Podcast appearances and mentions of Zadie Smith

Subscribe to Bad Faith on Patreon to instantly unlock our full premium episode library: http://patreon.com/badfaithpodcast Professor of African-American Studies, scholar of political economy and historical sociology, and author of Black Scare / Red Scare: Theorizing Capitalist Racism in the United States Charisse Burden-Stelly returns to Bad Faith to discuss the No Kings protests, the media backlash to the L.A. protests, the new Red Scare, and what history tells us about how to fight back. She also weighs on on why neoliberal pundits from Jake Tapper to Zadie Smith have been attacking the paradigm of "oppressed vs. oppressor," and why it may be time for the left to firmly defend "woke." Subscribe to Bad Faith on YouTube for video of this episode. Find Bad Faith on Twitter (@badfaithpod) and Instagram (@badfaithpod).

In this episode, we're talking with writer and historian Rachel Cockerell, author of Melting Point: Family, Memory and the Search for a Promised Land, about the process of writing a family history that Zadie Smith, Simon Schama, and others have praised. Cockerell tells us about her research and writing process; deciding to take out the narrative voice and letting the primary sources tell the story on their own; and why fiction often serves as a model for the kind of reading experience she hopes to give readers. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

I can't think of a better way to end season 4 and the never before heard conversations from my archive, than my conversation between friends, Zadie Smith and Devonté Hynes. I'd been badgering Zadie for a while to let me interview her and when she agreed, the day before our conversation was scheduled, she emailed to ask if she could bring her friend Dev? I of course said yes, scrambled to find another microphone and when we had a last minute cancellation of the recording venue, we had to do it at my house. And the room with the best soundproofing, my bedroom!We talk about how we're all storytellers; about music; about the power of live music; about the myth of the 10,000 hours; about Prince; about whether we should define ourselves as 'artists'; about authenticity and consciousness; about knowing and unknowing and about being students forever. I've produced almost 60 podcast episodes and this is one of my favourites. Because, for me, there is nothing more fulfilling than sitting around with creative people talking about music and making and process - it's why this podcast exists. I hope you enjoy it as much as I do.Guests: Zadie Smith & Devonté HynesTitle: I would never call myself an artistMusic: Lil Nas X, Industry Baby; Arctic Monkeys, There'd Better Be a Mirrorball; Maggie Rogers, That's Where I Am; Knucks, Alpha HouseLinksDevonté Hynes IG and WebsiteZadie Smith WebsiteZadie interview on latest book, The Fraud - BBC Sounds, This Cultural LifeFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Edwidge Danticat joins Deborah Treisman to read and discuss “Two Men Arrive in a Village,” by Zadie Smith, which was published in The New Yorker in 2016. Danticat, a MacArthur Fellow and a winner of the Vilcek Prize in Literature, has published six books of fiction, including “Breath, Eyes, Memory,” “The Farming of Bones,” “Claire of the Sea Light,” and “Everything Inside.” Her memoir “Brother, I'm Dying” won the National Book Award and the Dayton Literary Peace Prize, among others. She has been publishing fiction and nonfiction in The New Yorker since 1999. Learn about your ad choices: dovetail.prx.org/ad-choices

Before we start the show today…Have you donated to the Me Little Me Virtual Food Pantry? This amazing organization works to get low-income folks (many of whom are in eating disorder recovery) fed — and with the food of their choosing. Meaning yes, ultra processed foods that bring comfort and convenience, and yes to beloved cultural foods…and yes to trusting folks in need to know what they need.We're trying to raise $12,000 and add 50 recurring donors to their rosters by June 1 AND WE ARE SO CLOSE TO OUR GOAL. But we need your help to crush it! Thank you!You're listening to Burnt Toast! Today, my conversation is with the iconic Sarai Walker. Sarai is the author of The Cherry Robbers and Dietland, which came out in May 2015—and is celebrating its 10th anniversary this month.Dietland is one of those books that means so much to me, it's hard to put into words. I consider it a foundational text of the body liberation movement of the past decade. It was adapted as a television series starring Joy Nash for AMC in 2018. It's just one of those books—that inducted so many of us into conversations about fatness, feminism, radical social action. Sarai has also lectured on feminism and body image internationally. Her articles and essays have appeared in The New York Times, The Washington Post, The Guardian and elsewhere, and she worked as a writer and editor on an updated version of Our Bodies, Ourselves.I asked Sarai to join me today to reflect on what 10 years of Dietland has meant to her. We also talk a lot about the very mixed experience of being a public fat person, as well as being a woman, and a writer, in midlife. You will love this conversation.And! If you order Dietland and Fat Talk together from Split Rock Books, you can take 20% off the combo with the code FATLAND. If you've already bought fat talk from Split Rock, you can still take 10% off Dietland or any book we talk about on the podcast, using the code FATTALK. Today's episode is free but if you value this conversation, please consider supporting our work with a paid subscription. Burnt Toast is 100% reader- and listener-supported. We literally can't do this without you.Episode 195 TranscriptVirginiaThis is really a big thrill for me. Dietland came out in 2015, we're here to celebrate its 10th anniversary. I read it pretty soon after it came out, and I remember reading about Plum and Calliope House and the Jennifer vigilantes who were killing all the evil men, and just thinking, how is she in my brain? How is she writing my whole heart in this story? So to start us off with what is probably an impossible question: How does that feel, to have contributed something that is so important to the canon? And by canon, I mean the fat feminist literary canon.SaraiIt's funny, as an author, I don't know if I feel it the way you're describing it. Man, I hope that that's the case! I guess it's for other people to decide what a book's legacy is, whether it's important or not. What I can say—you know, the book turns 10 this month, and it has really meant a lot to me over the years that people have just connected with it in such a positive way.People related to Plum's story, they really felt that I put into words something that only they had felt, which was one of the things that I really had to work hard on in the book, because I had all these feelings about my own experience with my own body. And I was like, how do I put that into words? So that was the struggle of writing the book and being able to do that. I was so happy when people really felt that the book could speak for them in certain ways, that it gave them a voice.I still hear from people! I heard from somebody just yesterday who said the book changed their life. We live in an age where so many things just seem disposable, and people forget about things and move on really quickly. Dietland, whatever its legacy may be, it has had a long life.VirginiaWe should say, for folks who don't know publishing: For a book to still be in print 10 years later is incredible. The vast majority of books have a year, two years, and then they're done. It is a huge accomplishment, and a huge contribution.SaraiIt means a lot to me. It's getting a new French publication and a new translation over there. So, you know, my girl keeps on going. And it's funny, because I think one of the things that people enjoyed about the book was the anger and the rage in it, and the revenge fantasy narrative about Jennifer.At the same time, some people were like, oh, well, things aren't that bad. You're exaggerating. Fast forward from 2015 to 2025, and things are worse than I could have ever imagined back then.VirginiaYou downplayed it a little bit.SaraiExactly. So I feel in this weird way, kind of vindicated? That's not a great feeling. But it's just so weird that the 10th anniversary is coming at a time when there's this huge backlash against feminism, against fat. Even something as watered down as body positivity is under attack, you know? It just tells you how bad things are. So in that sense, it's sort of bittersweet to have the anniversary at this time, because things are really just heartbreaking and scary right now.VirginiaBut also: We need the book more than ever. We need the Dietland story more than ever, because things are so scary right now. It gives us a way of articulating that. It gives us a place to put those feelings.SaraiI hope that new readers find the book now in this new climate that we're in and people who read it before might revisit it. I've actually thought of writing some new Jennifer stories. I feel like they would have to be so, so violent and so filled with rage, I don't know if they would be healthy for me, but I've thought about unleashing Jennifer on MAGA.VirginiaI personally am very here for this and yery, very supportive of this idea. I think there would be an audience. I would really love to see Jennifer take on MAGA and MAHA and RFK Jr. in particular.SaraiIf I end up in prison, though, I don't know.VirginiaI'm hearing that concern, as we're saying it out loud. Fictionalized versions of these things, perhaps.SaraiNames changed.VirginiaI mean, you're busy, you're doing lots of things, but it would be a public service.Many more folks discovered Dietland after it became a TV show, which aired in 2018. It was created by Marti Noxon of Buffy the Vampire Slayer fame. And it starred the incredible Joy Nash. And we only got 10 magic episodes. It's a really great season, but we only got the one season. I would love to hear how you felt about the show? I've always wondered what that feels like, to have a novel go into on the screen. It's got to be such a strange experience.SaraiIt is strange and surreal. Looking back now, it's hard to believe that it happened. I think so many writers do get their book optioned, but to actually have it not just optioned, but then go into production and become a television series is pretty rare. So I feel lucky that I had that.The show premiered three years after the book was published, which is so fast, but that was kind of the golden age of TV, I think.It was a great experience. Marti really welcomed me in. I went out to the writer's room, and I worked as a consultant. I got to visit the set in New York. And basically the the 10 episodes that we got were the whole book. So, I'm really sad that it didn't go on, that we didn't get at least a season two, preferably five seasons would have been great. But AMC just kind of bailed out on it. There was a lot of drama there going on behind the scenes that had nothing to do with the show that contributed to that.When the show was canceled, one of the cast members posted something on social media saying, “I'm so tired of shows about women that try and do interesting and groundbreaking things just being canceled and not given a chance to grow.” It's very hard to build an audience in one ten episode season. So I just felt like the show wasn't given that chance. And so that makes it a little bit bittersweet. But I treasure the ten episodes that we did get. It's an incredible privilege that we got that.Amd the show was pretty faithful to the book, actually, I thought. When I got there to the writer's room, they were already at work and they were using it as their Bible and I was this kind of like goddess of this world. It was really weird.VirginiaThat's amazing.SaraiAll these people working on something that came from my head. It was surreal.VirginiaAnd Joy as Plum—she's amazing and really embodies the character.SaraiShe is so great. I just love Joy. When I was living out in LA we used to go out to lunch, and she's so fun and just so sweet. And, yeah, I really loved working with her, and having her play Plum.VirginiaSo you mentioned feeling like a goddess in the writers room. But putting this out there did launch you as a Public Facing Fat Person, which I put in capital letters. It's an experience that that I've had, a little bit as well. And it is a real mixed bag. It's just really a weird experience to be professionally fat, especially because, in your case, your subsequent work has had nothing to do with fatness. And yet, I'm sure this is still something that comes up.SaraiYeah, I mean, you know what it's like to be publicly fat. Everyone reacts to it differently. I'm a novelist, so I'm very introverted. The book was published in 2015 and then the paperback in 2016 and the British edition, which was a whole wild ride with the media over there.VirginiaOh god, I am sorry. I know and I'm sorry.SaraiYeah. It made our media look okay!VirginiaNo, it's terrible. The British media is so awful in general, and it's so specifically fatphobic. Anytime I've done anything with the British media, it's been a deeply scarring experience.SaraiIt was awful. I had a big newspaper over there wanted me to write this big article for them, and they're like, “You have to put your weight in the article.”VirginiaI mean, what?SaraiAnd then another website, this feminist website, was like “We want pictures of you to use as stock photos for other articles on body positivity.”VirginiaI'm sorry, can you not find other fat people??SaraiI'm the only one that exists. I don't know if you know that, but I'm the only one.And so, I had years of this. I was on NPR, talking about being fat. I was on MSNBC. I was on other radio shows. I mean, that's the game, right? And at that time, “obesity epidemic” rhetoric was a really big thing. So my book had this hook, which isn't common for novels, but I got all these interviews and so I had to go along with it, and go out there.On the one hand, it's really radical to be like, “Yeah, I'm fat,” and to speak about it in a neutral or positive way. It's radical. It's a taboo. And there aren't a lot of taboos left. But it also just was hard to constantly have my body mentioned all the time. I remember Julianna Margulies, who was on the TV show, did an interview on a podcast talking about me and said something like, “Oh, Sarai's a big girl.” Which is fine. I mean, that's the thing, that's what I wrote about. And that's what it was like, actors, radio hosts, journalists, all referring to me as big or fat. And I'm not blaming them at all, but it was just the effect it had on me over time, was like, I started to kind of feel like a fat lady in like a circus or something. But I was reduced to the it was always about my bodyVirginiaAnd you're like, “I'm actually a writer. I have this whole incredible ability to invent a world. Not many people can do that. Could we maybe talk about that?” Just a thought.SaraiIt was really hard for me. I thought I would love being in the spotlight, and it was harder than I thought it would be.VirginiaI appreciate you saying that. I think it is really hard. I've had a smaller experience with it, and that was enough. I don't want more than I've had. I have a friend who says, “You don't really know how you feel about a book until three years after the book came out. You need that time to survive.” The whole experience of launching a book—especially if a book does well—is like you're basically disassociating a lot of the time to get through all the interviews and the press and the backlash and the trolls and whatever it creates. And then your nervous system needs time to slowly absorb what you just experienced. For me, one piece of it is like, okay, that was enough. I don't need more scrutiny on my body or my life. We don't owe the world that. And there's a weird expectation that because you made a thing or wrote a thing that people are connecting with, you somehow owe them more of yourself.SaraiAnd it's like you're saying, if you kind of step back, it's like, am I disappointing people? And I don't want to do that.VirginiaBut I'm still a person with a life and my own needs.SaraiI've always been fat. When I was a kid and growing up as a young adult, I was deeply ashamed of being fat. And I had the kind of the experience of Plum in Dietland, where I eventually experienced liberation about my body. But that trauma doesn't go away. So having everybody talk about me being fat all the time, it kind of triggers off things that you thought you had dealt with, or were at peace with. Then all of a sudden, it's like picking in a scab all the time.Even in the writers room for Dietland, I was the only fat woman in there. So that was my role. I'm the fat person. I have to tell you what it's like to be fat. And it was just always focusing on that. And that's what happens when you put out a book about that subject. I'm not really complaining about it. It was just harder than I thought it would be and it took a toll on me.VirginiaIt's a weird experience, and it's weird that it's a necessary part of getting this conversation into the mainstream.When Fat Talk came out, Aubrey Gordon texted me and was like, “I'm checking in to see how you're doing, because the book's doing well” Because, obviously, she's had lots of experience as a public fat person. And she was like, “Thanks for taking your turn in the trenches.” And that is kind of how it feels. In order to keep this conversation going around fat liberation and body liberation, we do need to keep putting this work out there. Somebody has to go to the front of the line and take all the hits for a while. And you did it at a time when not many people were getting a big stage to do that. And without a network of other people who had done it, maybe. So thank you.SaraiOh, well, you're welcome. And thank you for everything you do. Because I remember after your New York Times interview, I DMed you. I was like, “Are you okay?” Because I know what it's like to write something and the New York Times people go nuts when it's about fat. I'm like, are you all right? Because we have to look out for each other, you know?VirginiaI really appreciated it when you did that. It wasn't the most fun experience in my life. When we were talking about doing this episode, you were also saying how, as a writer you have gone on to write things that don't have anything to do with fatness. It's not like being a journalist on a beat. So I'm sure that's also challenging, that you're like, this can't always be the most interesting thing about me. That's not fair.SaraiYeah. I mean, my second novel, The Cherry Robbers—VirginiaWhich I loved!SaraiOh, thank you. That was historical. The novel took place mostly in the 1950s. I wanted something totally different. I didn't want to be in the contemporary culture. When the book came out, it got a glowing review in The New York Times, and great reviews, but people just weren't interested in talking to me anymore.I mean, part of that's is the publishing world thing, where your debut is like a debutante ball, and everybody wants to talk to you. And then once it's your second or third book, it's like, oh, yeah, we moved on from you. Sorry, I sound really jaded right now! But without that kind of a newsy hook, people just weren't interested really in talking to me anymore about the book. I think you could be tempted to say, “Okay, well, I'm going to write another book about fatness so I can get back in the media attention.” But no. As you say, other people have stepped up in their writing about it, and they're doing the work on it now. I had my time, I had my voice. I'm not saying I'll never write about being fat again. I'm sure I'll write an essay or who knows what, but I am just doing other things now. I've tried to carve out my space as a writer who is fat and who writes about all different kinds of things.VirginiaNo one needs a thin writer to keep writing about thinness. No one needs a male writer to keep writing about the experience of being a man. It's only when you have some kind of marginalization that people then expect that to be everything you write and think about. As opposed to saying, this is a person who writes and thinks about lots of different things. And happens to be this identity, and cares a lot about that identity and has thoughts about it. But every piece of work doesn't need to be defined by that.SaraiYeah. I mean, I live as a fat person. That's my reality. I'm not running away from it. It is who I am. It's inextricably linked to who I am. But I as a as a writer, as a person, I get bored easily. I want new challenges. I want to write new types of stories.In my next novel, the narrator is fat. But I only mention it once in the novel, so it's sort of like playing around with, yeah, this character is fat, but that's not really that relevant to the story that I'm telling. It's there, and it kind of comes up in other ways, but it's not the whole story. So kind of an evolution, I guess, too, of how I'm writing about fat, at least in fiction.VirginiaThat's where we need to get with representation—where every story about a fat character should not be just about their experience of fatness. That's so reductive. We need more characters that happen to be fat, that are doing other things. SaraiYeah, I think that that's the ultimate goal. I don't think we're there yet in any kind of medium. But, yeah, that would be the dream.VirginiaWe're working towards it.You were also saying that you feel like just a very different kind of writer now than when you wrote Dietland, which is a book with so much anger and fire in it. It's a gauntlet thrown. You described yourself as feeling “less fiery and more muted now,” but I also wonder if this is just being older and wiser and maybe a little more jaded— but also clearer about which mountains you're willing to die on now.SaraiI wrote Dietland in my 30s. But it was published when I was 42 because it took forever to find an agent. Then when we sold it, it took forever to come out. Publishing is quite slow. But that was the novel of my 30s. And I look back now at this anniversary, and I was so fired up. I was so passionate. I was bold and fierce and brave.Some of the things I wrote, I don't know if I would write now, if I'd be brave enough. So I look at that person who wrote Dietland, and I'm not exactly that person anymore. And it's something that's been bothering me for a while.And recently, I listened to an interview with Zadie Smith on the NPR Wildcard podcast. She and I are about the same age, 50-ish, going through all the hormonal changes of this time of life. And she was talking about her earlier books and how she thinks about herself when she was younger versus how she is now. She was talking about how now, at midlife, she feels kind of quieter inside. Her big personality has sort of retracted a little bit. And when I heard her say that, I just was blown away, because that's what I've been experiencing too. And I haven't really heard a lot of other people talking about it, and I hadn't really put it into words or myself. I think because it was upsetting to feel a bit more low key, a bit more apathetic.I'm not really an apathetic person. I've never thought of myself that way. But I kind of feel that way now, so it's a weird time in my life. And I've had women who are older say it gets better. Like, just wait, ride this out, and you're going to come out on the other side of this older and wiser and happier. But right now, I'm just kind of in this weird space where I just feel different. I'm a different person in some ways. I have the same values, but I'm a different kind of a writer, different kind of a person. I'm settling. That's where I am right now. I'm kind of in the thick of it. VirginiaI think we don't often hear this nuance from people after they do something that has the kind of impact and success that Dietland has. We often think, well that person just continues to soar and it's all the next peak and the next peak. And that's not every experience. Probably that's not most people's experiences after having a big success. It's okay that there are valleys and different paths and different twists and turns to it.My other thought is: How could you not be feeling that way right now, given what the world is? Given what it means to be a woman right now? And everything that we're up against. I think there's a some universal—maybe it's apathy, maybe it's… I don't know what it is, exactly. But this feels deeply relatable to me on a lot of levels.SaraiI think going through midlife and perimenopause, at a time when the whole world seems to be a disaster makes it a lot worse. Everybody is coming off the pandemic and Roe v Wade being overturned, and now Trump in office again. Our baseline is just really bad, you know? It's just kind of everything piled on at once.But it is true, I talked to some other women I know my age, who who've written novels in the past and have success and then can't get published anymore once they get into their 50s. You expect you're going to go on forever like you do at the beginning. And you have to deal with the publishing industry. It's a corporate industry. And there are lots of things at play that have nothing to do with whether books are good or not, or whether readers want certain books, or whatever.You start out having these expectations about how your career will go, and then you don't realize that it's, it's always a struggle. Unless you're some massive superstar writer who could have their grocery list published. But for the rest of us, it's a struggle that just kind of peaks and valleys, and that has been a kind of wake up call ten years into being a novelist, for sure.VirginiaThe industry is so complicated. I think the ageism is very real in our industry. I mean, and everywhere. I just turned 44 so I'm kind of getting into this zone that you're talking about. Perimenopause is definitely with me. It has begun. And I think a lot there is an invisibility that's starting to kick in, compared to what I experienced as a woman in my 20s or 30s being out in the world. I can, sort of slip by unnoticed a little more sometimes. And sometimes I really like that, and sometimes it makes me angry. Kind of depends on the day. And I don't even just mean male attention. I just mean the way people interact with you. I'm starting to notice some of those shifts.SaraiI think that's one of the things that's so strange about this time of life. There are a lot more adults who are younger than you all of a sudden. So all of a sudden, you've got 20 or 30 years worth of adults that are younger than you that start to see you as not important anymore.VirginiaMy kids like to remind me that Taylor Swift is 35. as if that's an entire different generation from me. That's not that much younger, guys! Okay, anyway.SaraiI mean, yeah, 35, she's getting up there. But it's kind of like you don't matter as much anymore, in a way. Like that's what society wants you to believe. That you're kind of fading. I think that's one of the things that you kind of have to push back against.And, you know, I'm Gen X. VirginiaI'm elder millennial, but I'm one year off of Gen X or something.SaraiI do think Gen X, despite all of our problems and flaws, are writing more about menopause and perimenopause and aging. And your generation will pick up that mantle and do even more with it. So I feel like, we're trying to change things at least and make it so that we're not fading away. I'm in my 50s now. I'm not going anywhere. And I'm still going to write. You're not going to silence me. It's kind of like just insisting that we're still here, we still have a voice. But, yeah, it's hard.VirginiaIt's hard, and when you're feeling that kind of personal, muted thing you were talking about and then it's getting reinforced by the cultural perceptions of being a midlife woman. Then it's like, am I going to summon up all the energy I need to push back against that? Or am I going to take some of that as, like, it's a little bit liberating. I don't have to be the young, shiny superstar reaching for the brass ring right now. It's kind of a mixed thing, I think.SaraiWith Dietland, I was idealistic and passionate and fiery. And I'm different now, but I'm not putting as much pressure on myself either. I'm not saying everything I write, I have to change the world. That's what I wanted before. And now I'm older, and I realize you're not really going to change the world. You might change a few people, and that's great. But one novel is not going to change the world. And I don't need to aim for that anymore. I want to write different things. I want to not put that kind of pressure on myself. So yeah, there's a kind of liberating part to it as well. I think when I'm not so taking myself as seriously and putting so much pressure on myself, I kind of loosened up a little bit. So that's kind of the flip side of the more negative stuff I was talking about a minute ago.VirginiaI appreciate how honest you're being about the struggle, because I just think it is deeply relatable. And then to this end of what you're working on now, we want to hear all about the next book. You have an announcement for us?SaraiYes, so last year, I sold my third novel. But we didn't want to announce it till I had all the edits done and we had the manuscript ready to go. So summer 2026, my third novel is going to be published. It's called Furious Violet, and it's a suspense novel, which is something I always wanted to do. Like a detective story.It's different from what I've written, but I do think there's a little bit of the spirit of Dietland in it, just in the voice, maybe. I guess, because The Cherry Robbers was in the 50s mostly, whereas I'm back and writing about contemporary culture.So I'm really excited about it. I've always wanted to write a book like this, and it's the most fun I've ever had writing a novel.VirginiaI love that.SaraiMy main character, is 49 almost 50, going through perimenopause. I got to write about that experience in a sort of darkly comedic way, which is a medium that I really like, like that dark comedy that Dietland had. She's a true crime writer. She's writing a book about a serial killer, but she's also the daughter of this very famous poet who is deceased, but like a giant of American poetry. This woman who has this cult following, and sort of is always a shadow over my my character's life.So she has that, but she's a true crime writer, and she kind of embraces her mediocrity. She's not a genius like her mom. She's just a true crime writer. And when the book begins, somebody starts stalking her and telling her, “You're my mother.” And she doesn't understand what's going on, because she doesn't have kids. And so it's this mystery about what does this mean, who is this person, and what do they mean? And it's all entangling all of that and all of the other aspects of her life, and how they all intersect. VirginiaI can't wait to read it. I'm riveted just hearing you talk about it.SaraiI had so much fun working on it. It was a wild ride. So thank you. I'm excited.VirginiaI hope you'll come back next summer when it comes out and talk to us about it some more. And I just have to say, I am filled with so much admiration for how you've evolved as a writer and how you like are going in. This book feels so different from Cherry Robbers feels so different from Dietland.SaraiThank you. I don't like to get bored. I want to do new things.SaraiI think publishing kind of wants to put you in a box, and I don't want to be in that box. I wanted to do something different.VirginiaIt's awesome. I can't wait to read it. I'm so excited.SaraiOh, thanks, thank you.ButterVirginiaSarai, do you have any Butter for us right now?SaraiI just came off months and months of edits, and when I'm doing that, I can't read. I can't read other people's stuff. So I don't have any book recommendations. But I'm really excited to start reading again. But I was listening to a lot of music. I often listen to music while I'm writing, but it can't have lyrics, has to be instrumental.I discovered this Canadian classical violinist named Angèle Dubeau. She plays the work of a lot of contemporary composers. And I don't know a lot about classical music. I'm not plugged into the contemporary classical music scene. But through her, I've discovered all these different composers. And she has one piece in particular called Experience. So if you're on Spotify or Apple Music or wherever, I would recommend looking this up. This piece I just absolutely love it. It's so beautiful, and I listen to it so many times. As I was editing, and then I keep listening to her work, and I don't know it just meant a lot to me during this time. So yeah, it was really exciting to discover that.VirginiaThat's incredible. It's so fun to discover an artist and realize there's more and more of their work, and you can go down the rabbit hole of everything they've done. I find that so satisfying.SaraiShe's introduced me to so many different composers, and I really love it.VirginiaThat's so cool. I'll do a music rec as well, although it's not nearly as sophisticated as that. But my seven year old and I are currently on a big kick with the Hamilton soundtrack. Obviously Hamilton, the musical, had its moment a minute ago. Like, it's been around for a while. But it stands the test of time, and it's very fun to listen to with kids. I end up having to answer a lot of strange questions, because for a seven year old, it's just a lot of things that she doesn't know, that she needs translated. So we have some very funny conversations. It's still a banger of a show and really great and fun to listen to a kid. It's our little bedtime ritual. Before we read, she's a kid who needs to really get her energy out. And we have a swing that she likes to swing on, and we play the Hamilton soundtrack and do three or four songs, and it's just like a fun end of day ritual that I'm really enjoying right now.SaraiI love that. I'm still listening to the Xanadu soundtrack or something for my childhood.VirginiaThese things, they're classics for a reason.Obviously, we want everyone to go pick up a 10th anniversary copy of Dietland!Get it if you haven't read it, or if you read it and loved it, but you've lost your original copy, you probably need another one. It's a great gift for someone else, some friend, mom, sister, whoever. Tell folks anything else about where we can find you, how we can support your work.SaraiSo I have a website, and, you know, I'm on Instagram, I'm on Blue Sky, and I do have a Facebook page I don't update very much. I do have a TikTok account that I don't really know what to do with, but I've done a few videos. So I'm out there, pretty easy to find. My next novel coming out next summer, but that's got a ways to go on that.VirginiaWell, we will keep people posted about that for sure. Thank you so much for being here. I really appreciate it.SaraiThanks. It was so much fun. So thank you, Virginia.The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.The Burnt Toast logo is by Deanna Lowe.Our theme music is by Farideh.Tommy Harron is our audio engineer.Thanks for listening and for supporting anti-diet, body liberation journalism! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit virginiasolesmith.substack.com/subscribe

"Once the tone is there, all else follows." - Stine deelt een levenswijsheid van schrijver Zadie Smith.

Bohaterką tego odcinka jest Natalia Ginzburg – jedna z najwybitniejszych pisarek XX wieku, której zbiór esejów zatytułowany „Małe cnoty” po 6 dekadach od włoskiej premiery możemy czytać po raz pierwszy w polskim tłumaczeniu.Teksty Natalii Ginzburg, mimo że pisane były w połowie ubiegłego stulecia, dziś wydają się bardziej aktualne niż pół wieku temu. I nie przestają inspirować, do fascynacji „Małymi cnotami” przyznaje się bowiem wiele współczesnych pisarek, między innymi Zadie Smith, Sally Rooney czy Elena Ferrante.Natalia Ginzburg była mistrzynią prostego, ascetycznego języka, w którym nie było miejsca na przypadkowe czy zbędne słowa. Dlatego jej zdania z jednej strony urzekają prostotą, z drugiej zaś niosą w sobie ogromną siłę.Prowadzenie: Agata KasprolewiczGość: Ewa WieleżyńskaKsiążka: „Małe cnoty” Natalia Ginzburg/przekład: Weronika Korzeniecka/  wydawnictwo Filtry---------------------------------------------Raport o stanie świata to audycja, która istnieje dzięki naszym Patronom, dołącz się do zbiórki ➡️ ⁠https://patronite.pl/DariuszRosiak⁠Subskrybuj newsletter Raportu o stanie świata ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➡️ ⁠https://dariuszrosiak.substack.com⁠Koszulki i kubki Raportu ➡️ ⁠https://patronite-sklep.pl/kolekcja/raport-o-stanie-swiata/⁠ [Autopromocja]

Zadie Smith's White Teeth marked its 25th anniversary in January. The now canonical novel tells the story of an unlikely friendship between a shy Englishman named Archie Jones and his friend Samad Iqbal, a devout Bengali Muslim. Both men are trying to pass on their religious and moral beliefs to their children. In today's episode, we revisit a conversation between Smith and NPR's Liane Hansen that aired shortly after White Teeth's release. Then, we'll hear some of Smith's conversation last month on NPR's Wild Card with Rachel Martin in which Smith reflects on the novel's anniversary. The two discuss the author's distance from the person she was when she wrote White Teeth and the novel's place among the canon of books for teenagers.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

'When you're not on heroin' Seamus O'Rourke, Zadie Smith, Malcolm Gladwell 

AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  ⁠https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC⁠  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠⁠Crónicas Lunares di Sun - YouTube⁠⁠ ⁠⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠⁠  ⁠⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠⁠  ⁠⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠⁠  ⁠⁠https://twitter.com/isun_g1⁠⁠  ⁠⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠⁠  ⁠⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠⁠  ⁠https://mx.ivoox.com/es/s_p2_759303_1.html⁠⁠ ⁠https://tunein.com/user/gnivrinavi/favorites⁠⁠

Entretien mené par Raphaëlle Leyris À travers cet ensemble de réflexions (issues de conférences données 2022 à l'université d'Oxford), Juan Gabriel Vásquez explore les caractéristiques du roman, les liens entre fiction et réalité, les zones d'ombre dont s'empare la littérature pour éclairer l'Histoire et sa capacité unique à « traduire » la complexité des vies humaines. Pour assoir son propos, il convoque une pléiade d'écrivains – Zadie Smith, Proust, Yourcenar, Kundera, Defoe, Tolstoï, Tchekhov, etc. –, analyse l'histoire colombienne et sa violence ou observe comment le célèbre récit du massacre des bananeraies de Cent Ans de solitude est devenu une vérité pour une partie de ses compatriotes. Réponse subtile et argumentée à la question de l'appropriation culturelle, portés par l'érudition de leur auteur, ces textes cherchent à redéfinir les usages de la fiction et les raisons pour lesquelles, aujourd'hui, elle est plus indispensable que jamais. À lire – Juan Gabriel Vàsquez, La traduction du monde, traduit de l'espagnol (Colombie) par Isabelle Gugnon, Seuil, 2025.

London today is very different from the one Zadie Smith grew up in and the one she wrote about in her debut novel "White Teeth." That is just one of the things Smith is grappling with 25 years after her best-selling book's debut. She talks to Rachel about the difficulty of revisiting the first few pages of "White Teeth," the wisdom only teenagers possess, and fighting despair with crème brûlée.To listen sponsor-free, access bonus episodes and support the show, sign up for Wild Card+ at plus.npr.org/wildcardLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

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

“Naked Girl is a story of the enduring power of love in a family of lunatics,” says Janna Brooke Wallack of her debut novel, a poignant piece of literary fiction. Though not autobiographical, it reads like a memoir. Wallack's enduring voice and fresh vision evoke the storytelling of masterful novelists like Ann Patchett, Kristin Hannah, and Zadie Smith. Naked Girl is a captivating and moving story that explores the dysfunction of a family, the struggles of 'fitting in' and the power of hope, humor, and imperfect love. Growing up motherless in 1980's Miami Beach, Sienna and her little brother Siddhartha get by with their charismatic and capricious father, Jackson Jones. When a small windfall relocates them to a condemned mansion on the water, the siblings are forbidden traditional schooling and left to live off the land. As Jackson uses their new home to create a communal cult, the siblings are forced to raise themselves in a carefree, chaotic oasis. Living amidst the vagrant seekers who take up residence in Jackson's utopia, Sienna and Siddhartha strive to protect their unconventional family.Janna Brooke Wallack writes with warmth, compassion and comic brilliance in Naked Girl, an enthralling debut novel brimming with the adventure, resilience, humor and heartbreak of growing up on the fringe of decency and longing for the unattainable comfort of home.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

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

Front Row continues to look at how culture has changed in the first 25 years of this century with an edition focusing on books.Tom Sutcliffe is in the Front Row studio with two writers who've helped to shape the literary landscape over those years – the novelists Zadie Smith and Andrew O'Hagan. They are joined by the presenter of Radio 4's A Good Read and World Book Club, Harriett Gilbert, who's chosen Smith's White Teeth as one of her key books so far this century. Plus Editor of The Bookseller Philip Jones joins the discussion to reflect on the changes in publishing and the impact of technology on our reading habits Presenter: Tom Sutcliffe Producer: Ciaran Bermingham

“Naked Girl is a story of the enduring power of love in a family of lunatics,” says Janna Brooke Wallack of her debut novel, a poignant piece of literary fiction. Though not autobiographical, it reads like a memoir. Wallack's enduring voice and fresh vision evoke the storytelling of masterful novelists like Ann Patchett, Kristin Hannah, and Zadie Smith. Naked Girl is a captivating and moving story that explores the dysfunction of a family, the struggles of 'fitting in' and the power of hope, humor, and imperfect love. Growing up motherless in 1980's Miami Beach, Sienna and her little brother Siddhartha get by with their charismatic and capricious father, Jackson Jones. When a small windfall relocates them to a condemned mansion on the water, the siblings are forbidden traditional schooling and left to live off the land. As Jackson uses their new home to create a communal cult, the siblings are forced to raise themselves in a carefree, chaotic oasis. Living amidst the vagrant seekers who take up residence in Jackson's utopia, Sienna and Siddhartha strive to protect their unconventional family.Janna Brooke Wallack writes with warmth, compassion and comic brilliance in Naked Girl, an enthralling debut novel brimming with the adventure, resilience, humor and heartbreak of growing up on the fringe of decency and longing for the unattainable comfort of home.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Matías Rivas, Andrés Gómez y Javiera Díaz de Valdés recomendaron películas, series, libros y cultura.

Matías Rivas, Andrés Gómez y Javiera Díaz de Valdés recomendaron películas, series, libros y cultura.

My guest today is the fashion designer Bella Freud. Bella launched her eponymous label in 1990. Over thirty years later it remains resolutely independent, one of the very few that hasn't been subsumed by a fashion conglomerate.  Bella's clothes are for wearing and have become a byword for women who want to be glamorous but not girly with a bit of added wit. Her iconic word jumpers are one of the most covetable individual fashion items bar none. (As her instant-sell out collaboration with M&S proved.) Bella has always played with her heritage (her father, the artist Lucian Freud designed her famous dog logo and great-grandfather was Sigmund Freud, widely credited as the inventor of psycho analysis) and now she's launched a podcast - Fashion Neurosis with Bella Freud - where she literally puts celebrities on the couch to analyse their relationship with style. Eric Cantona, Zadie Smith and even Kate Moss have succumbed and, I have to say, it's an eye-opener. I met Bella at home in North West London to talk about growing up outside convention and how she finally shook off her childhood coping mechanisms. We discussed the “wonderful feeling of progress” that's come with ageing, what we can gain from unravelling life's knots and the impact of losing both of her parents in one week. Bella also told me how her body image shaped her designs and how she's learnt to appreciate her body as she's aged. Fashion is a magic carpet, she says, and she's the living proof. * You can buy all the books mentioned in this podcast at The Shift bookshop on Bookshop.org, including the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me. * If you enjoyed this episode and you fancy buying me a coffee, pop over to my page on buymeacoffee.com. • And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at www.theshiftwithsambaker.substack.com • The Shift (on life after 40) with Sam Baker is created and hosted by Sam Baker and edited by Juliette Nicholls @ Pineapple Audio Production. If you enjoyed this podcast, please rate/review/follow as it really does help other people find us. And let me know what you think on twitter @sambaker or instagram @theothersambaker. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we'll highlight some exciting updates before we share an encore episode. In the encore episode, we'll dive into the profound power of gratitude and its impact on mental health. We'll mainly focus on the first part of our three-part mindfulness process: see what is, accept what is, and choose wisely. We'll use that process to help explore emotional resilience, the role of gratitude in building connections, and how to persist through life's challenges. Sources and Notes: Joy Lab Program: Take the next leap in your wellbeing journey with step-by-step practices to help you build and maintain the elements of joy in your life. Listen to the Joy Lab Podcast over at JoyLab.coach. Join the Natural Mental Health Newsletter Joy Lab podcast episode 31 (Gratitude in the Wild: Accept What Is) Joy Lab podcast episode 32 (Gratitude in the Wild: Choose Wisely)  Zadie Smith (personal website) Richard Rohr (Center for Action and Contemplation- founded by Richard Rohr) Sabrina Benaim (personal website) Full transcript here. Please remember that this content is for informational and educational purposes only. It is not intended to provide medical advice and is not a replacement for advice and treatment from a medical professional. Please consult your doctor or other qualified health professional before beginning any diet change, supplement, or lifestyle program. Please see our terms for more information. If you or someone you know is struggling or in crisis, help is available. Call the NAMI HelpLine: 1-800-950-6264 available Monday through Friday, 10 a.m. – 10 p.m., ET. OR text "HelpLine" to 62640 or email NAMI at helpline@nami.org. Visit NAMI for more. You can also call or text SAMHSA at 988 or chat 988lifeline.org.

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Flat-World Fiction: Digital Humanity in Early Twenty-First-Century America (University of Georgia Press, 2021) Dr. Liliana Naydan analyses representations of digital technology and the social and ethical concerns it creates in mainstream literary American fiction and fiction written about the United States in the first two decades of the twenty-first century. In this period, authors such as Don DeLillo, Jennifer Egan, Dave Eggers, Joshua Ferris, Jonathan Safran Foer, Mohsin Hamid, Thomas Pynchon, Kristen Roupenian, Gary Shteyngart, and Zadie Smith found themselves not only implicated in the developing digital world of flat screens but also threatened by it, while simultaneously attempting to critique it. As a result, their texts explore how human relationships with digital devices and media transform human identity and human relationships with one another, history, divinity, capitalism, and nationality. Dr. Naydan walks us through these complex relationships, revealing how authors show through their fiction that technology is political. In the process, these authors complement and expand on work by historians, philosophers, and social scientists, creating accessible, literary road maps to our digital future. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Zadie Smith napisała powieść wiktoriańską. Jeszcze dekadę temu coś takiego wydawać się mogło niemożliwe, ale jednak. We wrześniu 2024 na polskim rynku ukazała się „Oszustwo” w przekładzie Justyna Huni. O czym traktuje książka, na którą Smith kazała swoim czytelnikom czekać aż osiem lat? Otrzymujemy tutaj wielowątkową (mozaikową?) historię, w której centrum znajduje się Eliza Touchet, gospodyni, redaktorka, a także kochanka znanego pisarza (Williama Harrisona Ainswortha) oraz jego żony. Cięty język Elizy, trafność w ocenie sytuacji i ponadprzeciętna inteligencja sprawiają, że jest ona dla nas doskonałą przewodniczką po świecie literackim XIX wiecznej Anglii. Ale powieść ta to coś więcej. To traktat na temat wolności, nierówności i tego, że czasami chcemy czegoś tak bardzo, że świadomie zgadzamy się na bycie oszukiwanymi.      O książce rozmawialiśmy w składzie: Kasia Janusik, Agata Matkowska i Waldek Mazur. Realizacja: Piotr „Piciu” Pflegel     Udanego słuchania!

What would an 18-year-old you want to ask your 39-year-old future self if you met them during a hallucinogenic mushroom trip? That's the amazing conceit behind new Margot Robbie-produced rom-com My Old Ass. We review the film while chatting all about teen nostalgia and the passing of time. Plus, why on earth didn't Jamie Oliver hire a sensitivity reader for his cancelled new children's book? And Kathleen has only just recovered from watching the ever-divisive Demi Moore body-horror The Substance, which Ellie reviewed here last month, so we discuss! DM us your thoughts on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@straightuppod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or email us at ⁠hello@straightuppodcast.co.uk⁠ and as ever please, please, please leave us a review on Apple Podcasts and a rating on Spotify, lysm! Huge thanks to our sponsor⁠ ⁠⁠⁠⁠Yonder⁠⁠⁠⁠⁠, the incredible lifestyle credit card packed with rewards you'll actually *want* to use, beloved by foodies like us. Find out more at ⁠⁠⁠⁠⁠yonder.com/straightup⁠⁠⁠⁠⁠ Yonder membership is subject to eligibility and you'll need to be over 18 and a UK resident to apply. If you sign up, only borrow what you can afford to pay back. The representative rate is 66.7% APR variable. Membership fees and other T&Cs may apply.  We're also over the moon to be partnered with the British Film Institute to tell you about our favourite films dropping on ⁠BFI Player. BFI Player offers a 14-day free trial for new users PLUS our hunnies get an extra month free with the code STRAIGHTUP. Head to⁠⁠⁠⁠ ⁠⁠player.bfi.org.uk⁠⁠⁠⁠⁠⁠ ⁠to stream now! We're back working with our OG faves London Nootropics, the adaptogenic coffee brand that has literally changed our lives with its amazing blends. Get 20% off using our code straightup at⁠⁠⁠⁠ ⁠⁠londonnootropics.com⁠⁠⁠⁠⁠ Reccs discussed:  Barry Keoghan on the Louis Theroux podcast The Outrun, in cinemas A Different Man, Apple TV The Apprentice, in cinemas Trump spoke directly to young men online. Young men spoke back, The Face All Those A-List Celebs Couldn't Save Harris, But Joe Rogan Helped Trump, Hollywood Reporter So Good, Emily English My Old Ass, Amazon Prime  The Fall of My Teenage Self, Zadie Smith for New Yorker The Substance, streaming now Living with Myself, Netflix Anora, in cinemas now 

Swallowing a World: Globalization and the Maximalist Novel (U Nebraska Press, 2024) offers a new theorization of the maximalist novel. Though it's typically cast as a (white, male) genre of U.S. fiction, maximalism, Benjamin Bergholtz argues, is an aesthetic response to globalization and a global phenomenon in its own right. Bergholtz considers a selection of massive and meandering novels that crisscross from London and Lusaka to Kingston, Kabul, and Kashmir and that represent, formally reproduce, and ultimately invite reflection on the effects of globalization. Each chapter takes up a maximalist novel that simultaneously maps and formally mimics a cornerstone of globalization, such as the postcolonial culture industry (Salman Rushdie's Midnight's Children), the rebirth of fundamentalism (Zadie Smith's White Teeth), the transnational commodification of violence (Marlon James's A Brief History of Seven Killings), the obstruction of knowledge by narrative (Zia Haider Rahman's In the Light of What We Know), and globalization's gendered, asymmetrical growth (Namwali Serpell's The Old Drift). By reframing analysis of maximalism around globalization, Swallowing a World not only reimagines one of the most perplexing genres of the late twentieth and early twenty-first centuries but also sheds light on some of the most perplexing political problems of our precarious present. Arnab Dutta Roy is Assistant Professor of World Literature and Postcolonial Theory at Florida Gulf Coast 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

Swallowing a World: Globalization and the Maximalist Novel (U Nebraska Press, 2024) offers a new theorization of the maximalist novel. Though it's typically cast as a (white, male) genre of U.S. fiction, maximalism, Benjamin Bergholtz argues, is an aesthetic response to globalization and a global phenomenon in its own right. Bergholtz considers a selection of massive and meandering novels that crisscross from London and Lusaka to Kingston, Kabul, and Kashmir and that represent, formally reproduce, and ultimately invite reflection on the effects of globalization. Each chapter takes up a maximalist novel that simultaneously maps and formally mimics a cornerstone of globalization, such as the postcolonial culture industry (Salman Rushdie's Midnight's Children), the rebirth of fundamentalism (Zadie Smith's White Teeth), the transnational commodification of violence (Marlon James's A Brief History of Seven Killings), the obstruction of knowledge by narrative (Zia Haider Rahman's In the Light of What We Know), and globalization's gendered, asymmetrical growth (Namwali Serpell's The Old Drift). By reframing analysis of maximalism around globalization, Swallowing a World not only reimagines one of the most perplexing genres of the late twentieth and early twenty-first centuries but also sheds light on some of the most perplexing political problems of our precarious present. Arnab Dutta Roy is Assistant Professor of World Literature and Postcolonial Theory at Florida Gulf Coast University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Swallowing a World: Globalization and the Maximalist Novel (U Nebraska Press, 2024) offers a new theorization of the maximalist novel. Though it's typically cast as a (white, male) genre of U.S. fiction, maximalism, Benjamin Bergholtz argues, is an aesthetic response to globalization and a global phenomenon in its own right. Bergholtz considers a selection of massive and meandering novels that crisscross from London and Lusaka to Kingston, Kabul, and Kashmir and that represent, formally reproduce, and ultimately invite reflection on the effects of globalization. Each chapter takes up a maximalist novel that simultaneously maps and formally mimics a cornerstone of globalization, such as the postcolonial culture industry (Salman Rushdie's Midnight's Children), the rebirth of fundamentalism (Zadie Smith's White Teeth), the transnational commodification of violence (Marlon James's A Brief History of Seven Killings), the obstruction of knowledge by narrative (Zia Haider Rahman's In the Light of What We Know), and globalization's gendered, asymmetrical growth (Namwali Serpell's The Old Drift). By reframing analysis of maximalism around globalization, Swallowing a World not only reimagines one of the most perplexing genres of the late twentieth and early twenty-first centuries but also sheds light on some of the most perplexing political problems of our precarious present. Arnab Dutta Roy is Assistant Professor of World Literature and Postcolonial Theory at Florida Gulf Coast 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

W tym odcinku "Raportu o książkach Agaty Kasprolewicz" zapraszamy na spotkanie z Zadie Smith - jedną na najbardziej popularnych i lubianych na świecie brytyjskich pisarek. Na nową powieść kazała czekać swoim czytelnikom 8 lat, ale warto było, bo „Oszustwo” to pierwsza w jej literackim dorobku powieść historyczna, w której pisarka rekonstruuje jeden z najbardziej emocjonujących i awanturniczych procesów sądowych w dziejach Wielkiej Brytanii. Rzeźnik podający się za barona pociągnął za sobą armię wyznawców, rozpalając serca i umysły ludzi, a także pierwsze strony brytyjskich gazet. Wiktoriańska Anglia posłużyła Zadie Smith za literackie lustro, w którym odbijają się nasze współczesne demony. Znajdziemy w niej ślady: Brexitu, procesu O.J. Simpsona, trumpizmu, debaty wokół zmian klimatycznych i współczesnego rasizmu…ale, jak mówi sama autorka, jest w niej też dużo nadziei. „Oszustwo” to powieść w tym samym stopniu historyczna, co radykalnie współczesna. „Oszustwo” Zadie Smith w przekładzie Justyna Huni ukazało się nakładem wydawnictwa ZNAK. Gość: Zadie Smith Prowadzenie: Agata Kasprolewicz Realizacja: Filip Marcinkowski --------------------------------------------- Raport o stanie świata to audycja, która istnieje dzięki naszym Patronom, dołącz się do zbiórki ➡️ ⁠https://patronite.pl/DariuszRosiak⁠ Subskrybuj newsletter Raportu o stanie świata ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➡️ ⁠https://dariuszrosiak.substack.com⁠ Koszulki i kubki Raportu ➡️ ⁠https://patronite-sklep.pl/kolekcja/raport-o-stanie-swiata/⁠ [Autopromocja]

In the spirit of trying to channel his obsession with the US election in a (somewhat) productive way, Darren welcomes back Andrew Phillips from the University of Queensland to talk through the extent to which Trump is a ‘normal' political candidate versus an existential threat to US democracy. Along the way, Darren cannot resist the temptation to introduce Francis Fukuyama's “last man” model of political resistance, often overlooked when his “End of History” thesis is discussed. Australia in the World is written, hosted, and produced by Darren Lim, with research and editing this episode by Walter Colnaghi and theme music composed by Rory Stenning. Relevant links Sohrab Ahmari, “There is an intellectual sickness on the American right”, The New Statesman, 11 September 2024: https://www.newstatesman.com/world/americas/north-america/us/2024/09/there-is-an-intellectual-sickness-on-the-american-right Andrew Dougall, Mediatizing the Nation, Ordering the World, Oxford University Press, 2024: https://global.oup.com/academic/product/mediatizing-the-nation-ordering-the-world-9780198882114?lang=en&cc=ru Zhang, F.J. “Political endorsement by Nature and trust in scientific expertise during COVID-19”, Nat Hum Behav 7, 696–706 (2023): https://doi.org/10.1038/s41562-023-01537-5 Tyler Cowen, “How public intellectuals can extend their shelf lives”, Marginal Revolution, 6 February 2020: https://marginalrevolution.com/marginalrevolution/2020/02/how-public-intellectuals-can-extend-their-shelf-lives.html Miss Americana (documentary): https://www.netflix.com/au/title/81028336 The Ezra Klein Show, “On Children, Meaning, Media and Psychedelics”, 3 September 2024: https://www.nytimes.com/2024/09/03/opinion/ezra-klein-podcast-jia-tolentino.html The Ezra Klein Show, “Zadie Smith on Populists, Frauds and Flip Phones”, 17 September 2024: https://www.nytimes.com/2024/09/17/opinion/ezra-klein-podcast-zadie-smith.html Linkin Park, “The Emptiness Machine” (Official Music Video): https://www.youtube.com/watch?v=SRXH9AbT280 The Deep Life by Cal Newport (podcast): https://www.thedeeplife.com/listen/

I stumbled on a Zadie Smith line recently that stopped me in my tracks. She was writing in January 2017, and describing the political stakes of that period — Brexit in the U.K., Trump in the U.S. — and the way you could feel it changing people.“Millions of more or less amorphous selves will now necessarily find themselves solidifying into protesters, activists, marchers, voters, firebrands, impeachers, lobbyists, soldiers, champions, defenders, historians, experts, critics. You can't fight fire with air. But equally you can't fight for a freedom you've forgotten how to identify.”What Smith is describing felt so familiar — how politics can sometimes feel like it demands we put aside our internal conflict, our uncertainty, so we can take a strong position. I see it so often in myself and people around me, and yet I rarely hear it talked about. And Smith's ability to give language to these kinds of quiet battles inside of ourselves is one reason she's been one of my favorite writers for years.Smith is the author of novels, including “White Teeth,” “On Beauty” and “NW,” as well as many essays and short stories. Her latest novel, “The Fraud,” also deals with politics and identity. It's about a case in 19th-century London, but it has eerie resonances with our current political moment. I wasn't surprised to learn that Trump and populism were front of mind for her when she wrote it. In this conversation, we discuss what populism is really channeling, why Smith refuses the “bait” of wokeness, how people have been “modified” by smartphones and social media, and more.This episode contains strong language.Mentioned:Feel Free by Zadie Smith“Fascinated to Presume: In Defense of Fiction” by Zadie SmithAmusing Ourselves to Death by Neil Postman“Generation Why?” by Zadie SmithBook Recommendations:The Director by Daniel KehlmannThe Rebel's Clinic by Adam ShatzThe Diaries of Virginia WoolfThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.This episode of “The Ezra Klein Show” was produced by Annie Galvin. Fact-checking by Michelle Harris, with Kate Sinclair. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota and Efim Shapiro. Our senior editor is Claire Gordon. The show's production team also includes Rollin Hu, Elias Isquith and Kristin Lin. Original music by Isaac Jones. Audience strategy by Kristina Samulewski and Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser.

Summer Reading Report: hits, misses, and anticipations   We're back from the beach and reflecting on our summer reading in this bonus length bookshelf episode. On Kate's stack summer favourite GRETA AND VALDIN by Rebecca K. Reilly, Olivia Laing's memoir The Garden Against Time, the hotly tipped HEADSHOT by Rita Bullwinkel, TRUST by Hernan Diaz, Miranda July's new novel ALL FOURS and upcoming book club reads THE FRAUD by Zadie Smith and HUMANELY POSSIBLE by Sarah Bakewell. Meanwhile Laura talks about REAL AMERICANS by Rachel Kong, THE LAST UNICORN by Peter S. Beagle, THE LAST MURDER AT THE END OF THE WORLD by Stuart Turton, Kiley Reid's latest COME AND GET IT, Reese's Book Club pick SLOW DANCE by Rainbow Rowell and Austeriltz by W. G. Sebald.    We also hear about the best bookish party Laura attended courtsey of the Vancouver Public Library, and the Kate's experience of reading just one book, and one book only, at a time – a strong departure from her usual habits of three on the go at once. But will she stick to it?   Timecodes for the time poor 08:58 Real Americans by Rachel Kong: A Not-to-Read Recommendation 17:39 The Garden Against Time by Olivia Lange: A Deep Dive 25:27 The Last Unicorn by Peter S. Beagle: A Disappointment 30:44 Headshot by Rita Bullwinkle: A Mixed Review 40:02 Stuart Turton's The Last Murder at the End of the World: A Fun Read 44:20 Exploring 'Trust' by Hernan Diaz 49:34 Campus Life and Money in 'Come and Get' It by Kiley Reid 59:57 Miranda July's 'All Fours': A Perimenopausal Journey 01:12:40 A Lighthearted Romance: 'Slow Dance' by Rainbow Rowell 01:15:13 Upcoming Reads and Final Thoughts Patreon Want more from your favourite podcast? Want to support the person who makes it? Come and join Kate at Patreon.com/thebookclubreview where for a small monthly fee you'll receive benefits such as a weekly books dispatch, which you can read or listen to as a pod, occasional special episodes, and at the higher tier you can join our monthly book club for live discussions with Kate over Zoom.  For the love of a good lamp:  Visit seriousreaders.com/BCR for our special offer on any HD light – use the code BCR at checkout and if you're in the UK you can also benefit from free shipping. You get a month to try out the lights to decide if they're for you, if not you can return them. We seriously love them, and think you will too.

[Rebroadcast from September 13, 2023] Zadie Smith joins us to discuss her new historical novel, The Fraud, which follows a white woman and a formerly enslaved Black man whose lives intersect as a result of a British court case in which a butcher claims he is the long-lost relative of a dead baronet, and should receive his fortune.

After this long and oftentimes languishing month of Leo, Heidi and Ellen welcome the sign of Virgo. Virgo is one of the hardest working signs of the zodiac. Therefore, it is deeply important that we are aligned with and devoted to the work we are doing. Virgo teaches us about the power of NO. We ask “What is truly mine to do?” This is the season to clarify how you spend your time, energy and money with a commitment to greater fulfillment and joy. Heidi reads the poem Bride by Maggie Smith. Books mentioned: Everything You Have by Kate Ruby; The Diary of Anais Nin by Anais Nin; On Beauty by Zadie Smith. Movies and TV shows mentioned: Inside Out 2; Twister; Deadpool & Wolverine; Shirley; Emily In Paris. Do you have a question you'd like featured on the podcast? Send a 1-minute audio and your birth information (date of birth, time, and place) to assistant@heidirose.com. Chart Your Career Instagram: @chartyourcareerpodcast To connect with the hosts, visit: Heidi Rose Robbins, Astrologer & Poet: heidirose.com, IG: @heidiroserobbins Ellen Fondiler, Career & Business Strategist: ellenfondiler.com, IG: @elfondiler

Notes and Links to Christina Cooke's Work      For Episode 247, Pete welcomes Christina Cooke, and the two discuss, among other topics, her childhood love of books, formative and transformative books and writers, contemporaries and fellow debut writers with whom her books are in conversation, the outsized influence of Mamá Lou, and salient themes and issues in her book like diaspora, notions of “home,” queerness and divinity, brotherly and sisterly relationships, and religiosity vs. spirituality.      Christina Cooke's writing has appeared in or is forthcoming from The Caribbean Writer, PRISM International, Prairie Schooner, Apogee, Epiphany, Michigan Quarterly Review, Lambda Literary Review, and others. A MacDowell Fellow and Journey Prize winner, she holds a Master of Arts from the University of New Brunswick and a Master of Fine Arts from the Iowa Writers' Workshop. Christina was born in Jamaica and is now a Canadian citizen who lives and writes in New York City. BROUGHTUPSY is her debut novel.   Buy Broughtupsy   Christina Cooke's Website   Article in Vogue about Broughtupsy At about 1:40, Pete and Christina talk about a top-notch fruit mentioned in her book At about 4:00, Pete highlights an amazing version of the book that he received  At about 5:15, Christina talks about her rich childhood reading life At about 8:20, Christina shouts out Mrs. Dooley, an inspiring teacher At about 11:30, Christina cites books that made a huge impact on how she writes, including Handmaid's Tale At about 13:20, Pete wonders which books and writers “are in conversation” with Christina and her work, and she mentions Ruben Reyes, Jr., Santiago José Sánchez, Melissa Mogollon, Emma Copley, Lisa Ko, Annie Liontas, Miss Lou, Zadie Smith, and Erna Brodber At about 17:00, Christina talks about why she calls Jamaican patois a language, and its distinctive nature, and she tells about a fun difference between #3/#6 mango At about 18:45, Christina dissects the meanings of the book's title At about 19:45, The two discuss a Jamaican original word At about 20:40, Christina discusses seeds for the book and its iterations  At about 23:50, The two discuss the book's epigraph and Christina describes its provenance/significance  At about 28:00, Pete lays out the book's exposition and Christina gives background on sickle cell anemia, which is deadly to Bryson At about 30:30, Christina discusses Bryson's memories and wise maturity in his last days At about 33:25, Christina remarks on the “fable” told to reassure Bryson that his sister Tamika would be visiting-she cites “the complicated ways that we love” At about 35:10, Christina talks about a possibly-doomed relationship At about 37:20, Christina details how the book complicates religiosity and queerness' connections At about 40:35, Christina describes Akua “spiraling” in making a trip back home to Jamaica  At about 42:30, Akua and her “Americanness” in Jamaica is discussed, and Christina talks about parallels in her own life At about 45:40, An uncomfortable visit and questions between the sisters is discussed At about 46:30, Cod liver oil and a scene involving its destruction is recounted by Christina as she discusses its connection to Jamaican parenting in a certain time period At about 49:10, Christina responds to Pete's question about why Akua carries her brother's urn At about 51:40, Christina talks about Jamaicans being “culturally Anglican” and its complexities At about 53:20-Lady Saw and her legendaries and an early encounter with Akua and a woman in Kingston is recounted At about 57:20, Christina talks about “lyme” and its usage in the book and in Jamaica  At about 1:00:10, Christina charts the importance of The Miss Lou “Happy Birthday Song” in the book and in Jamaica and the Jamaican diaspora At about 1:01:45, Christina responds to Pete's questions about the ways in which Akua's father treats her and her homosexuality-Christina speaks to the idea of “infantilizing”  At about 1:06:00, Café con Libros, Word Up, and Bookshop.org are shouted out as good places to buy her book and she gives contact information/social media information At about 1:06:55, Christina shares wonderful feedback from readers      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!       This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 248 with Katya Apekina, a novelist, screenwriter and translator; her novel, The Deeper the Water the Uglier the Fish, was named a Best Book of 2018 by Buzzfeed, LitHub, and more and finalist for the LA Times Book Prize; Mother Doll, was named a Best Book So Far of 2024 by Vogue    The episode will go live on August 16.    Lastly, please go to https://ceasefiretoday.com/, which features 10+ actions to help bring about Ceasefire in Gaza.  

durée : 00:11:23 - "L'Imposture" de Zadie Smith

durée : 00:11:23 - Le Masque et la Plume - Pour son sixième ouvrage, l'autrice britannique signe un roman historique inspiré de faits réels dans lequel l'héroïne ose se confronter au terrible passé colonial de l'Angleterre victorienne de la fin du XIXe siècle. Globalement, nos critiques ont été séduits par cette comédie de mœurs.

durée : 00:46:49 - Le Masque et la Plume - par : Laurent Goumarre - Cet été, pour vos vacances, les critiques vous conseillent-ils de lire "L'imposture" de Zadie Smith, "Ni de lait ni de laine" d'Emmanuelle Salasc, "L'oiseau des Français" de Yasmina Lassine et "Bungalow" de Julien Blanc-Gras ? - invités : Nelly KAPRIELIAN, Arnaud Viviant, Laurent CHALUMEAU, Patricia Martin - Nelly Kaprielian : Journaliste et critique littéraire chez Les Inrocks, Arnaud Viviant : Critique littéraire (Revue Regards), Laurent Chalumeau : Journaliste rock, scénariste, dialoguiste, romancier, Patricia Martin : Journaliste, critique littéraire et productrice chez France Inter - réalisé par : Audrey RIPOULL

Kate Wolf speaks with writer and journalist Yasmin Zaher about her debut novel, The Coin. An allegorical tale of alienation, loneliness, and repulsion, the book follows a Palestinian woman who's recently fulfilled her family's dream of moving to America. In New York, working as a middle school teacher, she finds herself disillusioned with the filth of the city and its poverty. She's beset with a deep unease at her own body and haunted by memories, especially that of a coin—a shekel—she swallowed on a car ride as a child just moments before a horrible accident. Estranged from the few people she knows in the city, her behavior becomes increasingly unhinged and bizarre in ways that complicate standard stories of immigration, and instead imagine the path of a character who sees through America's promise and realizes she has nothing to lose. Also, Nell Irvin Painter, author of I Just Keep Talking, returns to recommend three books and one magazine: The Plague Edition of Konch Magazine edited by Ishmael Reed and Tennessee Reed's; Black Art and Aesthetics: Relationalities, Interiorities, Reckonings edited by Michael Kelly and Monique Roelofs; James: a Novel by Percival Everett; and Changing My Mind: Occasional Essays by Zadie Smith.

This week, Quinta and Scott were joined by Lawfare Managing Editor Tyler McBrien to discuss how he is coping with the end of the New York trial and to run through some of the week's big national security news stories, including:“A Perfect Conviction.” Last week, after less than two days of deliberation, a jury in New York state criminal court found former President Trump guilty of all 34 criminal counts on which he was being tried. He's now scheduled to be sentenced just days before the Republican National Convention this summer, where he is expected to be named the party's 2024 presidential nominee. What does this conviction mean for Trump's campaign? What are his prospects for appeal? And what happens if he still wins?“Biden Time.” Last week, President Biden laid out a three-step cease-fire plan for Gaza, sending the clearest signal yet that he is intent on ending the conflict there. Both sides have accepted the plan in principle but have yet to reach agreement on the particulars—and, meanwhile, Israel's Rafah operation has continued. Is this finally a sign of the Gaza end game? Or that the end is nigh for Israeli Prime Minister Netanyahu's government, which is under increasing domestic and international pressure?“Order on the Border.” This week, the Biden administration unveiled a new executive order that will make it harder for migrants crossing the southern U.S. border to apply for and receive asylum during periods of high border traffic, facilitating their prompt removal. Is this move a reasonable policy measure, cynical election politics, or something else entirely?For object lessons, Quinta recommended Zadie Smith's new-ish novel, “The Fraud.” Scott shared a note from the archives about high cetacean fashion. And Tyler passed along an inspirational story about Osaka airport's amazing luggage record.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/c/trumptrials.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Quinta and Scott were joined by Lawfare Managing Editor Tyler McBrien to discuss how he is coping with the end of the New York trial and to run through some of the week's big national security news stories, including:“A Perfect Conviction.” Last week, after less than two days of deliberation, a jury in New York state criminal court found former President Trump guilty of all 34 criminal counts on which he was being tried. He's now scheduled to be sentenced just days before the Republican National Convention this summer, where he is expected to be named the party's 2024 presidential nominee. What does this conviction mean for Trump's campaign? What are his prospects for appeal? And what happens if he still wins?“Biden Time.” Last week, President Biden laid out a three-step cease-fire plan for Gaza, sending the clearest signal yet that he is intent on ending the conflict there. Both sides have accepted the plan in principle but have yet to reach agreement on the particulars—and, meanwhile, Israel's Rafah operation has continued. Is this finally a sign of the Gaza end game? Or that the end is nigh for Israeli Prime Minister Netanyahu's government, which is under increasing domestic and international pressure?“Order on the Border.” This week, the Biden administration unveiled a new executive order that will make it harder for migrants crossing the southern U.S. border to apply for and receive asylum during periods of high border traffic, facilitating their prompt removal. Is this move a reasonable policy measure, cynical election politics, or something else entirely?For object lessons, Quinta recommended Zadie Smith's new-ish novel, “The Fraud.” Scott shared a note from the archives about high cetacean fashion. And Tyler passed along an inspirational story about Osaka airport's amazing luggage record.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/c/trumptrials. Hosted on Acast. See acast.com/privacy for more information.

Today, we're wrapping up our spring season with Zadie Smith's On Beauty, a theme-driven novel that recreates the social world of an elite liberal arts college, exploring issues through nuanced satire on race, class, and beauty. We dig into the stories of the Belsey and Kipp families and Smith's use of the academic setting to discuss identity and social satire. Our pairings for On Beauty include callbacks to previous classic episodes, essays by Zadie Smith, and surprising historical fiction. Our Slow Down Summer Read Along of Les Miserables by Victor Hugo is starting soon! Just like our readalongs for The Odyssey and The Custom of the Country, you can expect exclusive Patreon content, including book clubs and classes, to guide you through this ginormous classic. We'd love for you to join us! Go to patreon.com/novelpairings to sign up.    Books Mentioned: Howard's End by E.M. Forster There is Confusion by Jessie Redmon Fauset Passing by Nella Larsen Members Only by Sameer Pandya Changing My Mind: Occasional Essays by Zadie Smith  Their Eyes Were Watching God by Zora Neale Hurston Love Marriage by Monica Ali Neighbors and Other Stories by Diane Oliver The Rachel Incident by Caroline O'Donoghue Sex and Vanity by Kevin Kwan A Room with a View by E.M. Forster Les Misérables by Victor Hugo

Ira and Louis discuss Dua Lipa's new album Radical Optimism, the Met Gala, The Idea of You, and Zadie Smith's New Yorker essay. Ira explains the Kendrick and Drake rap beef. Sarayu Blue joins to discuss her new series Expats and acting opposite actors like Nicole Kidman, Julia Louis-Dreyfus, and more.Subscribe to Keep It on YouTube to catch full episodes, exclusive content, and other community events. Find us there at YouTube.com/@KeepItPodcast

This week on the Primo episode, Jesse and Katie discuss a garden sabotage in the UK. Plus, Zadie Smith's latest essay melt brains. War in Gaza, Shibboleths on Campus | The New YorkerMother on disability benefits feeds 800 people after turning flowerbeds into vegetable allotment | Daily Mail OnlineGary Lineker among donors to … To hear more, visit www.blockedandreported.org

On this week's show, the panel is first joined by Slate culture writer (and the Gabfest's Senior Beyoncé Correspondent) Nadira Goffe to dissect Beyoncé's latest album, Cowboy Carter. Released on March 29th, Cowboy Carter is a 27-track behemoth with a country soul, packed with archival footage and songs that span multiple genres. To call it a country album would be too simplistic, so we'll stick with Queen Bey's own words: Cowboy Carter is a Beyoncé album. Then, the three jump into Do Not Expect Too Much From the End of the World, an avant-garde film from Romanian director Radu Jude that perfectly captures life in the 21st century. Finally, the trio examine Steve! (martin): a documentary in 2 pieces, a new two-part series directed by Morgan Neville (Will You Be My Neighbor?), which analyzes the legendary Steve Martin, an inscrutable human being and American icon.  In the exclusive Slate Plus segment, the panel discusses their personal relationships to hotels.  Email us at culturefest@slate.com.  Outro music: "I Can Still Dance" by Tigerblood Jewel Endorsements: Dana: Critic Nicolas Rapold's interview with Radu Jude, the director of Do Not Expect Much From the End of the World, on his podcast, The Last Thing I Saw. It's a great companion piece to listen to after watching the film.    Julia: The Fraud by Zadie Smith, a historical novel set in Victorian England. If you've read this book and have strong feelings, please email Julia at cultfest@slate.com to dissect the work and discuss.  Stephen: Penelope Fitzgerald, the Booker Prize-winning novelist, poet, and essayist. Specifically, her 1995 novel, the Blue Flower.  Podcast production by Jared Downing. Production assistance by Kat Hong.  Hosts Dana Stephens, Julia Turner, Stephen Metcalf Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Juliet on a special Monday edition of ‘What's Up Thursdays'! Juliet talks about the catastrophe that was Maria's hometown date, a rumored relationship between Pilot Pete of ‘The Bachelor' and Ekin-Su of ‘Love Island,' and Joey's revelation of having Gilbert's syndrome. She discusses updates in ‘Love Is Blind' during the lake party; talks about the last book she read, ‘The Fraud,' by Zadie Smith; and reveals her next read! Host: Juliet Litman Producer: Olivia Crerie Learn more about your ad choices. Visit podcastchoices.com/adchoices