Podcasts about Salmagundi

So why did Harris lose in 2024? For one very big reason, according to the progressive essayist Bill Deresiewicz: “because she represented the exhausted Democratic establishment”. This rotting establishment, Deresiewicz believes, is symbolized by both the collective denial of Biden's mental decline and by Harris' pathetically rudderless Presidential campaign. But there's a much more troubling problem with the Democratic party, he argues. It has become “the party of institutionalized liberalism, which is itself exhausted”. So how to reinvent American liberalism in the 2020's? How to make the left once again, in Deresiewicz words, “the locus of openness, playfulness, productive contention, experiment, excess, risk, shock, camp, mirth, mischief, irony and curiosity"? That's the question for all progressives in our MAGA/Woke age. 5 Key Takeaways * Deresiewicz believes the Democratic establishment and aligned media engaged in a "tacit cover-up" of Biden's condition and other major issues like crime, border policies, and pandemic missteps rather than addressing them honestly.* The liberal movement that began in the 1960s has become "exhausted" and the Democratic Party is now an uneasy alliance of establishment elites and working-class voters whose interests don't align well.* Progressive institutions suffer from a repressive intolerance characterized by "an unearned sense of moral superiority" and a fear of vitality that leads to excessive rules, bureaucracy, and speech codes.* While young conservatives are creating new movements with energy and creativity, the progressive establishment stifles innovation by purging anyone who "violates the code" or criticizes their side.* Rebuilding the left requires creating conditions for new ideas by ending censoriousness, embracing true courage that risks something real, and potentially building new institutions rather than trying to reform existing ones. Full Transcript Andrew Keen: Hello, everyone. It's the old question on this show, Keen on America, how to make sense of this bewildering, frustrating, exciting country in the wake, particularly of the last election. A couple of years ago, we had the CNN journalist who I rather like and admire, Jake Tapper, on the show. Arguing in a piece of fiction that he thinks, to make sense of America, we need to return to the 1970s. He had a thriller out a couple of years ago called All the Demons Are Here. But I wonder if Tapper's changed his mind on this. His latest book, which is a sensation, which he co-wrote with Alex Thompson, is Original Sin, President Biden's Decline, its Cover-up and His Disastrous Choice to Run Again. Tapper, I think, tells the truth about Biden, as the New York Times notes. It's a damning portrait of an enfeebled Biden protected by his inner circle. I would extend that, rather than his inner circle protected by an elite, perhaps a coastal elite of Democrats, unable or unwilling to come to terms with the fact that Biden was way, way past his shelf life. My guest today, William Deresiewicz—always get his last name wrong—it must be...William Deresiewicz: No, that was good. You got it.Andrew Keen: Probably because I'm anti-semitic. He has a new piece out called "Post-Election" which addresses much of the rottenness of the American progressive establishment in 2025. Bill, congratulations on the piece.William Deresiewicz: Thank you.Andrew Keen: Have you had a chance to look at this Tapper book or have you read about Original Sin?William Deresiewicz: Yeah, I read that piece. I read the piece that's on the screen and I've heard some people talking about it. And I mean, as you said, it's not just his inner circle. I don't want to blame Tapper. Tapper did the work. But one immediate reaction to the debate debacle was, where have the journalists been? For example, just to unfairly call one person out, but they're just so full of themselves, the New Yorker dripping with self-congratulations, especially in its centennial year, its boundless appetite for self-celebration—to quote something one of my students once said about Yale—they've got a guy named Evan Osnos, who's one of their regulars on their political...Andrew Keen: Yeah, and he's been on the show, Evan, and in fact, I rather like his, I was going to say his husband, his father, Peter Osnos, who's a very heavy-hitting ex-publisher. But anyway, go on. And Evan's quite a nice guy, personally.William Deresiewicz: I'm sure he's a nice guy, but the fact is he's not only a New Yorker journalist, but he wrote a book about Biden, which means that he's presumably theoretically well-sourced within Biden world. He didn't say anything. I mean, did he not know or did he know?Andrew Keen: Yeah, I agree. I mean you just don't want to ask, right? You don't know. But you're a journalist, so you're supposed to know. You're supposed to ask. So I'm sure you're right on Osnos. I mean, he was on the show, but all journalists are progressives, or at least all the journalists at the Times and the New Yorker and the Atlantic. And there seemed to be, as Jake Tapper is suggesting in this new book, and he was part of the cover-up, there seemed to be a cover-up on the part of the entire professional American journalist establishment, high-end establishment, to ignore the fact that the guy running for president or the president himself clearly had no idea of what was going on around him. It's just astonishing, isn't it? I mean, hindsight's always easy, of course, 2020 in retrospect, but it was obvious at the time. I made it clear whenever I spoke about Biden, that here was a guy clearly way out of his depth, that he shouldn't have been president, maybe shouldn't have been president in the first place, but whatever you think about his ideas, he clearly was way beyond his shelf date, a year or two into the presidency.William Deresiewicz: Yeah, but here's the thing, and it's one of the things I say in the post-election piece, but I'm certainly not the only person to say this. There was an at least tacit cover-up of Biden, of his condition, but the whole thing was a cover-up, meaning every major issue that the 2024 election was about—crime, at the border, woke excess, affordability. The whole strategy of not just the Democrats, but this media establishment that's aligned with them is to just pretend that it wasn't happening, to explain it away. And we can also throw in pandemic policy, right? Which people were still thinking about and all the missteps in pandemic policy. The strategy was effectively a cover-up. We're not gonna talk about it, or we're gonna gaslight you, or we're gonna make excuses. So is it a surprise that people don't trust these establishment institutions anymore? I mean, I don't trust them anymore and I want to trust them.Andrew Keen: Were there journalists? I mean, there were a handful of journalists telling the truth about Biden. Progressives, people on the left rather than conservatives.William Deresiewicz: Ezra Klein started to talk about it, I remember that. So yes, there were a handful, but it wasn't enough. And you know, I don't say this to take away from Ezra Klein what I just gave him with my right hand, take away with my left, but he was also the guy, as soon as the Kamala succession was effected, who was talking about how Kamala in recent months has been going from strength to strength and hasn't put a foot wrong and isn't she fantastic. So all credit to him for telling the truth about Biden, but it seems to me that he immediately pivoted to—I mean, I'm sure he thought he was telling the truth about Harris, but I didn't believe that for one second.Andrew Keen: Well, meanwhile, the lies about Harris or the mythology of Harris, the false—I mean, all mythology, I guess, is false—about Harris building again. Headline in Newsweek that Harris would beat Donald Trump if an election was held again. I mean I would probably beat—I would beat Trump if an election was held again, I can't even run for president. So anyone could beat Trump, given the situation. David Plouffe suggested that—I think he's quoted in the Tapper book—that Biden totally fucked us, but it suggests that somehow Harris was a coherent progressive candidate, which she wasn't.William Deresiewicz: She wasn't. First of all, I hadn't seen this poll that she would beat Trump. I mean, it's a meaningless poll, because...Andrew Keen: You could beat him, Bill, and no one can even pronounce your last name.William Deresiewicz: Nobody could say what would actually happen if there were a real election. It's easy enough to have a hypothetical poll. People often look much better in these kinds of hypothetical polls where there's no actual election than they do when it's time for an election. I mean, I think everyone except maybe David Plouffe understands that Harris should never have been a candidate—not just after Biden dropped out way too late, but ever, right? I mean the real problem with Biden running again is that he essentially saddled us with Harris. Instead of having a real primary campaign where we could have at least entertained the possibility of some competent people—you know, there are lots of governors. I mean, I'm a little, and maybe we'll get to this, I'm little skeptical that any normal democratic politician is going to end up looking good. But at least we do have a whole bunch of what seem to be competent governors, people with executive experience. And we never had a chance to entertain any of those people because this democratic establishment just keeps telling us who we're going to vote for. I mean, it's now three elections in a row—they forced Hillary on us, and then Biden. I'm not going to say they forced Biden on us although elements of it did. It probably was a good thing because he won and he may have been the only one who could have won. And then Harris—it's like reductio ad absurdum. These candidates they keep handing us keep getting worse and worse.Andrew Keen: But it's more than being worse. I mean, whatever one can say about Harris, she couldn't explain why she wanted to be president, which seems to me a disqualifier if you're running for president. The point, the broader point, which I think you bring out very well in the piece you write, and you and I are very much on the same page here, so I'm not going to criticize you in your post-election—William Deresiewicz: You can criticize me, Andrew, I love—Andrew Keen: I know I can criticize you, and I will, but not in this particular area—is that these people are the establishment. They're protecting a globalized world, they're the coast. I mean, in some ways, certainly the Bannonite analysis is right, and it's not surprising that they're borrowing from Lenin and the left is borrowing from Edmund Burke.William Deresiewicz: Yeah, I mean I think, and I think this is the real problem. I mean, part of what I say in the piece is that it just seems, maybe this is too organicist, but there just seems to be an exhaustion that the liberal impulse that started, you know, around the time I was born in 1964, and I cite the Dylan movie just because it's a picture of that time where you get a sense of the energy on the left, the dawning of all this exciting—Andrew Keen: You know that movie—and we've done a show on that movie—itself was critical I guess in a way of Dylan for not being political.William Deresiewicz: Well, but even leaving that aside, just the reminder you get of what that time felt like. That seems in the movie relatively accurate, that this new youth culture, the rights revolution, the counterculture, a new kind of impulse of liberalism and progressivism that was very powerful and strong and carried us through the 60s and 70s and then became the establishment and has just become completely exhausted now. So I just feel like it's just gotten to the end of its possibility. Gotten to the end of its life cycle, but also in a less sort of mystical way. And I think this is a structural problem that the Democrats have not been able to address for a long time, and I don't see how they're going to address it. The party is now the party, as you just said, of the establishment, uneasily wedded to a mainly non-white sort of working class, lower class, maybe somewhat middle class. So it's sort of this kind of hybrid beast, the two halves of which don't really fit together. The educated upper middle class, the professional managerial class that you and I are part of, and then sort of the average Black Latino female, white female voter who doesn't share the interests of that class. So what are you gonna do about that? How's that gonna work?Andrew Keen: And the thing that you've always given a lot of thought to, and it certainly comes out in this piece, is the intolerance of the Democratic Party. But it's an intolerance—it's not a sort of, and I don't like this word, it's not the fascist intolerance of the MAGA movement or of Trump. It's a repressive intolerance, it's this idea that we're always right and if you disagree with us, then there must be something wrong with you.William Deresiewicz: Yeah, right. It's this, at this point, completely unearned sense of moral superiority and intellectual superiority, which are not really very clearly distinguished in their mind, I think. And you know, they just reek of it and people hate it and it's understandable that they hate it. I mean, it's Hillary in a word. It's Hillary in a word and again, I'm wary of treading on this kind of ground, but I do think there's an element of—I mean, obviously Trump and his whole camp is very masculinist in a very repulsive way, but there is also a way to be maternalist in a repulsive way. It's this kind of maternal control. I think of it as the sushi mom voice where we're gonna explain to you in a calm way why you should listen to us and why we're going to control every move you make. And it's this fear—I mean what my piece is really about is this sort of quasi-Nietzschean argument for energy and vitality that's lacking on the left. And I think it's lacking because the left fears it. It fears sort of the chaos of the life force. So it just wants to shackle it in all of these rules and bureaucracy and speech codes and consent codes. It just feels lifeless. And I think everybody feels that.Andrew Keen: Yeah, and it's the inability to imagine you can be wrong. It's the moral greediness of some people, at least, who think of themselves on the left. Some people might be listening to this, thinking it's just these two old white guys who think themselves as progressives but are actually really conservative. And all this idea of nature is itself chilling, that it's a kind of anti-feminism.William Deresiewicz: Well, that's b******t. I mean, let me have a chance to respond. I mean I plead guilty to being an old white man—Andrew Keen: I mean you can't argue with that one.William Deresiewicz: I'm not arguing with it. But the whole point rests on this notion of positionality, like I'm an older white man, therefore I think this or I believe that, which I think is b******t to begin with because, you know, down the street there's another older white guy who believes the exact opposite of me, so what's the argument here? But leaving that aside, and whether I am or am not a progressive—okay, my ideal politician is Bernie Sanders, so I'll just leave it at that. The point is, I mean, one point is that feminism hasn't always been like this. Second wave feminism that started in the late sixties, when I was a little kid—there was a censorious aspect to it, but there was also this tremendous vitality. I mean I think of somebody like Andrea Dworkin—this is like, "f**k you" feminism. This is like, "I'm not only not gonna shave my legs, I'm gonna shave my armpits and I don't give a s**t what you think." And then the next generation when I was a young man was the Mary Gates, Camille Paglia, sex-positive power feminism which also had a different kind of vitality. So I don't think feminism has to be the feminism of the women's studies departments and of Hillary Clinton with "you can't say this" and "if you want to have sex with me you have to follow these 10 rules." I don't think anybody likes that.Andrew Keen: The deplorables!William Deresiewicz: Yes, yes, yes. Like I said, I don't just think that the enemies don't like it, and I don't really care what they think. I think the people on our side don't like it. Nobody is having fun on our side. It's boring. No one's having sex from what they tell me. The young—it just feels dead. And I think when there's no vitality, you also have no creative vitality. And I think the intellectual cul-de-sac that the left seems to be stuck in, where there are no new ideas, is related to that.Andrew Keen: Yeah, and I think the more I think about it, I think you're right, it's a generational war. All the action seems to be coming from old people, whether it's the Pelosis and the Bidens, or it's people like Richard Reeves making a fortune off books about worrying about young men or Jonathan Haidt writing about the anxious generation. Where are, to quote David Bowie, the young Americans? Why aren't they—I mean, Bill, you're in a way guilty of this. You made your name with your book, Excellent Sheep about the miseducation...William Deresiewicz: Yeah, so what am I guilty of exactly?Andrew Keen: I'm not saying you're all, but aren't you and Reeves and Haidt, you're all involved in this weird kind of generational war.William Deresiewicz: OK, let's pump the brakes here for a second. Where the young people are—I mean, obviously most people, even young people today, still vote for Democrats. But the young who seem to be exploring new things and having energy and excitement are on the right. And there was a piece—I'm gonna forget the name of the piece and the author—Daniel Oppenheimer had her on the podcast. I think it appeared in The Point. Young woman. Fairly recent college graduate, went to a convention of young republicans, I don't know what they call themselves, and also to democrats or liberals in quick succession and wrote a really good piece about it. I don't think she had ever written anything before or published anything before, but it got a lot of attention because she talked about the youthful vitality at this conservative gathering. And then she goes to the liberals and they're all gray-haired men like us. The one person who had anything interesting to say was Francis Fukuyama, who's in his 80s. She's making the point—this is the point—it's not a generational war, because there are young people on the right side of the spectrum who are doing interesting things. I mean, I don't like what they're doing, because I'm not a rightist, but they're interesting, they're different, they're new, there's excitement there, there's creativity there.Andrew Keen: But could one argue, Bill, that all these labels are meaningless and that whatever they're doing—I'm sure they're having more sex than young progressives, they're having more fun, they're able to make jokes, they are able, for better or worse, to change the system. Does it really matter whether they claim to be MAGA people or leftists? They're the ones who are driving change in the country.William Deresiewicz: Yes, they're the ones who are driving change in the country. The counter-cultural energy that was on the left in the sixties and seventies is now on the right. And it does matter because they are operating in the political sphere, have an effect in the political sphere, and they're unmistakably on the right. I mean, there are all these new weird species on the right—the trads and the neo-pagans and the alt-right and very sort of anti-capitalist conservatives or at least anti-corporate conservatives and all kinds of things that you would never have imagined five years ago. And again, it's not that I like these things. It's that they're new, there's ferment there. So stuff is coming out that is going to drive, is already driving the culture and therefore the politics forward. And as somebody who, yes, is progressive, it is endlessly frustrating to me that we have lost this kind of initiative, momentum, energy, creativity, to what used to be the stodgy old right. Now we're the stodgy old left.Andrew Keen: What do you want to go back to? I mean you brought up Dylan earlier. Do you just want to resurrect...William Deresiewicz: No, I don't.Andrew Keen: You know another one who comes to mind is another sort of bundle of contradictions, Bruce Springsteen. He recently talked about the corrupt, incompetent, and treasonous nature of Trump. I mean Springsteen's a billionaire. He even acknowledged that he mythologized his own working-class status. He's never spent more than an hour in a factory. He's never had a job. So aren't all the pigeons coming back to roost here? The fraud of men like Springsteen are merely being exposed and young people recognize it.William Deresiewicz: Well, I don't know about Springsteen in particular...Andrew Keen: Well, he's a big deal.William Deresiewicz: No, I know he's a big deal, and I love Springsteen. I listened to him on repeat when I was young, and I actually didn't know that he'd never worked in a factory, and I quite frankly don't care because he's an artist, and he made great art out of those experiences, whether they were his or not. But to address the real issue here, he is an old guy. It sounds like he's just—I mean, I'm sure he's sincere about it and I would agree with him about Trump. But to have people like Springsteen or Robert De Niro or George Clooney...Andrew Keen: Here it is.William Deresiewicz: Okay, yes, it's all to the point that these are old guys. So you asked me, do I want to go back? The whole point is I don't want to go back. I want to go forward. I'm not going to be the one to bring us forward because I'm older. And also, I don't think I was ever that kind of creative spirit, but I want to know why there isn't sort of youthful creativity given the fact that most young people do still vote for Democrats, but there's no youthful creativity on the left. Is it just that the—I want to be surprised is the point. I'm not calling for X, Y, or Z. I'm saying astonish me, right? Like Diaghilev said to Cocteau. Astonish me the way you did in the 60s and 70s. Show me something new. And I worry that it simply isn't possible on the left now, precisely because it's so locked down in this kind of establishment, censorious mode that there's no room for a new idea to come from anywhere.Andrew Keen: As it happens, you published this essay in Salmagundi—and that predates, if not even be pre-counterculture. How many years old is it? I think it started in '64. Yeah, so alongside your piece is an interesting piece from Adam Phillips about influence and anxiety. And he quotes Montaigne from "On Experience": "There is always room for a successor, even for ourselves, and a different way to proceed." Is the problem, Bill, that we haven't, we're not willing to leave the stage? I mean, Nancy Pelosi is a good example of this. Biden's a good example. In this Salmagundi piece, there's an essay from Martin Jay, who's 81 years old. I was a grad student in Berkeley in the 80s. Even at that point, he seemed old. Why are these people not able to leave the stage?William Deresiewicz: I am not going to necessarily sign on to that argument, and not just because I'm getting older. Biden...Andrew Keen: How old are you, by the way?William Deresiewicz: I'm 61. So you mentioned Pelosi. I would have been happy for Pelosi to remain in her position for as long as she wanted, because she was effective. It's not about how old you are. Although it can be, obviously as you get older you can become less effective like Joe Biden. I think there's room for the old and the young together if the old are saying valuable things and if the young are saying valuable things. It's not like there's a shortage of young voices on the left now. They're just not interesting voices. I mean, the one that comes immediately to mind that I'm more interested in is Ritchie Torres, who's this congressman who's a genuinely working-class Black congressman from the Bronx, unlike AOC, who grew up the daughter of an architect in Northern Westchester and went to a fancy private university, Boston University. So Ritchie Torres is not a doctrinaire leftist Democrat. And he seems to speak from a real self. Like he isn't just talking about boilerplate. I just feel like there isn't a lot of room for the Ritchie Torres. I think the system that produces democratic candidates militates against people like Ritchie Torres. And that's what I am talking about.Andrew Keen: In the essay, you write about Andy Mills, who was one of the pioneers of the New York Times podcast. He got thrown out of The New York Times for various offenses. It's one of the problems with the left—they've, rather like the Stalinists in the 1930s, purged all the energy out of themselves. Anyone of any originality has been thrown out for one reason or another.William Deresiewicz: Well, because it's always the same reason, because they violate the code. I mean, yes, this is one of the main problems. And to go back to where we started with the journalists, it seems like the rationale for the cover-up, all the cover-ups was, "we can't say anything bad about our side. We can't point out any of the flaws because that's going to help the bad guys." So if anybody breaks ranks, we're going to cancel them. We're going to purge them. I mean, any idiot understands that that's a very short-term strategy. You need the possibility of self-criticism and self-difference. I mean that's the thing—you asked me about old people leaving the stage, but the quotation from Montaigne said, "there's always room for a successor, even ourselves." So this is about the possibility of continuous self-reinvention. Whatever you want to say about Dylan, some people like him, some don't, he's done that. Bowie's done that. This was sort of our idea, like you're constantly reinventing yourself, but this is what we don't have.Andrew Keen: Yeah, actually, I read the quote the wrong way, that we need to reinvent ourselves. Bowie is a very good example if one acknowledges, and Dylan of course, one's own fundamental plasticity. And that's another problem with the progressive movement—they don't think of the human condition as a plastic one.William Deresiewicz: That's interesting. I mean, in one respect, I think they think of it as too plastic, right? This is sort of the blank slate fallacy that we can make—there's no such thing as human nature and we can reshape it as we wish. But at the same time, they've created a situation, and this really is what Excellent Sheep is about, where they're turning out the same human product over and over.Andrew Keen: But in that sense, then, the excellent sheep you write about at Yale, they've all ended up now as neo-liberal, neo-conservative, so they're just rebelling...William Deresiewicz: No, they haven't. No, they are the backbone of this soggy liberal progressive establishment. A lot of them are. I mean, why is, you know, even Wall Street and Silicon Valley sort of by preference liberal? It's because they're full of these kinds of elite college graduates who have been trained to be liberal.Andrew Keen: So what are we to make of the Musk-Thiel, particularly the Musk phenomenon? I mean, certainly Thiel, very much influenced by Rand, who herself, of course, was about as deeply Nietzschean as you can get. Why isn't Thiel and Musk just a model of the virility, the vitality of the early 21st century? You might not like what they say, but they're full of vitality.William Deresiewicz: It's interesting, there's a place in my piece where I say that the liberal can't accept the idea that a bad person can do great things. And one of my examples was Elon Musk. And the other one—Andrew Keen: Zuckerberg.William Deresiewicz: But Musk is not in the piece, because I wrote the piece before the inauguration and they asked me to change it because of what Musk was doing. And even I was beginning to get a little queasy just because the association with Musk is now different. It's now DOGE. But Musk, who I've always hated, I've never liked the guy, even when liberals loved him for making electric cars. He is an example, at least the pre-DOGE Musk, of a horrible human being with incredible vitality who's done great things, whether you like it or not. And I want—I mean, this is the energy that I want to harness for our team.Andrew Keen: I actually mostly agreed with your piece, but I didn't agree with that because I think most progressives believe that actually, the Zuckerbergs and the Musks, by doing, by being so successful, by becoming multi-billionaires, are morally a bit dodgy. I mean, I don't know where you get that.William Deresiewicz: That's exactly the point. But I think what they do is when they don't like somebody, they just negate the idea that they're great. "Well, he's just not really doing anything that great." You disagree.Andrew Keen: So what about ideas, Bill? Where is there room to rebuild the left? I take your points, and I don't think many people would actually disagree with you. Where does the left, if there's such a term anymore, need to go out on a limb, break some eggs, offend some people, but nonetheless rebuild itself? It's not going back to Bernie Sanders and some sort of nostalgic New Deal.William Deresiewicz: No, no, I agree. So this is, this may be unsatisfying, but this is what I'm saying. If there were specific new ideas that I thought the left should embrace, I would have said so. What I'm seeing is the left needs, to begin with, to create the conditions from which new ideas can come. So I mean, we've been talking about a lot of it. The censoriousness needs to go.I would also say—actually, I talk about this also—you know, maybe you would consider yourself part of, I don't know. There's this whole sort of heterodox realm of people who did dare to violate the progressive pieties and say, "maybe the pandemic response isn't going so well; maybe the Black Lives Matter protests did have a lot of violence"—maybe all the things, right? And they were all driven out from 2020 and so forth. A lot of them were people who started on the left and would even still describe themselves as liberal, would never vote for a Republican. So these people are out there. They're just, they don't have a voice within the Democratic camp because the orthodoxy continues to be enforced.So that's what I'm saying. You've got to start with the structural conditions. And one of them may be that we need to get—I don't even know that these institutions can reform themselves, whether it's the Times or the New Yorker or the Ivy League. And it may be that we need to build new institutions, which is also something that's happening. I mean, it's something that's happening in the realm of publishing and journalism on Substack. But again, they're still marginalized because that liberal establishment does not—it's not that old people don't wanna give up power, it's that the established people don't want to give up the power. I mean Harris is, you know, she's like my age. So the establishment as embodied by the Times, the New Yorker, the Ivy League, foundations, the think tanks, the Democratic Party establishment—they don't want to move aside. But it's so obviously clear at this point that they are not the solution. They're not the solutions.Andrew Keen: What about the so-called resistance? I mean, a lot of people were deeply disappointed by the response of law firms, maybe even universities, the democratic party as we noted is pretty much irrelevant. Is it possible for the left to rebuild itself by a kind of self-sacrifice, by lawyers who say "I don't care what you think of me, I'm simply against you" and to work together, or university presidents who will take massive pay cuts and take on MAGA/Trump world?William Deresiewicz: Yeah, I mean, I don't know if this is going to be the solution to the left rebuilding itself, but I think it has to happen, not just because it has to happen for policy reasons, but I mean you need to start by finding your courage again. I'm not going to say your testicles because that's gendered, but you need to start—I mean the law firms, maybe that's a little, people have said, well, it's different because they're in a competitive business with each other, but why did the university—I mean I'm a Columbia alumnus. I could not believe that Columbia immediately caved.It occurs to me as we're talking that these are people, university presidents who have learned cowardice. This is how they got to be where they got and how they keep their jobs. They've learned to yield in the face of the demands of students, the demands of alumni, the demands of donors, maybe the demands of faculty. They don't know how to be courageous anymore. And as much as I have lots of reasons, including personal ones, to hate Harvard University, good for them. Somebody finally stood up, and I was really glad to see that. So yeah, I think this would be one good way to start.Andrew Keen: Courage, in other words, is the beginning.William Deresiewicz: Courage is the beginning.Andrew Keen: But not a courage that takes itself too seriously.William Deresiewicz: I mean, you know, sure. I mean I don't really care how seriously—not the self-referential courage. Real courage, which means you're really risking losing something. That's what it means.Andrew Keen: And how can you and I then manifest this courage?William Deresiewicz: You know, you made me listen to Jocelyn Benson.Andrew Keen: Oh, yeah, I forgot and I actually I have to admit I saw that on the email and then I forgot who Jocelyn Benson is, which is probably reflects the fact that she didn't say very much.William Deresiewicz: For those of you who don't know what we're talking about, she's the Secretary of State of Michigan. She's running for governor.Andrew Keen: Oh yeah, and she was absolutely diabolical. She was on the show, I thought.William Deresiewicz: She wrote a book called Purposeful Warrior, and the whole interview was just this salad of cliches. Purpose, warrior, grit, authenticity. And part of, I mentioned her partly because she talked about courage in a way that was complete nonsense.Andrew Keen: Real courage, yeah, real courage. I remember her now. Yeah, yeah.William Deresiewicz: Yeah, she got made into a martyr because she got threatened after the 2020 election.Andrew Keen: Well, lots to think about, Bill. Very good conversation, as always. I think we need to get rid of old white men like you and I, but what do I know?William Deresiewicz: I mean, I am going to keep a death grip on my position, which is no good whatsoever.Andrew Keen: As I half-joked, Bill, maybe you should have called the piece "Post-Erection." If you can't get an erection, then you certainly shouldn't be in public office. That would have meant that Joe Biden would have had to have retired immediately.William Deresiewicz: I'm looking forward to seeing the test you devise to determine whether people meet your criterion.Andrew Keen: Yeah, maybe it will be a public one. Bread and circuses, bread and elections. We shall see, Bill, I'm not even going to do your last name because I got it right once. I'm never going to say it again. Bill, congratulations on the piece "Post-Election," not "Post-Erection," and we will talk again. This story is going to run and run. We will talk again in the not too distant future. Thank you so much.William Deresiewicz: That's good.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Thom Francis introduces us to poets Susan Kress and Will Nixon. Both of whom were finalists in the 2025 Stephen A. DiBiase Poetry Prize Contest. -------- The 2025 Stephen A. DiBiase Poetry Prize winners and finalists were recently announced with many poets from the Capital Region and Hudson Valley included in the list. The DiBiase contest was created in 2015 to offer a more inclusive and welcoming alternative to traditional poetry competitions. There are no entry fees, no line or page limits, and no restrictions on subject matter, form, publication history, or age, making it especially appealing to younger poets. Each year, approximately $2,500 in prize money is awarded, with $500 going to the first-place winner and the rest distributed among top finishers. Last week we heard from finalist Howard Kogan, who shared his poem, “Mourning Becomes Her.” This week we will hear from Hudson Valley Writers Guild members Susan Kress and Will Nixon. First up is Susan Kress. Her poem “Fire-Proof Box” was an Honorable Mention in this years contest. Before she reads her poem, she tells me more about the inspiration of the piece. Susan Kress was born and educated in England and now lives in Saratoga Springs, NY, having taught at Skidmore College for many years. Her poems appear in Nimrod International, The Southern Review, New Ohio Review, Salmagundi, New Letters, South Florida Poetry Journal, Valparaiso Poetry Review, Third Wednesday, Gyroscope Review, La Presa, and other journals. The next poet up to the mic is Will Nixon who will read his poem “Orpheum.” Will Nixon is the author of the poetry collections, “My Late Mother as a Ruffed Grouse” and “Love in the City of Grudges.” With Michael Perkins he is the co-author of “Walking Woodstock: Journeys into the Wild Heart of America's Most Famous Small Town.” He has also written “The Pocket Guide to Woodstock.” He now lives in Kingston, NY. For more information on the Stephen A DiBiase Poetry Prize and to read the poems from the winners, finalists, and honorable mentions, go to https://dibiasepoetry.com.

My guest on this episode of the podcast is William Deresiewicz, author of a number of books, most notably Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life, and the Substack newsletter Derisivist.Bill and I end up spending a fair amount of time discussing an as-yet-untitled essay of his that's forthcoming in Salmagundi, and at what I'd say are the two poles of it. On the one hand, it's a lament for the decline of the left, which he argues has made itself the enemy of cultural vitality. On the other hand, it's an initial sketch of what he calls the "not left," which is some kind of loose constellation of people (including Bill and me) who still take their policy bearings from the left but who feel profoundly alienated from its current cultural and institutional manifestations. He writes:"It comes to this: the left has made itself the enemy of the life force—of vitality, of eros. It fears it and it wants to shackle it. It feels, with a deep, instinctive revulsion, that it is incompatible with goodness, with morality. So it subordinates it to morality, or rewrites it in its terms. … The not-left, like the left in the 60s and 70s, is the locus of openness, playfulness, productive contention, experiment, excess, risk, shock, camp, mirth, mischief, irony, and curiosity. As opposed to solemnity, self-censorship, defensiveness, literalism, and prudery. The left is 'no'; the not-left is 'yes.' The left is 'post-,' the prefix of imaginative depletion. The not-left is 'neo-,' the sign of new beginnings."I thought of waiting to send this out until his essay was available, but I decided not to. Our conversation stands on its own, and it also spends a lot of time on other topics, including Bill's childhood in a modern Orthodox Jewish home, his early efforts to be a good boy and pursue a career in the sciences, his transition to English literature, and then his eventual break from academia. And much more.It's a great conversation. Bill and I have been consuming a lot of the same stuff over the past few years, and the result is a shared frame of reference that allows us to bounce and spark off each other in a pretty ideal way. You can feel us arriving at new ideas, and nuancing old ones, in the moment, which is what the interview-style podcast achieves at its best.Essays and podcast episodes we mention during the conversation, in addition to Bill's forthcoming essay, are:Last Boys at the Beginning of History: Thymos comes to the capitalby Mana AfsariWhy I Left Academia (Since You're Wondering): I didn't have a choice. Thousands of people are driven out of the profession each year.by William DeresiewiczWhat Was the Post-Left?Geoff Shullenberger and I autopsy a movement, and moment, in timeNuance: A Love Story: My affair with the intellectual dark webBy Meghan DaumThese Hollow Halls: Whither the Academy, journalism, Substack, and the rest of it.I talk to Julianne Werlin and Sam Kahn about the state of the Academy and other things.Gatecrashers: A podcast about the hidden history of Jews and the Ivy LeagueBy Mark Oppenheimer.Show notes:00:00 Introduction and Welcome00:45 Early Life and Education01:15 Graduate School Challenges01:59 Career Beginnings and Dance Criticism02:26 Teaching at Yale04:04 Leaving Academia04:59 Transition to Writing06:46 Staying Relevant in Culture09:04 Podcasting and Media Consumption22:13 Critique of Elite Education32:24 The Pressure of High Achievement33:44 Navigating Anxiety in a Competitive World34:33 Personal Reflections and Self-Selection36:29 The Fascination with Emptiness39:36 The Elite and Their Inner Lives50:59 Jewish Intellectualism and Cultural Influence56:43 The Role of Physical and Virtual Intellectual Communities01:00:24 Exploring Jewish Identity and Continuity01:07:39 Concluding Thoughts and Future Plans Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Thom Francis introduces us to Mary Kathryn Jablonski who was the featured reader at the Poets Speak Loud open mic at McGeary's on November 25, 2019. Visual artist/poet Mary Kathryn Jablonski has been a contributor at Numero Cinq magazine and is author of the poetry chapbook “To the Husband I Have Not Yet Met” (A.P.D. Press, 2008) and the 2019 book of poems, “Sugar Maker Moon,” from Dos Madres Press (Loveland, Ohio). Her poems and award-winning collaborative video/poems have appeared in numerous literary journals, exhibitions, screenings and film festivals, including the Atticus Review, Beloit Poetry Journal, Poetry Film Live (UK), Poetry Ireland Review, Quarterly West, and Salmagundi, among others. She has worked as a gallerist for over 15 years in upstate NY and lectures on visual poetry. She has recently been named a Senior Editor in Visual Arts at Tupelo Quarterly online literary/arts journal, and her artwork has been exhibited throughout the Northeast U.S. and is held in public and private collections.

Howard Fishman is a regular contributor to The New Yorker and The New York Times, where he has published essays on music, film, theater, literature, travel, and culture. His bylines have also appeared in the The Boston Glove, Rolling Stone, The Telegraph, Vanity Fair, The Washington Post, Artforum, San Francisco Chronicle, Mojo, The Village Voice, Jazziz, and Salmagundi. His play, A Star Has Burnt My Eye, was a New York Times “Critics Pick.” As a performing songwriter and bandleader, Fishman has toured internationally as a headlining artist for over two decades. He has released eleven albums to date, and is the producer of the album Connie's Piano Songs: The Art Songs of Elizabeth “Connie” Converse. His book, To Anyone Who Ever Asks: The Life, Music, and Mystery of Connie Converse, was shortlisted for the Plutarch Award for Best Biography of 2023. To Anyone Who Ever Asks The mysterious true story of Connie Converse—a mid-century New York City songwriter, singer, and composer whose haunting music never found broad recognition—and one writer's quest to understand her life. This is the mesmerizing story of an enigmatic life. When musician and New Yorker contributor Howard Fishman first heard Connie Converse's voice on a recording, he was convinced she could not be real. Her recordings were too good not to know, and too out of place for the 1950s to make sense—a singer who seemed to bridge the gap between traditional Americana (country, blues, folk, jazz, and gospel), the Great American Songbook, and the singer-songwriter movement that exploded a decade later with Bob Dylan and Joni Mitchell. And then there was the bizarre legend about Connie Converse that had become the prevailing narrative of her life: that in 1974, at the age of fifty, she simply drove off one day and was never heard from again. Could this have been true? Who was Connie Converse, really? Connie Converse, Schenectady, NY, 1955 Supported by a dozen years of research, travel to everywhere she lived, and hundreds of extensive interviews, Fishman approaches Converse's story as both a fan and a journalist, and expertly weaves a narrative of her life and music, and of how it has come to speak to him as both an artist and a person. Ultimately, he places her in the canon as a significant outsider artist, a missing link between a now old-fashioned kind of American music and the reflective, complex, arresting music that transformed the 1960s and music forever. But this is also a story of deeply secretive New England traditions, of a woman who fiercely strove for independence and success when the odds were against her; a story that includes suicide, mental illness, statistics, siblings, oil paintings, acoustic guitars, cross-country road trips, 1950s Greenwich Village, an America marching into the Cold War, questions about sexuality, and visionary, forward thinking about race, class, and conflict. It's a story and subject that is by turn hopeful, inspiring, melancholy, and chilling. Credits for Talkin' Like You and Birthday song excerpt: The Musick Group. Age of Noon: Produced by Howard Fishman.

Jordan Elgrably in conversation with Sarah AlKahly-Mills, with readings from both authors. City Lights celebrates the publication of "Stories from the Center of the World: New Middle East Fiction," edited by Jordan Elgrably, published by City Lights Books. You can purchase copies directly from City Lights here: https://citylights.com/stories-from-the-center-of-the-world/ "Stories from the Center of the World" gathers new writing from 25 emerging and established writers of Middle Eastern and North African origins, offering a unique collection of voices and viewpoints that illuminate life in the global Arab/Muslim world. The authors included in the book come from a wide range of cultures and countries, including Palestine, Syria, Pakistan, Iran, Lebanon, Egypt, and Morocco. In “Asha and Haaji,” Hanif Kureishi takes up the cause of outsiders who become uprooted when war or disaster strikes and they flee for safe haven. In Nektaria Anastasiadou‘s “The Location of the Soul According to Benyamin Alhadeff,” two students in Istanbul from different classes — and religions that have often been at odds with one another — believe they can overcome all obstacles. MK Harb‘s story, “Counter Strike,” is about queer love among Beiruti adolescents; and Salar Abdoh‘s “The Long Walk of the Martyrs” invites us into the world of former militants, fighters who fought ISIS or Daesh in Iraq and Syria, who are having a hard time readjusting to civilian life. In “Eleazar,” Karim Kattan tells an unexpected Palestinian story in which the usual antagonists — Israeli occupation forces — are mostly absent, while another malevolent force seems to overtake an unsuspecting family. Omar El Akkad‘s “The Icarist” is a coming-of-age story about the underworld in which illegal immigrants are forced to live, and what happens when one dares to break away. Contributors include: Salar Abdoh, Leila Aboulela, Farah Ahamed, Omar El Akkad, Sarah AlKahly-Mills, Nektaria Anastasiadou, Amany Kamal Eldin, Jordan Elgrably, Omar Foda, May Haddad, Danial Haghighi, Malu Halasa, MK Harb, Alireza Iranmehr, Karim Kattan, Hanif Kureishi, Ahmed Salah Al-Mahdi, Diary Marif, Tariq Mehmood, Sahar Mustafah, Mohammed Al-Naas, Ahmed Naji, Mai Al-Nakib, Abdellah Taia, and Natasha Tynes. Jordan Elgrably is a Franco-American and Moroccan writer and translator, whose stories and creative nonfiction have appeared in numerous anthologies and reviews, including Apulée, Salmagundi, and The Paris Review. Editor-in-chief and founder of The Markaz Review, he is the cofounder and former director of the Levantine Cultural Center/The Markaz in Los Angeles (2001-2020), and producer of the stand-up comedy show “The Sultans of Satire” (2005-2017) and hundreds of other public programs. He is based in Montpellier, France and California. Sarah AlKahly-Mills is a Lebanese-American writer. Her story “The Salamander” is included in the new book "Stories from the Center of the World: New Middle East Fiction," edited by Jordan Elgrably, and just published by City Lights. Her fiction, poetry, book reviews, and essays have appeared in publications including Litro Magazine, Ink and Oil, the Los Angeles Review of Books, Michigan Quarterly Review, PopMatters, Al-Fanar Media, Middle East Eye, and various university journals. Born in Burbank, CA, she now lives in Rome, Italy. Originally hosted live in City Lights' Poetry Room on Thursday, May 9, 2024. Hosted by Peter Maravelis. Made possible by support from the City Lights Foundation cosponsored with Golden Thread Productions. citylights.com/foundation

Weekly Shoutout: Jim Clayton's latest album, LOOK OUT! -- Hi there, Today I am so excited to be arts calling author Merrill J. Gerber! About our guest: Merrill Joan Gerber has written thirty books, including The Kingdom of Brooklyn, winner of the Ribalow Award from Hadassah Magazine, and King of the World, winner of the Pushcart Editors' Book Award. Her fiction has been published in the New Yorker, the Sewanee Review, the Atlantic, Mademoiselle, and Redbook, and her essays in the American Scholar, Salmagundi, and Commentary. She has won an O. Henry Award, a Best American Essays award, and a Wallace Stegner fiction fellowship to Stanford University. She retired in 2020 after teaching writing at the California Institute of Technology for thirty-two years. Her literary archive is now at the Yale Beinecke Rare Book Library. Thanks for this wonderful conversation, Merrill! All the best! -- REVELATION AT THE FOOD BANK, now available from Sagging Meniscus Press! https://www.saggingmeniscus.com/catalog/revelation_at_the_food_bank/ ABOUT REVELATION AT THE FOOD BANK: These powerful essays share critical moments of a writer's life: scenes from sixty years of passionate married love; suicides faced and suicide contemplated; trauma at the DMV; a night lost searching for a harpsichord in the mountains of Florence, Italy; the tale of a beloved cousin whose plane is shot down by Japanese Zeros; and a precious friendship between two women writers derailed by the poisons of religion and politics. In the titular essay (included in Best American Essays 2023) a food bank, assuaging the pandemic's terrors with gifts of food and prayers, becomes a portal for intimate confidences entrusted to us by a voice of unspoiled authenticity and perennial vigor. NOTICES: “Often hilarious, deeply moving and warmly engaging, Merrill Joan Gerber's collection of memoirist essays is delightful reading. ‘I have a lot to say from my own mouth'—so Gerber confides in her readers with admirable candor and enviable chutzpah. There is much here that is unnervingly intimate—close-ups of a very long marriage, painful memories of a brother-in-law who was abusive to his family before taking his own life, the disappointments as well as the rewards of an intense friendship with a famous woman writer embittered by religion and politics—all of it narrated in Merrill Joan Gerber's distinctive voice.” —Joyce Carol Oates, author of Zero-Sum “Written from her deepest truths, these intimate essays can be heartbreaking, maybe because we see ourselves in each of them. But they are told with such humor, such delicacy, that we close the book sighing, Yes, this is life! And this is why Merrill Joan Gerber has been one of my favorites for decades.” —Judy Blume, author of Are You There God? It's Me, Margaret “Uncommonly candid, honest, emotionally precise; irresistibly scrappy, edgy, visceral. Sentence by sentence, one of the best collections of personal essays I've read in years.” —Robert Atwan, Series Editor, The Best American Essays " ‘Revelation at the Food Bank', the essay that anchors Merrill Joan Gerber's collection, gives voice to the widespread rage of the covid and post-covid era. If Gerber's anger is universal, her expression of it is wholly her own—brutally honest, transgressive and at times hilarious. The subsequent ten pieces, including a contentious exchange with Cynthia Ozick on the subject of Jewish identity, present in kaleidoscopic form the complexity of her art.” —Joan Givner, author of Playing Sarah Bernhardt “Merrill Gerber's new collection of essays adds up to a rich record of twentieth-century literary life, largely epistolary, in a period when epistles were epistles, not faxes, emails, texts or DMs. Closer to the present, she addresses the way we live now with a fine blend of pathos and wit, an exact intuition for the telling and well-timed detail, and all the freshness she must have had when she first picked up her stylus long ago.” —Madison Smartt Bell, author of The Witch of Matongé “Merrill Joan Gerber is one of those fortunate writers on whom nothing is lost. Every encounter, every venture into the world leaves deep traces, which she recreates for her readers in exquisitely wry and wise language. Revelation at the Food Bank is rooted in intimacies, and yet touches on universal experience.” —Lynne Sharon Schwartz, author of Truthtelling: Stories, Fables, Glimpses “There are books that can be put together only after the author has turned eighty. Revelation At The Food Bank is one of them. Merrill Gerber's language—hot, bright, bitter—as applied to marriage and the writing life is the work of one who has nothing to lose. Thus, her memoir is exciting, brutally honest, above all memorable.” —Vivian Gornick, author of Taking a Long Look: Essays on Culture, Literature, and Feminism in Our Time “Novelist Gerber (Beauty and the Breast) brings together intimate personal essays in this stirring compendium. The hilarious title essay weaves an account of how Gerber found unexpected community at a church's food pantry ('They give me gifts, they welcome me…. I'm a Jewish girl, but I've never known the rewards of religion. Is it too late?') with reflections on the small annoyances that accumulated over her 62-year marriage ('Why does he put so much cream cheese on his bagel?')…. Gerber is a witty and astute observer with a keen eye for detail…. Elevated by Gerber's wry voice and crystalline prose, this impresses.” —Publishers Weekly (starred review) -- Arts Calling is produced by Jaime Alejandro (cruzfolio.com). HOW TO SUPPORT ARTS CALLING: PLEASE CONSIDER LEAVING A REVIEW, OR SHARING THIS EPISODE WITH A FRIEND! YOUR SUPPORT TRULY MAKES A DIFFERENCE, AND I CAN'T THANK YOU ENOUGH FOR TAKING THE TIME TO LISTEN. Much love, j

Robert Boyers founded the quarterly Salmagundi in 1965 and has been its editor in chief ever since. He's the author of 12 books, including most recently Maestros Monsters: Days & Nights with Sontag and Steiner and before that The Tyranny of Virtue: Identity, The Academy and the Hunt for Political Heresies. Besides teaching at Skidmore College, he directs the New York State Summer Writers Institute. Salmagundi rightly prides itself on hosting wide-ranging, inquisitive discussions of major topics involving race, gender, literature, psychology and so much more. This discussion goes in depth on four entries from the magazine. First up: “Talking Race Matters: A Conversation with John McWhorter & Thomas Chatterton Williams” explores the limits of racial essentialism as well as total assimilation that risks denying what is unique about the Black perspective and experience. A second piece is Elizabeth Benedict's essay, “What's the Matter with Sex?” It tackles how far the influence of pornography has gone (astray) as a training ground that leads young men into often degrading behavior to the women they are intimate with, including the use of choking as a form of eroticism. “The Failure of Censorship” by Adam Phillips looks at how our desires endanger us and yet at the same time to deny them denies aspects of ourselves. When is and isn't self-censorship fruitful? Finally, Salmagundi hosted a symposium called “Can the American Meritocracy Get Religion?” Five writers are responding to an editorial by Ross Douthat in the New York Times. All found Doughat's views too narrow or incoherent to be persuasive. Dan Hill, PhD, is the author of ten books and leads Sensory Logic, Inc. To check out his related “Dan Hill's EQ Spotlight” blog, visit this site. 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

Robert Boyers founded the quarterly Salmagundi in 1965 and has been its editor in chief ever since. He's the author of 12 books, including most recently Maestros Monsters: Days & Nights with Sontag and Steiner and before that The Tyranny of Virtue: Identity, The Academy and the Hunt for Political Heresies. Besides teaching at Skidmore College, he directs the New York State Summer Writers Institute. Salmagundi rightly prides itself on hosting wide-ranging, inquisitive discussions of major topics involving race, gender, literature, psychology and so much more. This discussion goes in depth on four entries from the magazine. First up: “Talking Race Matters: A Conversation with John McWhorter & Thomas Chatterton Williams” explores the limits of racial essentialism as well as total assimilation that risks denying what is unique about the Black perspective and experience. A second piece is Elizabeth Benedict's essay, “What's the Matter with Sex?” It tackles how far the influence of pornography has gone (astray) as a training ground that leads young men into often degrading behavior to the women they are intimate with, including the use of choking as a form of eroticism. “The Failure of Censorship” by Adam Phillips looks at how our desires endanger us and yet at the same time to deny them denies aspects of ourselves. When is and isn't self-censorship fruitful? Finally, Salmagundi hosted a symposium called “Can the American Meritocracy Get Religion?” Five writers are responding to an editorial by Ross Douthat in the New York Times. All found Doughat's views too narrow or incoherent to be persuasive. Dan Hill, PhD, is the author of ten books and leads Sensory Logic, Inc. To check out his related “Dan Hill's EQ Spotlight” blog, visit this site. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Hi Everyone, We're a little late with this episode and it's all my fault! As I mentioned in my May 1st blog post (sign up here for updates), for the first time in four years, I conducted an amazing interview with Sheila Kohler and forgot to hit record on Zoom. Sheila--the most gracious person on Earth--forgave me for wasting 45 minutes of her time and agreed to re-record the episode. Thank you to Sheila for sitting down with me twice! After I recovered from the shame, I realized this might be a great boon for readers. I loved Cracks—the short story, the novel, and the movie! You will find links to all three below. It was fascinating to talk about Sheila's adaptation from short story to novel and to hear about the making of the movie and the decision to set the movie in England rather than South Africa. I hope you have had time to read the short story and the novel. What did you think of the movie? Let me know if you have any follow-up questions or comments. I would love to hear. Here are the links: Content Warning: Sexual Assault Cracks, the short story, by Sheila Kohler Cracks, The Novel by Sheila Kohler, available at Bookshop and Amazon. Cracks, The Movie In other news... I am taking a sabbatical from the podcast this summer to rest, regroup, and figure out what direction to take this show in in the future. I love doing it, but every now and then, I think it's a good idea to reevaluate and hone in on what has been valuable and what parts need to go. My first guest in the fall is Tim Tomlinson. Although I will be talking to him about one of his short stories, he has a new book coming out this month. It looks terrific! Check out kellyfordon.com for a picture of the cover and publication information from Nirala. Cheers! Kelly Sheila Kohler Bio: Sheila Kohler was born in Johannesburg, South Africa, the younger of two girls. Upon matriculation at 17 from Saint Andrews, with a distinction in history (1958), she left the country for Europe. She lived for 15 years in Paris, where she married, did her undergraduate degree in literature at the Sorbonne, and a graduate degree in psychology at the Institut Catholique. After raising her three girls, she moved to the USA in 1981, and did an MFA in writing at Columbia. In the summer of 1987, her first published story, “The Mountain,” came out in “The Quarterly” and received an O.Henry prize and was published in the O.Henry Prize Stories of 1988. It also became the first chapter in her first novel, “The Perfect Place,” which was published by Knopf the next year. Knopf also published the first volume of her short stories, “Miracles in America,” in 1990. Kohler has won two O.Henry prizes for “The Mountain” 1988 and “The Transitional Object” 2008. She has been short-listed in the O.Henry Prize Stories for three years running: in 1999 for the story, “Africans”; in 2000 for “Casualty,” which had appeared in the Ontario Review; and 2001 for “Death in Rome,” a story which had appeared in The Antioch Review. “Casualty” was also included in the list of distinguished stories in The Best American Short Stories of 2001. In 1994 she published a second novel, “The House on R Street,” also with Knopf, about which Patrick McGrath said, in “The New York Times Book Review: ” “Sheila Kohler has achieved in this short novel a remarkable atmosphere, a fine delicate fusion of period, society and climate.” In 1998 she published a short story, “Africans,” in Story Magazine, which was chosen for the Best American Short Stories of 1999, was read and recorded at Symphony Space and at The American Repertory Theatre in Boston and was translated into Japanese. It was also included in her second collection of stories,” One Girl,” published by Helicon Nine, which won the Willa Cather Prize in 1998 judged by William Gass. In 1999 she published her third novel, “Cracks,” with Zoland, which received a starred review from Kirkus, was nominated for an Impac award in 2001, and was chosen one of the best books of the year by Newsday and by Library Journal.” Cracks” also came out with Bloomsbury in England, was translated into French and Dutch, and will come out in Hebrew. It has been optioned six times by Killer films and Working Track 2. The film premiered at the Toronto Film Festival in September, 2009, and at the London film festival and came out here in the summer of 2010 and is now on Netflix. It is directed by Jordan Scott, with Eva Green in the role of Miss G. In 2000 Kohler received the Smart Family Foundation Prize for “Underworld,” a story published in the October “Yale Review.” In 2001 she published her fourth novel,” The Children of Pithiviers,” with Zoland, a novel about the concentration camps during the Vicky Period in France in Pithiviers and Beaune la Rolande. In 2003 she was awarded a fellowship at the Dorothy and Lewis B. Cullman Institute to work on a historical novel based on the life on the Marquise de la Tour du Pin, a French aristocrat who escaped the Terror by bringing her family to Albany, New York. Also that year she published her third volume of short stories, “Stories from Another World” with the Ontario Review Press. She won the Antioch Review Prize in 2004 for work in that magazine. Both “ The Perfect Place” and “Miracles in America” came out in England with Jonathan Cape and in paperback with Vintage International. “The Perfect Place” was translated into French, German, Japanese, and Portuguese. Her fifth novel, “Crossways,” came out in October, 2004, also, with the Ontario Review Press edited by Raymond Smith and Joyce Carol Oates. It received a starred Kirkus Review and is out in paperback with the Other Press as well as “The Perfect Place.” Kohler has published essays in The Boston Globe, Salmagundi (summer 2004, 2009), The Bellevue Literary magazine, and O Magazine,”The Heart Speaks” ( May 2004), “What Happy Ever After Really Looks Like” (2008) and reviews in The New Leader and Bomb as well as essays in The American Scholar in 2014 and 2015. Kohler began teaching at The Writer's Voice in 1990, going on from there to teach at SUNY Purchase, Sarah Lawrence, Colgate, CCNY , Bennington and Columbia. She has taught creative writing at Princeton since 2008 and now teaches freshman seminars there . Sheila's sixth novel, “Bluebird or the Invention of Happiness” was published in 2007, and the paperback was published with Berkely in 2008. “The Transitional Object” in Boulevard won an O.Henry prize and is included in the 2008 volume. Her tenth book, “Becoming Jane Eyre” came out with Viking Penguin in December, 2009, and was a New York Times editor's pick. Casey Cep wrote in the Boston Globe about this novel: “With an appreciation for their craft and sympathy for their difficult profession, Kohler's “Becoming Jane Eyre'' is a tender telling of the Brontë family's saga and the stories they told.” Her eleventh book “Love Child” was published by Penguin in America and by La Table Ronde in France. In June of 2012, her twelfth book “The Bay of Foxes,” was published by Penguin. “Dreaming for Freud” was published by Penguin in 2014. It will be translated into Turkish In 2013 the story, “Magic Man” was published in Best American Short Stories. Sheila Kohler published her memoir “Once we were sisters” in 2017 with Penguin in America and with Canongate in England and Alba in Spain. Sheila's latest novel is “Open Secrets” published by Penguin in July 2020. Kohler currently lives in New York and Amagansett. ***

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. 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

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Lucy Corry joins us to discuss Salamagundi - a type of "composed salad" which can include vegetables, meat, seafood, eggs, fruits and pickles. 

Welcome to the landmark 20th episode of The Rise of Basic Men Podcast! In this special edition, we dive deep into our recent exhilarating experience at the Salmagundi race. Join us as we share the gritty details of David's incredible 33-mile journey and the triumphant 10k completion by Chris and Joey.We kick off the episode by discussing our preparation strategies for the race. From training routines to mental conditioning, we leave no stone unturned. Whether you're a seasoned runner or just starting, you'll find our insights and tips invaluable.Then, we shift gears to talk about the race itself. We open up about the challenges we faced, how we pushed through the tough moments, and the strategies that helped us keep going when the going got tough. Our conversation is not just about running; it's about the resilience and determination that any challenge in life demands.The feeling of crossing the finish line? Indescribable. But we try our best to put that euphoria into words, sharing the emotional and physical journey of completing such a demanding race.And then, the big announcement: As we celebrate this milestone episode, we're excited to share some major news about the future of The Rise of Basic Men Podcast. We're taking a short break for the holidays, but don't worry, we're coming back with a bang! Expect new formats, including potential video content, a revamped setup, and a series of episodes featuring some fascinating guests.This episode is not just a recap of a race; it's a reflection of our journey so far and a glimpse into the exciting future of our podcast. So, lace up your shoes, plug in your headphones, and join us on this exhilarating ride. Your support has brought us here, and we can't wait to embark on this new chapter with you!Stay connected, share your thoughts, and let your voice be heard:https://linktr.ee/theriseofbasicmenEpisode Runtime: Approx. 101 minutes

Stella Levi recounts her remarkable life on Isle of Rhodes, caught between the nineteenth and the twentieth centuries. One Hundred Saturdays: Stella Levi and the Search for a Lost World, National Jewish Book Awards for Holocaust Memoir and Sephardic Culture Michael Frank's essays, articles, and short stories have appeared in The New York Times, The Wall Street Journal, The Atlantic, Slate, The Yale Review, Salmagundi, The TLS, and Tablet, among other publications, and his fiction has been presented at Symphony Space's Selected Shorts: A Celebration of the Short Story. He served as a Contributing Writer to the Los Angeles Times Book Review for nearly eight years. Frank is the author of What Is Missing, a novel, and The Mighty Franks, a memoir, which was awarded the 2018 JQ Wingate Prize and was named one of the best books of the year by The Telegraph and The New Statesman. Selected as one of the ten best books of 2022 by The Wall Street Journal, One Hundred Saturdays received a Natan Notable Book Award, two National Book Awards from the Jewish Book Council, and the Sophie Brody Award for outstanding achievement in Jewish literature. A 2020 Guggenheim Fellow, Frank lives in New York City and Camogli, Italy.

This week: Geoff plays a selection of numbers that Ella performed all over the years in various venues all over the world, at various points in her career. The common denominator? All tracks heard in this episode are songs that Ella either did not perform often, or were not recorded often by her. Tracks include Your Red Wagon (Live (1958/Chicago)), Witchcraft (Live (1958/Chicago)), My Man (live at the Montreux Jazz Festival), I Love Being Here With You (Live in Japan (January 19, 1964)), Just Squeeze Me (Live At Teatro Sistina, Rome, Italy / 1958), Ev'ry Time We Say Goodbye (Live At Ronnie Scott's, London, England / April 11, 1974), Rock It For Me (Live In Berlin, 1961), I'm Glad There Is You (Live At The Crescendo), You Got Me Singing the Blues, Watch What Happens, The Girl From Ipanema (Live). Produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week: Geoff plays a selection of numbers that Ella performed all over the years in various venues all over the world, at various points in her career. The common denominator? All tracks heard in this episode are songs that Ella either did not perform often, or were not recorded often by her. Tracks include Your Red Wagon (Live (1958/Chicago)), Witchcraft (Live (1958/Chicago)), My Man (live at the Montreux Jazz Festival), I Love Being Here With You (Live in Japan (January 19, 1964)), Just Squeeze Me (Live At Teatro Sistina, Rome, Italy / 1958), Ev'ry Time We Say Goodbye (Live At Ronnie Scott's, London, England / April 11, 1974), Rock It For Me (Live In Berlin, 1961), I'm Glad There Is You (Live At The Crescendo), You Got Me Singing the Blues, Watch What Happens, The Girl From Ipanema (Live). Produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week: Geoff plays a selection of numbers that Ella performed all over the years in various venues all over the world, at various points in her career. The common denominator? All tracks heard in this episode are songs that Ella either did not perform often, or were not recorded often by her. Tracks include Your Red Wagon (Live (1958/Chicago)), Witchcraft (Live (1958/Chicago)), My Man (live at the Montreux Jazz Festival), I Love Being Here With You (Live in Japan (January 19, 1964)), Just Squeeze Me (Live At Teatro Sistina, Rome, Italy / 1958), Ev'ry Time We Say Goodbye (Live At Ronnie Scott's, London, England / April 11, 1974), Rock It For Me (Live In Berlin, 1961), I'm Glad There Is You (Live At The Crescendo), You Got Me Singing the Blues, Watch What Happens, The Girl From Ipanema (Live). Produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week: Geoff plays a selection of numbers that Ella performed all over the years in various venues all over the world, at various points in her career. The common denominator? All tracks heard in this episode are songs that Ella either did not perform often, or were not recorded often by her. Tracks include Your Red Wagon (Live (1958/Chicago)), Witchcraft (Live (1958/Chicago)), My Man (live at the Montreux Jazz Festival), I Love Being Here With You (Live in Japan (January 19, 1964)), Just Squeeze Me (Live At Teatro Sistina, Rome, Italy / 1958), Ev'ry Time We Say Goodbye (Live At Ronnie Scott's, London, England / April 11, 1974), Rock It For Me (Live In Berlin, 1961), I'm Glad There Is You (Live At The Crescendo), You Got Me Singing the Blues, Watch What Happens, The Girl From Ipanema (Live). Produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's Coronation week and Nick and Angela are joined by food royalty, Dame Prue Leith. Prue Leith, DBE is an octogenarian with no intention of slowing down. Her illustrious career in food includes restaurants, cookery schools, writing and TV. She has published eight novels, a memoir, and fourteen cookbooks. Her latest, Bliss on Toast, was published in 2022. Best known as a judge on the Great British Bake Off, last year she also presented a gardening programme, Prue's Great Garden Plot, with her husband, and this year will judge the American equivalent of Bake Off. Dame Prue has also been a judge on The Great British Menu and My Kitchen Rules. Angela prepares an incredible spread with a little help from a friend, Jeremy Lee's spring salmagundi (Jersey Royals, asparagus, broad beans, and perfectly boiled eggs) with herby rack of lamb. Nick mixes a delicious cocktail - a King's Coronation Royale, specially created for Waitrose Food magazine by The Ritz - and our trio also enjoy a Gabriel Meffre Organic Côtes du Rhône.  This episode is a culinary feast for the ears as Angela and Dame Prue share their cooking tips and tricks, including how to make the perfect quiche Lorraine and how they like to run their kitchens, and Dame Prue recalls the challenges she overcame to claim her Michelin star. Just so you know, our podcast might contain the occasional mild swear word or adult theme. All recipes from this cast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help. Send your dilemmas to dish@waitrose.co.uk and she'll try to answer in a future episode. Dish is a S:E Creative Studio production for Waitrose & Partners. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get over 50% off your first year on your artist website with FASO: https://www.FASO.com/podcast/Become a Sovereign Artist today and take control of your sales! https://sovereignartist.substack.com/---On this episode we interviewed Shawn Krueger, a contemporary landscape painter who blends the American tonalist and arts & crafts traditions. While he currently lives in Grand Rapids, MI, it has been the mountains of Western North Carolina, the Lake Huron shoreline, or the woods (anywhere) that have become his more recent subject matter. In this episode we discuss his love of the tonalist movement, how he's found success within his niche by directly reaching out to his collectors, and how his dream of showing some of his tonalist work alongside the Tonalist society at the Salmagundi club has come true!Follow Shawn on Instagram!https://www.instagram.com/shawn_krueger/Check out Shawn's FASO site:https://www.shawnkrueger.com/

This BoldBrush Podcast episode is about an exciting event happening this very moment at the Salmagundi club. It's called “Lineage” and it's an exhibition of paintings, drawings and sculptures.  Lineage  illuminates how The Salmagundi Club has encouraged generations of artists — and stewarded the well of creative practices from which we all draw. BoldBrush was joined by Patricia Watwood, first Vice-President and member of the board, and Bill Indursky, curator and executive director of the Salmagundi Club, to tell us all about some of the artists being shown at the exhibition, some of the incredible history of Salmagundi, and some upcoming events you won't want to miss!  Check out the Salmagundi website for more information on the exhibition: https://salmagundi.org/2022-lineage-exhibition/  Check out their other events: https://salmagundi.org/current-exhibitions-events/  Become a member! https://salmagundi.org/become-a-member/  Check out their Instagram: https://instagram.com/salmagundiclub/ Visit the Club! Salmagundi Club 47 5th Ave  New York, NY 10003  United States +1 212-255-7740 

We got an exclusive interview with Nicholas Dawes, the chairman of the board of one of the oldest artist clubs in the United States, The Salmagundi Club. He also has an impressive career as an auctioneer and appraiser having worked on one of the most popular shows on television: "Antiques Roadshow". Listen to this episode to hear his incredible tips on marketing and branding yourself to the right people so you may learn to live from the very thing you love doing: art.---Want to join the Salmagundi club? Click below:https://salmagundi.org/become-a-member/Join our community for more marketing tips to live from your art!https://www.sovereignartistclub.comNeed an amazing new artist's website? Get your site up and running using our special link:https://www.faso.com/podcast/

Todd Shy has taught for more than twenty-five years in Cary, North Carolina, San Francisco, California, and New York City. He is currently Head of Upper Division at Avenues The World School in New York. His writing has appeared in the San Francisco Chronicle, the Raleigh News and Observer, where he was a regular contributor, the Harvard Divinity Bulletin, Salmagundi, and numerous other publications. In 2008 he was a finalist for the National Book Critics Circle Balakian Citation for Excellence in Reviewing. His recent book Teaching Life: Life Lessons for Aspiring (and Inspiring) Teachers was described by the founder of the Academy for Teachers as a “an eloquent love letter to teaching and to life.” Social Links LinkedIn: @todd-shy Twitter: @avenues_org

These past 2 years have been some of the toughest we have ever faced as educators.  We've been asked to teach in new mediums. Had to work double shifts. Been required to work in unsafe conditions. And at the same time seen our salaries and pensions dwindle.  For these reasons, many of us our leaving the profession. How do we re-ignite and re-imagine our love for the classroom during this difficult time? I sat down with veteran educator and master storyteller Todd Shy, to chat about his new book 'Teaching Life: Life Lessons for the Aspiring and Inspiring Teacher,' and hear stories that help re-ignite the joy and wonder that only a life of teaching can bring. During our short interview, Todd helps us remember: ❤️  To be charmed by our students ❤️  That we are called to be both artist and engineer ❤️  To prepare students for life, not a test ❤️  The wonder of the Groundhog years Get Todd's Book : https://press.avenues.org/teaching-life/  LinkedIn: https://www.linkedin.com/school/avenues-the-world-school/mycompany/ Connect on Twitter: @Avenues_org/with_replies Facebook: @AvenuesTheWorldSchool Todd's Bio: Todd Shy has taught for more than twenty-five years in North Carolina, California, and New York. Currently, he is Head of the Upper Division at Avenues The World School in New York City. His essays and book reviews have appeared in the Raleigh News and Observer, the San Francisco Chronicle, Salmagundi, and the Harvard Divinity Bulletin. In 2008, he was a finalist for the National Book Critics Circle Balakian Citation for Excellence in Reviewing. 

Salmagundi the third! We mix it up, combining eight mini topics into a gallimaufry of assorted trivia. This macédoine of an episode features seven unrelated but fascinating discussions. None of these brief topics could be an episode on their own, but they deserved to be heard so we created this farrago for your enjoyment.

We're celebrating our one-year anniversary with this interview, and so I wanted to introduce a special guest for today: Nur Nasreen Ibrahim, talented writer, journalist and dear friend. We're going to talk—mostly—about Nur's latest work: an essay for the collection Horse Girls: Recovering, Aspiring, and Devoted Riders Redefine the Iconic Bond (Harper Perennial: 2021), edited by Halimah Marcus. Horse Girls confronts, investigates, and fleshes out the trope of the “horse girl”: the idea that all a young girl wants is to learn how to ride a horse, famous in from “Black Beauty” to “My Little Pony”. And Nur's essay talks about her experiences riding horses growing up in Pakistan: bringing in themes of colonialism, the urban-rural divide, and growing up. But, also, we'll talk about Nur's experience as a writer, both in the United States and in Pakistan, and her path to literature. Nur is a journalist, writer, and producer based in New York City. Originally from Lahore, Pakistan, she writes speculative and literary fiction, as well as personal essays. Her fiction and nonfiction has been included in anthologies and collections from Harper Perennial, Catapult, Hachette India, Platypus Press, The Aleph Review, Salmagundi magazine, Barrelhouse, and more. She is a two-time finalist for The Salam Award for Imaginative Fiction. She is a 2021-2023 recipient of the Lighthouse Writers Book Project Teaching Fellowship. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

We're celebrating our one-year anniversary with this interview, and so I wanted to introduce a special guest for today: Nur Nasreen Ibrahim, talented writer, journalist and dear friend. We're going to talk—mostly—about Nur's latest work: an essay for the collection Horse Girls: Recovering, Aspiring, and Devoted Riders Redefine the Iconic Bond (Harper Perennial: 2021), edited by Halimah Marcus. Horse Girls confronts, investigates, and fleshes out the trope of the “horse girl”: the idea that all a young girl wants is to learn how to ride a horse, famous in from “Black Beauty” to “My Little Pony”. And Nur's essay talks about her experiences riding horses growing up in Pakistan: bringing in themes of colonialism, the urban-rural divide, and growing up. But, also, we'll talk about Nur's experience as a writer, both in the United States and in Pakistan, and her path to literature. Nur is a journalist, writer, and producer based in New York City. Originally from Lahore, Pakistan, she writes speculative and literary fiction, as well as personal essays. Her fiction and nonfiction has been included in anthologies and collections from Harper Perennial, Catapult, Hachette India, Platypus Press, The Aleph Review, Salmagundi magazine, Barrelhouse, and more. She is a two-time finalist for The Salam Award for Imaginative Fiction. She is a 2021-2023 recipient of the Lighthouse Writers Book Project Teaching Fellowship. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/animal-studies

We're celebrating our one-year anniversary with this interview, and so I wanted to introduce a special guest for today: Nur Nasreen Ibrahim, talented writer, journalist and dear friend. We're going to talk—mostly—about Nur's latest work: an essay for the collection Horse Girls: Recovering, Aspiring, and Devoted Riders Redefine the Iconic Bond (Harper Perennial: 2021), edited by Halimah Marcus. Horse Girls confronts, investigates, and fleshes out the trope of the “horse girl”: the idea that all a young girl wants is to learn how to ride a horse, famous in from “Black Beauty” to “My Little Pony”. And Nur's essay talks about her experiences riding horses growing up in Pakistan: bringing in themes of colonialism, the urban-rural divide, and growing up. But, also, we'll talk about Nur's experience as a writer, both in the United States and in Pakistan, and her path to literature. Nur is a journalist, writer, and producer based in New York City. Originally from Lahore, Pakistan, she writes speculative and literary fiction, as well as personal essays. Her fiction and nonfiction has been included in anthologies and collections from Harper Perennial, Catapult, Hachette India, Platypus Press, The Aleph Review, Salmagundi magazine, Barrelhouse, and more. She is a two-time finalist for The Salam Award for Imaginative Fiction. She is a 2021-2023 recipient of the Lighthouse Writers Book Project Teaching Fellowship. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. 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

We're celebrating our one-year anniversary with this interview, and so I wanted to introduce a special guest for today: Nur Nasreen Ibrahim, talented writer, journalist and dear friend. We're going to talk—mostly—about Nur's latest work: an essay for the collection Horse Girls: Recovering, Aspiring, and Devoted Riders Redefine the Iconic Bond (Harper Perennial: 2021), edited by Halimah Marcus. Horse Girls confronts, investigates, and fleshes out the trope of the “horse girl”: the idea that all a young girl wants is to learn how to ride a horse, famous in from “Black Beauty” to “My Little Pony”. And Nur's essay talks about her experiences riding horses growing up in Pakistan: bringing in themes of colonialism, the urban-rural divide, and growing up. But, also, we'll talk about Nur's experience as a writer, both in the United States and in Pakistan, and her path to literature. Nur is a journalist, writer, and producer based in New York City. Originally from Lahore, Pakistan, she writes speculative and literary fiction, as well as personal essays. Her fiction and nonfiction has been included in anthologies and collections from Harper Perennial, Catapult, Hachette India, Platypus Press, The Aleph Review, Salmagundi magazine, Barrelhouse, and more. She is a two-time finalist for The Salam Award for Imaginative Fiction. She is a 2021-2023 recipient of the Lighthouse Writers Book Project Teaching Fellowship. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

We're celebrating our one-year anniversary with this interview, and so I wanted to introduce a special guest for today: Nur Nasreen Ibrahim, talented writer, journalist and dear friend. We're going to talk—mostly—about Nur's latest work: an essay for the collection Horse Girls: Recovering, Aspiring, and Devoted Riders Redefine the Iconic Bond (Harper Perennial: 2021), edited by Halimah Marcus. Horse Girls confronts, investigates, and fleshes out the trope of the “horse girl”: the idea that all a young girl wants is to learn how to ride a horse, famous in from “Black Beauty” to “My Little Pony”. And Nur's essay talks about her experiences riding horses growing up in Pakistan: bringing in themes of colonialism, the urban-rural divide, and growing up. But, also, we'll talk about Nur's experience as a writer, both in the United States and in Pakistan, and her path to literature. Nur is a journalist, writer, and producer based in New York City. Originally from Lahore, Pakistan, she writes speculative and literary fiction, as well as personal essays. Her fiction and nonfiction has been included in anthologies and collections from Harper Perennial, Catapult, Hachette India, Platypus Press, The Aleph Review, Salmagundi magazine, Barrelhouse, and more. She is a two-time finalist for The Salam Award for Imaginative Fiction. She is a 2021-2023 recipient of the Lighthouse Writers Book Project Teaching Fellowship. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

An encore presentation of the enjoyable "Salmagundi" episode from Jan 31, 2020. The playlist includes: Song Title   Artis t Album Old Shoe Lauralee Northcott On the Loose and Headed Your Way Great Wide Open Dave Stamey Good Dog Feleena The Carolyn Sills Combo Return to El Paso Prairy Yodel  Many Strings and Company A Cattlestrophic Compilations Udder Wimmen Teresa Burleson West Texas Heat Pawhuska Jane Donnie Poindexter Those Cowboys of Old Someplace New "V" - the Gypsy Cowbelle The Itinerant Lady A Quilt in North Nebraska Al "Doc" Mehl The Great Divide Oregon Andy Hedges Shadow of a Cowboy What's A Cowgirl Supposed to Do Kristyn Harris single Cimarron 3 Trails West Silent Trails Back in the Saddle Again Allen & Jim Kirkham Cowboy Classics My Prairie Home Nancy Thorwardon Colorado Swing Short Grass Hank Cramer The Open Range Wherever I Roam Gary Allegretto Blues on the Trail Cowgirl's Lament (Reprise) Caitlyn Taussig The Things We Gave Up Bluegrass in the Backwoods (instr) The Quebe Sisters The Quebe Sisters A Badger's Holiday (instr) Rich O'Brien Southwestern Souvenirs

Salmagundi the sequel! Come listen to seven unrelated mini episodes! Or go back and listen to our first grab bag episode to get in the spirit of assorted trivia!

Taking a week off while I shift from one web host to another. Plus, I need a break. 129 episodes in 132 weeks (2 1/2 years). Returning next week in full glory. Blog subscribers: Listen to the podcast here. Scroll down through show notes to read the post. Please support my podcast. CONTRIBUTE HERE Episode Notes Prefer to read, experience impaired hearing or deafness? Find FULL TRANSCRIPT at the end of the other show notes or download the printable transcript here Please comments and ask questions at the comment section at the bottom of the show notes on LinkedIn via email DM on Instagram or Twitter to @healthhats Credits Music by permission from Joey van Leeuwen, Boston Drummer, Composer, Arranger Web/social media coach, Kayla Nelson Sponsored by Abridge Links Related podcasts and blogs https://health-hats.com/unintended_consequences/ https://health-hats.com/a-gift-that-keeps-giving/ https://health-hats.com/the-silence-between-the-notes/ About the Show Welcome to Health Hats, learning on the journey toward best health. I am Danny van Leeuwen, a two-legged, old, cisgender, white man with privilege, living in a food oasis, who can afford many hats and knows a little about a lot of healthcare and a lot about very little. Most people wear hats one at a time, but I wear them all at once. We will listen and learn about what it takes to adjust to life's realities in the awesome circus of healthcare. Let's make some sense of all this. To subscribe go to https://health-hats.com/ Creative Commons Licensing The material found on this website created by me is Open Source and licensed under Creative Commons Attribution. Anyone may use the material (written, audio, or video) freely at no charge. Please cite the source as: ‘From Danny van Leeuwen, Health Hats. (including the link to my website). I welcome edits and improvements. Please let me know. danny@health-hats.com. The material on this site created by others is theirs and use follows their guidelines. The Show I'm taking a week off. Due to a cranky web host with four website and email outages in 3 weeks, I'm transferring from BlueHost to GoDaddy.  I need to give the transfer another week to stabilize. Should be seamless to you, thanks to my web/social media coach, Kayla Nelson, guiding me through this fraught process. Plus, I can use the break from the weekly routine - 129 episodes in 132 weeks (2 ½ years)!!   Love and prayers to Casey Quinlan and Bob Doherty for best health and peace. Grateful to my sponsor, Abridge, and you all for your ongoing support. Returning next week in full glory. Happy Father's Day. I bought a blue raffia (African palm) crocheted Helen Kaminsky cap at Salmagundi's in Jamaica Plain to celebrate life! Onward.

Taking a week off while I shift from one web host to another. Plus, I need a break. 129 episodes in 132 weeks (2 1/2 years). Returning next week in full glory. Blog subscribers: Listen to the podcast here. Scroll down through show notes to read the post. Please support my podcast. CONTRIBUTE HERE Episode Notes Prefer to read, experience impaired hearing or deafness? Find FULL TRANSCRIPT at the end of the other show notes or download the printable transcript here Please comments and ask questions at the comment section at the bottom of the show notes on LinkedIn via email DM on Instagram or Twitter to @healthhats Credits Music by permission from Joey van Leeuwen, Boston Drummer, Composer, Arranger Web/social media coach, Kayla Nelson Sponsored by Abridge Links Related podcasts and blogs https://health-hats.com/unintended_consequences/ https://health-hats.com/a-gift-that-keeps-giving/ https://health-hats.com/the-silence-between-the-notes/ About the Show Welcome to Health Hats, learning on the journey toward best health. I am Danny van Leeuwen, a two-legged, old, cisgender, white man with privilege, living in a food oasis, who can afford many hats and knows a little about a lot of healthcare and a lot about very little. Most people wear hats one at a time, but I wear them all at once. We will listen and learn about what it takes to adjust to life's realities in the awesome circus of healthcare. Let's make some sense of all this. To subscribe go to https://health-hats.com/ Creative Commons Licensing The material found on this website created by me is Open Source and licensed under Creative Commons Attribution. Anyone may use the material (written, audio, or video) freely at no charge. Please cite the source as: ‘From Danny van Leeuwen, Health Hats. (including the link to my website). I welcome edits and improvements. Please let me know. danny@health-hats.com. The material on this site created by others is theirs and use follows their guidelines. The Show I'm taking a week off. Due to a cranky web host with four website and email outages in 3 weeks, I'm transferring from BlueHost to GoDaddy.  I need to give the transfer another week to stabilize. Should be seamless to you, thanks to my web/social media coach, Kayla Nelson, guiding me through this fraught process. Plus, I can use the break from the weekly routine - 129 episodes in 132 weeks (2 ½ years)!!   Love and prayers to Casey Quinlan and Bob Doherty for best health and peace. Grateful to my sponsor, Abridge, and you all for your ongoing support. Returning next week in full glory. Happy Father's Day. I bought a blue raffia (African palm) crocheted Helen Kaminsky cap at Salmagundi's in Jamaica Plain to celebrate life! Onward.

Washington Irving, Jonathan Oldstyle, Salmagundi, A History of New-York from the Beginning of the World to the End of the Dutch Dynasty, by Dietrich Knickerbocker, The Sketch Book of Geoffrey Crayon, Gent, “Rip Van Winkle”,Associate Fellow of the American Academy of Arts and SciencesAnalectic Magazine“The Lads of Kilkenny”George Washington, Millard Fillmore and Franklin PierceCharles DickensUshttp://www.thebibliophiledailypodcast.carrd.cohttps://twitter.com/thebibliodailythebibliophiledailypodcast@gmail.comRoxiehttps://www.youtube.com/channel/UCyAfdi8Qagiiu8uYaop7Qvwhttp://www.chaoticbibliophile.comhttp://instagram.com/chaoticbibliophilehttps://twitter.com/NewAllegroBeat

With Gareth Myles and Ted Salmon Join us on Mewe RSS Link: https://techaddicts.libsyn.com/rss iTunes | Google Podcasts | Stitcher | Tunein | Spotify  Amazon | Pocket Casts | Castbox |  PodHubUK Show Notes: Feedback Matt McQueen I really like the Huawei watches – I had the original GT. Amazing battery performance. However, they have a big drawback – they only connect to Huawei Health, and not to any third-party apps. If you want to use something like Strava, you're out of luck. There is an app on the Google store that will synchronise the data to a variety of other sites, including Strava – however, it isn't ideal, and doesn't transfer all the data (particularly heart rate data). In the end, my GT ended up in the drawer, and I got a Garmin. Hardline on the hardware: Amazon Fresh till-less grocery store opens in London Samsung has a new compact phone with a removable battery – Specs More Galaxy Xcover 5 specs and renders leak Samsung announces the Odyssey G9 2021 The Lenovo Yoga Tab 13 is on the way in 2021, according to new leaks New tech brand Reavon launches two high-end Ultra HD Blu-ray players ECLLPSE – Unbreakable High-Speed Portable SSD Sony Digital Paper DPT-CP1 Version 2 unveiled with a 10.3″ screen The Wicked Smart Programmable Econobot Giddel Toilet Cleaning Robot Kit Flap your trap about an App: Google is making big under-the-hood changes to Gmail Google TV app preps a new remote control feature for your Android TV Stadia didn't achieve Google's subscriber expectations Bring out your dead Free Nikon NX Studio Software Hark Back: U.S. Robotics 9600 and 14,4 baud Rate modems Bargain Basement: CHUWI UBook 11.6 Inch Tablet, Windows 10, Intel Gemini-Lake N4120(up to 2.6GHZ), 1920×1080 Resolution, 8GB LPDDR4, 256G SSD, Touchscreen Tablet, 4K 60Hz Video Display, 2.4G/5G Wifi £339 with 20% voucher = £271.20 Amazon Echo Studio with Alexa – Black Was: £189 Now: £139 on ao –  link two get stereo (£145 on Amazon but 5 monthly payments) NETGEAR Orbi Whole Home Mesh WiFi System (RBK50) | Router with 1 Satellite Extender Coverage up to 4,000 sq. ft. and 25+ Device |MESH AC3000 (Upto 3Gbps) Apple AirPods Pro – Was: £249.00 Now: £196.99  Roku Streambar | HD/4K/HDR Streaming Media Player and Soundbar, Black Was: £129.99 Now: £99.99 5 months £20 TONOR USB Microphone Kit, Recording Microphone 192kHz/24Bit Plug & Play Condenser Computer Mic for Podcast, Game, YouTube Video, Stream, Voice Over, TC-2030 – Was: £61.99 Now: £49.99 Smart Plug WiFi Socket Works with Amazon Alexa, Google Home [New Model] Wireless Socket Remote Control Timer Plug Switch 13A (2PACK) – Was: £22.99 Now: £16.82 Samsung Galaxy S20 Ultra 5G £749 reduced from £1,199 saving £450 AUKEY Wireless Power Bank 20000 mAh, Portable Charger PD 3.0 with Foldable Stand, USB-C Quick Charge 3.0 Cell Phone External Battery Pack £52 + 20% voucher = £41 Main Show URL: http://www.techaddicts.uk | PodHubUK Contact:: contact@techaddicts.uk | @techaddictsuk Gareth – @garethmyles | garethmyles.com Ted – tedsalmon.com | Ted's PayPal | Ted's Amazon | tedsalmon@post.com YouTube: Tech Addicts The PodHubUK Podcasts PodHubUK – Twitter – MeWe PSC Group – PSC Photos – PSC Classifieds – WhateverWorks – Camera Creations – TechAddictsUK – The TechBox – Chewing Gum for the Ears – Projector Room – PixelSwim – Gavin's Gadgets – Ted's Salmagundi – Steve's Rants'n'Raves – Ted's Amazon – Steve's Amazon – Buy Ted a Coffee

This episode was made possible with the gracious collaboration of Newport Film and the Rhode Island Council for the Humanities’ “Culture is Key” Project. In the 1960s, the Federal Bureau of Investigation spied on civil rights leaders, including Dr. Martin Luther King, Jr. Sam Pollard and Benjamin Hedin tell that story in a powerful documentary that shines a light on race, power, and the politics of personal destruction. Sam Pollard’s career as a feature film and television video editor and documentary producer and director spans almost thirty years. He recently served as Executive Producer on the documentary “Brother Outsider,” the Official Selection for the 2003 Sundance Film Festival. His first assignment as a documentary producer came in 1989 for Henry Hampton’s Blackside production “Eyes On The Prize II: America at the Racial Crosswords.” One of his episodes in this series received an Emmy. He returned to Blackside as Co-Executive Producer/Producer of Hampton’s last documentary series, “I’ll Make Me A World: Stories of African-American Artists and Community.” Benjamin Hedin has written for The New Yorker, The Atlantic, Slate, The Nation, The Oxford American, The Chicago Tribune, Poets and Writers, Salmagundi, The Georgia Review, and other publications. He is the editor of “Studio A: The Bob Dylan Reader” and author of the nonfiction chronicle, “In Search of the Movement: The Struggle for Civil Rights Then and Now.” Triquarterly Books will publish his first novel, “Under the Spell” in the spring of 2021. He also produced and wrote of the Grammy-nominated documentary “Two Trains Runnin’.” See omnystudio.com/listener for privacy information.

Salmagundi. Apparently, this word was originally the name for a dish of chopped meat, anchovies, eggs, onions, and seasoning, but it grew to be a term for a general mixture of things; a miscellaneous collection… and that is what you are getting in this sweet short episode today! It is a delicious salmagundi… Also, in this episode, I mention another project I produce with CoCo Loupe called Benevolent Instruction. If you'd like more information, please find us on Instagram @benevolent_instruction. If Dream Club is bringing you joy, please subscribe, rate and review the podcast and share with friends and loved ones. And follow us on Instagram at _dream.club_ We hope you enjoy the show! --- Send in a voice message: https://podcasters.spotify.com/pod/show/dreamclub/message

This one is about: Emma Goldman, the mother of Anarchy. Her biography and views on female emancipation. Instagram: QandRpod Email: QueensandRebelspod@gmail.com Sources: - Jewish Women's Archive. "Emma Goldman - A Dedicated Anarchist - Jacob Kershner." - Falk, Candace. "Emma Goldman." Jewish Women: A Comprehensive Historical Encyclopedia. 27 February 2009. Jewish Women's Archive. - Jewish Women's Archive. "Emma Goldman's "What I Believe". - Waldstreicher, David. "Radicalism, Religion, Jewishness: The Case of Emma Goldman." American Jewish History 80, no. 1 (1990): 74-92. - GURSTEIN, ROCHELLE. "Emma Goldman and the Tragedy of Modern Love." Salmagundi, no. 135/136 (2002): 67-89. - Hemmings, Clare. "Sexual Freedom and the Promise of Revolution: Emma Goldman's Passion." Feminist Review, no. 106 (2014): 43-59. - Hemmings, Clare. "In the Mood for Revolution: Emma Goldman's Passion." New Literary History 43, no. 3 (2012): 527-45. - Kern, Robert W. "Anarchist Principles and Spanish Reality: Emma Goldman as a Participant in the Civil War 1936-39." Journal of Contemporary History 11, no. 2/3 (1976): 237-59. - Frankel, Oz. "Whatever Happened to "Red Emma"? Emma Goldman, from Alien Rebel to American Icon." The Journal of American History 83, no. 3 (1996): 903-42.

In episode 49, Ray and John discuss a “Salmagundi” of car topics from linkedin posts by Brian Pasch, Jonathan Dawson, and Michael Cirillo to NCAA football to a 90-day growth plan.

To honor the 5th anniversary, enjoy this bonus episode from the Stitcher Premium series I Am Spintax! Spintax uses his arcane power to raise the dead (Salmagundi) and compel the living (OffBook's Jess McKenna). Spintax: Charlie McCrackin Jess: Jess McKenna Salmagundi: Edgar Momplaisir Craig: Ryan DiGiorgi Leonard: C.J. Tuor Producers: Matt Young, and Kimmie Lucas Post-Production Coordination: Garrett Schultz Special Assistance: Ryan DiGiorgi, Arnie Niekamp, Charlie McCrackin and C.J. Tuor Editor: Garrett Schultz Magic Tavern Logo: Allard Laban Theme Music: Andy Poland

Salmagundi magazine editor Robert Boyers discusses his new book “The Tyranny of Virtue: Identity, the Academy, and the Hunt For Political Heresies. 

Jonathan Kalb is Professor of Theater at Hunter College, CUNY and the Resident Dramaturg at Theater for a New Audience. The author of five books on theater, he has worked for more than three decades as a theater scholar, critic, journalist, and dramaturg. He curates and hosts the theater-review-panel series TheaterMatters at HERE Arts Center and has twice won the country’s most prestigious prize for a drama critic, The George Jean Nathan Award for Dramatic Criticism. He has also won the George Freedley Award for an outstanding theater book from the Theatre Library Association. He was the founding editor of HotReview.org (The Hunter On-Line Theater Review), which published hundreds of reviews, essays and interviews by new and established theater writers from 2003-2016. He currently writes about theater on his TheaterMatters blog. His books include Beckett in Performance, The Theater of Heiner Müller and Great Lengths: Seven Works of Marathon Theater, as well as two criticism collections, Free Admissions: Collected Theater Writings and Play by Play: Theater Essays & Reviews, 1993-2002. Kalb has been a theater critic for The Village Voice, New York Press, and The New York Times, and his writing has appeared in many other publications including The New Yorker, The Nation, Salon.com, Salmagundi, The Threepenny Review, Modern Drama and Theater Heute.  

A solo podcast by Bart Campolo with poetry, songs and nepotism.—Follow this podcast to stay up-to-date:Twitter: @HumanizeMePodInstagram: @HumanizeMePodcastFacebook Group: Facebook.com/Groups/1772151613053280Check out Patreon.com/HumanizeMe! Support the podcast there for the cost of a cup of coffee once a month and get extra content for it. That amount won’t matter to you, but it means everything to us and makes the podcast happen! (Includes access to the monthly bonus podcast, ‘Why It Matters’, where we discuss the show and read listener feedback, and the ‘Campolo Sessions‘, long-form conversations between Bart and his dad Tony Campolo.)Got a question for Bart to answer in a future show? Call the ‘Q Line’ at (424) 291-2092.Join the email list HERE.Humanize Me is hosted by Bart Campolo and is produced by John Wright at JuxMedia.com.

Bob, Cory, and Danielle rant and rave on the way to Toledo about canine sanitary haircuts and MXC; Cory, Nick, Danielle, and Kevin Cromwell rant and rave about fighting flash-over fires in your underwear, and Kevin explores his predilection toward pyromania.

Song List"Sylvan" 0:00"Tmesis" 2:34"Carapace" 6:08"Paladin" 9:18"Incommunicado" 12:54"Grandee" 16:40"Wunderkind" 20:36"Confluence" 22:11"Bonhomie" 25:27"Salmagundi" 29:54"Multifarious" 33:28"Cognoscenti" 38:12"Neoteric" 41:30"Sobriquet" 45:24"Venal" 51:04"Imbroglio" 54:22"Arcane" 58:11"His Commodious Quarters" 1:01:29"The Plan of an Aesthete" 1:05:11"This Recalcitrant Fellow" 1:06:52"Atwood Moves Crabwise" 1:10:16"Skulking in the Woods" 1:12:19"Puling Always" 1:15:54"Apogaios" 1:19:30"The Impalpable Veil of Gloom" 1:22:00"Empyrian to Behold" 1:25:02"Good Morrow" 1:28:06"Ignorant But More Voluble" 1:31:12"The Naif" 1:32:42"Variations on a Theme" 1:36:25"The Olympian and the Chthonic" 1:38:23"Engulfed" 1:41:32https://cloudkicker.bandcamp.com/musicIG: cloudkickermusic

If you’ve ever wanted to understand the mindset of an art collector, you’ll want to listen to this fascinating conversation with the Chairman of the Salmagundi Club.

ian ramil | rogê | jards macalé | robô gigante | leo cavalcanti | madalena moog | baiana system | leandrade | thiago corrêa | raphael gemal | aláfia | ifa afrobeat | bnegão & os seletores de frequencia | oquadro | mulheres q dizem sim | milton carlos | joão só | jane & herondy | seres | marcio faraco | anelis & cris scabello | vava afiouni & o totó de palpite | lineker | dj nirso | dona cila do coco rmx furmiga dub | totonho & os cabra | gaspar z’áfrica brasil | lao hei | hanggai SALMAGUNDI A very fancy title to describe a very simple podcast episode: loads of Brazilian music of contrasting colours and flavours! Enjoy! SALMAGUNDI EUm título pomposo para descrever um podcast básico: um monte de música brasileira de várias cores e sabores!

In today's Civitella Ranieri podcast, Carolyn Forche (CRF 2012) reads two poems: "The Light Keeper" and "Exile". "The Light Keeper" was first published in The New Yorker, and "Exile" was first published in Salmagundi. Recorded at Civitella Ranieri, September 2012

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

Today's show is an encore presentation of a previously aired episode, "Salmagundi", originally aired Jan 31, 2020.