are very different than they were like before, say 2015, or something. But that, that maybe it has its roots in that sort of Jacob Lawrence moment where, you know, just I read these things and it's, I like, I love sinking deep into books that are really changing my mind and like teaching me about the world in ways that I never could have imagined, and I love that so much and I… I don't know if I have that to offer, but I really try hard, you know. Like I tried that with the chicken book. I'm kind of trying that, I hope, in this book that I'm trying to finish and— ha finish!—that I'm trying to get through. And so I think that that's why I think that art is so important. I don't know if that's truly why I write though. I feel like why I write is that I've always written, and it's like I love it so much. Like I just, sometimes I hate it, sometimes I hate it for like a whole year or whatever, but it's just, it's so much a core of who I am. (01:00:39) And I just, I can't imagine my life any other way. It's just it's just absolutely urgent to me. Annie: Yeah, urgent. Yeah. I think we all feel that in some way. Annie:(01:01:04.374) Thank you both for talking to us a little bit about your friendship and getting to know a little bit more about how you started and where you're at now. We're going to move into the lightning round. Lito: Ooooo Lightning round. Annie: (01:01:16) Deb, who were you in seventh grade? Who was I in seventh grade? In one sentence, oh my God, the pressure is on. I was unpopular and looked, my hair was exactly the same as it is now. And I wore very similar clothes. Lucy: (01:01:44) I was a peer counselor, and so I was like the Don who held everybody's secrets. Lito: Beautiful. Lucy. Lucy: It saved me. Otherwise, I wouldn't have had a place in that world. Annie: Makes so much sense. Lito: Wow. Who or what broke your heart first, deepest? Lucy: I mean, I would just say my mom. Deb: I guess, then I have to say my dad. Annie: Okay, which book is a good lit friend to you? Deb: Can I say two? The Autobiography of Alice B. Toklas by Gertrude Stein and The Known World by Edward P. Jones. Annie: Excellent. Lucy: My go-to is White Noise. Still. Sorry. Lito: No need to apologize. Lucy: Yep. Annie Lito (01:02:27) Who would you want to be lit friends with from any point in history? Lucy: For me it's Jane Bowles. Deb: Oh, whoa. Good one. She would be maybe a little difficult. I was gonna say Gertrude Stein, then I was like, actually, she'd be a little difficult. Lucy: What a jerk! Deb: I think Zora Neale Hurston would be fun. Lucy: Well, yeah, of course. For sure. Annie: We were gonna ask who your lit frenemy from any time might be, but maybe you've already said. Lucy: Oh, right. I accidentally said my lit frenemy instead of my lit friend. Annie: Yeah. Lucy: Mm-hmm. Deb: (01:03:08) A frenemy from any time? Annie: Any time. Yeah, it doesn't have to be Jonathan Franzen. I feel like most people will just be like Jonathan Franzen. But it could be any time in history. Deb: I mean, if you're gonna go that route, then it would probably be, um, like... Lito: Kierkegaard. Deb: I don't know, maybe Nietzsche? If you're gonna go that route, if you're gonna go like, like existential philosophers. Annie: (01:03:34) That's great. Lito: That could be a podcast too. Annie: Just like epic frenemy. The most epic frenemy. Lito: (01:03:35) Well, that's our show. Annie & Lito: Thanks for listening. Annie: We'll be back next week with our guests Melissa Febos and Donika Kelly. Lito: Find us on all your socials @LitFriendspodcasts Annie: And tell us about an adventure you've had with your Lit bestie. I'm Annie Liontas. Lito: And I'm Lito Velazquez. Annie: Thanks to our production squad. Our show was edited by Justin Hamilton. Lito: Our logo was designed by Sam Schlenker. Annie: Lisette Saldaña is our Marketing Director. Lito: Our theme song was written and produced by Roberto Moresca. Annie: And special thanks to our show producer Toula Nuñez. Lito: This was Lit Friends, Episode 2.
Sigrid Nunez won the 2018 National Book Award for The Friend, a ''beautiful'' novel ''crammed with a world of insight into death, grief, art, and love'' (The Wall Street Journal) in which a woman is forced to adopt her deceased best friend's Great Dane. The recipient of a Guggenheim Fellowship, a Berlin Prize, the Rome Prize in Literature, and a Whiting Award, she is also the author of What Are You Going Through, Salvation City, The Last of Her Kind, A Feather on the Breath of God, and Sempre Susan, a memoir about her friend and mentor Susan Sontag. In The Vulnerables, Nunez offers a comic and elegiac study of a solitary female narrator who ponders questions of connection in our time of collective angst. A ''slim jewel of a novel'' that is ''what fiction should be'' (The New York Times Book Review), Henry Hoke's Open Throat follows the surreal Hollywood Hills wanderings of a lonely and inadvertently wise mountain lion grappling with desperate hunger, the intricacies of gender, and the challenges of urban living. Hoke is also the author of four other books, including a memoir titled Sticker, and his play At Sundown premiered at the Edinburgh Festival Fringe. His other work has appeared in No Tokens, Triangle House, Electric Literature, Carve, and the flash noir anthology Tiny Crimes. Co-creator of the Los Angeles-based Enter>text performance series and the humor editor at The Offing, he has taught at CalArts and the UVA Young Writers Workshop. Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 11/16/2023)
A central duality appears in the work of Henri Cole: the revelation of emotional truths in concert with a “symphony of language” — often accompanied by arresting similes. We are excited to offer this conversation between Pádraig and Henri, recorded during the 2022 Dodge Poetry Festival in Newark, New Jersey. Together, they discuss the role of animals in Henri's work, the pleasure of aesthetics in poetry, and writing as a form of revenge against forgetting.Henri Cole was born in Fukuoka, Japan and raised in Virginia. He has published many collections of poetry and received numerous awards for his work, including the Jackson Poetry Prize, the Kingsley Tufts Award, the Rome Prize, the Berlin Prize, the Ambassador Book Award, the Lenore Marshall Award, and the Medal in Poetry from the American Academy of Arts and Letters. His most recent books are a memoir, Orphic Paris (New York Review Books, 2018), Blizzard (Farrar, Straus and Giroux, 2020), and Gravity and Center: Selected Sonnets, 1994-2022 (Farrar, Straus and Giroux, 2023). From 2010 to 2014, he was poetry editor of The New Republic. He teaches at Claremont McKenna College and lives in Boston.Find the transcript for this show at onbeing.org.
Jamel Brinkley is the author of the story collection Witness, available from Farrar, Straus, & Giroux. Brinkley is the author of A Lucky Man: Stories, which won the Ernest J. Gaines Award for Literary Excellence and was a finalist for the National Book Award, the PEN/Robert W. Bingham Prize for Debut Fiction, the Story Prize, the John Leonard Prize, and the Hurston/Wright Legacy Award. He has also been awarded an O. Henry Prize, the Rome Prize, a Wallace Stegner Fellowship, and a Lannan Foundation Fellowship. His work has appeared in The Paris Review, A Public Space, Ploughshares, and The Best American Short Stories. He was raised in the Bronx and in Brooklyn, New York, and currently teaches at the Iowa Writers' Workshop. *** A SPECIAL OFFER for Otherppl listeners! Use the offer code SUMMERSCHOOL and get 10% off of all summer writing workshops at https://www.chillsubs.com/writeordie/education *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
Matt Donovan speaks to managing editor Emily Everett about his prose poem “Guy with a Gun,” which appeared in The Common's fall issue. Matt talks about the conversation that inspired the poem—an encounter with a Sandy Hook parent that highlights the complex gray area around guns and gun ownership. He also discusses how his poetry collection about the issue of guns in the US evolved from a nonfiction book proposal, his aims in undertaking the project, and his job running The Boutelle-Day Poetry Center at Smith College. Matt Donovan is the author of three collections of poetry, and a book of lyric essays. His latest collection, The Dug-Up Gun Museum, came out last year from BOA Editions. He is the recipient of a Whiting Award, a Rome Prize in Literature, a Creative Capital Grant, and a National Endowment for the Arts Fellowship in Literature. He serves as director of The Boutelle-Day Poetry Center at Smith College. Read Matt's poems in The Common here. Read more from Matt here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She is a 2022 Massachusetts Cultural Council Fellow. 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
Matt Donovan speaks to managing editor Emily Everett about his prose poem “Guy with a Gun,” which appeared in The Common's fall issue. Matt talks about the conversation that inspired the poem—an encounter with a Sandy Hook parent that highlights the complex gray area around guns and gun ownership. He also discusses how his poetry collection about the issue of guns in the US evolved from a nonfiction book proposal, his aims in undertaking the project, and his job running The Boutelle-Day Poetry Center at Smith College. Matt Donovan is the author of three collections of poetry, and a book of lyric essays. His latest collection, The Dug-Up Gun Museum, came out last year from BOA Editions. He is the recipient of a Whiting Award, a Rome Prize in Literature, a Creative Capital Grant, and a National Endowment for the Arts Fellowship in Literature. He serves as director of The Boutelle-Day Poetry Center at Smith College. Read Matt's poems in The Common here. Read more from Matt here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She is a 2022 Massachusetts Cultural Council Fellow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Matt Donovan speaks to managing editor Emily Everett about his prose poem “Guy with a Gun,” which appeared in The Common's fall issue. Matt talks about the conversation that inspired the poem—an encounter with a Sandy Hook parent that highlights the complex gray area around guns and gun ownership. He also discusses how his poetry collection about the issue of guns in the US evolved from a nonfiction book proposal, his aims in undertaking the project, and his job running The Boutelle-Day Poetry Center at Smith College. Matt Donovan is the author of three collections of poetry, and a book of lyric essays. His latest collection, The Dug-Up Gun Museum, came out last year from BOA Editions. He is the recipient of a Whiting Award, a Rome Prize in Literature, a Creative Capital Grant, and a National Endowment for the Arts Fellowship in Literature. He serves as director of The Boutelle-Day Poetry Center at Smith College. Read Matt's poems in The Common here. Read more from Matt here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She is a 2022 Massachusetts Cultural Council Fellow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry
Aaron Hamburger discusses the first pages of his latest novel, Hotel Cuba, and how he knew his first fragment of a sentence, “Fish and oranges,” from the first draft. We talk about the importance of working with all five senses, the necessity of movement from the very first lines, how to work in backstory, and grabbing hold of your character's yearning early to drive the book forward. Hamburger's first pages can be found here.Help local bookstores and our authors by buying this book on Bookshop.Click here for the audio/video version of this interview.The above link will be available for 48 hours. Missed it? The podcast version is always available, both here and on your favorite podcast platform.Aaron Hamburger is the author of the novel NIRVANA IS HERE, winner of a Bronze Medal from the 2019 Foreword Reviews Indie Awards. His story collection, THE VIEW FROM STALIN'S HEAD, was awarded the Rome Prize by the American Academy of Arts and Letters and nominated for a Violet Quill Award. And his novel, FAITH FOR BEGINNERS, was nominated for a Lambda Literary Award. His writing has appeared in The New York Times, The Washington Post, The Chicago Tribune, The Village Voice, Tin House, Michigan Quarterly Review, Subtropics, Crazyhorse, Boulevard, Poets & Writers, Tablet, O, the Oprah Magazine, Out, The Massachusetts Review, The Bennington Review, Nerve, Time Out, Details, and The Forward. He has also won fellowships from Yaddo, Djerassi, the Civitella Ranieri Foundation, the DC Commission on the Arts and Humanities, and the Edward F. Albee Foundation as well as first prize in the Dornstein Contest for Young Jewish Writers, and his short fiction and non-fiction have received special mentions for the Pushcart Prize. He just received word that he has won the Lambda Literary Jim Duggins Outstanding Mid-Career Novelist Prize. He has taught creative writing at Columbia University, George Washington University, New York University, Brooklyn College, and the Stonecoast MFA Program. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com
Today I talked to Aaron Hamburger about his new novel Hotel Cuba (Harper Perennial, 2023). Two sisters fleeing the horror of the Soviet Revolution and aftermath of WW1 are disappointed when American policy prevents them from joining their older sister in New York. Older, practical sister Pearl knows they must leave the old world to survive and buys tickets to Cuba. Frieda, the younger sister, immediately starts complaining and longs to join her boyfriend from home who is now in Detroit. Havana is filled with rich Americans escaping Prohibition and poor Cubans selling fun, pleasure, and booze, but Pearl and Frieda are sheltered, penniless Jewish girls. After Frieda manages to get off the island, Pearl, who raised her baby sister starting at age nine, does whatever she has to do to escape “Hotel Cuba.” Aaron Hamburger is the author of a story collection titled THE VIEW FROM STALIN'S HEAD which was awarded the Rome Prize by the American Academy of Arts and Letters and nominated for a Violet Quill Award. He has also written three novels: FAITH FOR BEGINNERS, nominated for a Lambda Literary Award, NIRVANA IS HERE, winner of a Bronze Medal from the 2019 Foreword Reviews Indies Book Awards, and HOTEL CUBA, published by Harper Perennial in 2023. His writing has appeared in The New York Times, The Washington Post, The Chicago Tribune, The Village Voice, Tin House, Michigan Quarterly Review, Subtropics, Crazyhorse, Boulevard, Poets & Writers, Tablet, O, the Oprah Magazine, Out, The Massachusetts Review, The Bennington Review, Nerve, Time Out, Details, and The Forward. He has also won fellowships from Yaddo, Djerassi, the Civitella Ranieri Foundation, the DC Commission on the Arts and Humanities, and the Edward F. Albee Foundation as well as first prize in the Dornstein Contest for Young Jewish Writers, and his short fiction and creative non-fiction have received special mentions in the Pushcart Prizes. Hamburger has taught creative writing at Columbia University, George Washington University, New York University, Brooklyn College, and the Stonecoast MFA Program. In addition to writing and reading, he is an avid tennis player and baker. He actually has a babka recipe published in a new children's book by Leslea Newman. Also, every year he throws a holiday cookie blowout and bakes thousands of cookies for family and friends. 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
Today I talked to Aaron Hamburger about his new novel Hotel Cuba (Harper Perennial, 2023). Two sisters fleeing the horror of the Soviet Revolution and aftermath of WW1 are disappointed when American policy prevents them from joining their older sister in New York. Older, practical sister Pearl knows they must leave the old world to survive and buys tickets to Cuba. Frieda, the younger sister, immediately starts complaining and longs to join her boyfriend from home who is now in Detroit. Havana is filled with rich Americans escaping Prohibition and poor Cubans selling fun, pleasure, and booze, but Pearl and Frieda are sheltered, penniless Jewish girls. After Frieda manages to get off the island, Pearl, who raised her baby sister starting at age nine, does whatever she has to do to escape “Hotel Cuba.” Aaron Hamburger is the author of a story collection titled THE VIEW FROM STALIN'S HEAD which was awarded the Rome Prize by the American Academy of Arts and Letters and nominated for a Violet Quill Award. He has also written three novels: FAITH FOR BEGINNERS, nominated for a Lambda Literary Award, NIRVANA IS HERE, winner of a Bronze Medal from the 2019 Foreword Reviews Indies Book Awards, and HOTEL CUBA, published by Harper Perennial in 2023. His writing has appeared in The New York Times, The Washington Post, The Chicago Tribune, The Village Voice, Tin House, Michigan Quarterly Review, Subtropics, Crazyhorse, Boulevard, Poets & Writers, Tablet, O, the Oprah Magazine, Out, The Massachusetts Review, The Bennington Review, Nerve, Time Out, Details, and The Forward. He has also won fellowships from Yaddo, Djerassi, the Civitella Ranieri Foundation, the DC Commission on the Arts and Humanities, and the Edward F. Albee Foundation as well as first prize in the Dornstein Contest for Young Jewish Writers, and his short fiction and creative non-fiction have received special mentions in the Pushcart Prizes. Hamburger has taught creative writing at Columbia University, George Washington University, New York University, Brooklyn College, and the Stonecoast MFA Program. In addition to writing and reading, he is an avid tennis player and baker. He actually has a babka recipe published in a new children's book by Leslea Newman. Also, every year he throws a holiday cookie blowout and bakes thousands of cookies for family and friends. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Within seriousness, there's little room for play, but within play there's tremendous room for seriousness. It's through the act of serious play that wonderful ideas are born. Carrie Mae Weems is one of today's most influential and generous contemporary American artists, as devoted to her own craft as she is to introducing other artists into the world. Her photography and diverse visual media has won her numerous awards including the Rome Prize, a MacArthur genius grant, and four honorary doctorates, and she was even named one of the 100 most influential women of all time by Ebony magazine. In this episode, Weems explores the struggles artists must maintain to find balance and reach an audience, how the field cannot advance without the deep and profound inclusion of Black artists, and what the concept of “grace” means to her and her mother. References: Dawoud Bey The Black Photographers Annual Joe Crawford Roy DeCarava Anthony Barboza Ming Smith Langston Hughes's ‘Black Nativity' Cassandra Myth
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