Explorez tous les épisodes du podcast The Critic and Her Publics

"Rachel Syme has interviewed all the grand dames of New York and Los Angeles: she's had Cosmos with Carol Burnett, she's accompanied Sarah Jessica Parker to the ballet, she's shopped with Parker Posey at Rachel Comey, she's Skyped with Patti LuPone and gabbed with Barbra Streisand on her landline. At a time when the glossy profile feels hopelessly compromised, Rachel uses her deep knowledge of musicals, fashion, and old Hollywood to put meat on the bones of fame and fortune—and Rachel loves a good yarn. Our conversation was full of behind-the-scenes stories, showing how an interview can transform a mere celebrity into an icon." — Merve Emre

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"Couples therapy. The words alone are enough to send many people running for the hills, but Orna Guralnik—star of Showtime's documentary series Couples Therapy—has people running to her office. Orna, a clinical psychologist and psychoanalyst, has become a household name: she's a watchful guide for couples as they navigate intimate and sometimes agonizing discussions, and for viewers, as they watch these couples bare their souls or refuse to do so. With her beloved dog Nico on her lap, Orna explained to me how she practices listening for the unconscious, the limits and possibilities of televised therapy, and whether the psychoanalytic interview can teach even the most adversarial pairs (like warring nations) how to make peace."

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In this second episode of Hawthornden’s Como Conversazione, we explore beginnings. Anyone who has been around kids knows that a good Lego build starts with a good base. In a translation, this is the first sentence of a text. First sentences are so often the most famous lines.  They are a place for a translator to make their mark. They dictate the voice in which the book unfolds. But has the importance of the first sentence been overly inflated?

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In the first episode of Hawthornden’s Como Conversazione, we start with an exercise in practical translation: a discussion of seven different English interpretations of one, highly complicated sentence from Volume One of Marcel Proust’s In Search of Lost Time.  Maureen Freely will speak first, followed by Daisy Rockwell, Virginia Jewiss, Jeremy Tiang, and finally Tiffany Tsao. It sounds like a lot to keep track of, but in the course of these conversations,  you will get to know all of their voices very well. 

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Leo Carey is a senior editor at The New Yorker.

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Yahdon Israel is a senior editor at Simon Schuster and founder of Literaryswag, a cultural movement that intersects literature and fashion to make books accessible. He brings an entrepreneurial spirit to these pursuits as the founder of a popular book club, host of a literary podcast, creative writing teacher, event producer, as well as his work in support of several prestigious literary awards.

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Ben Calhoun is the executive producer of "The Daily" (The New York Times). Previously, he was an editor and producer for This American Life and Serial , and VP of programming at WBEZ in Chicago.

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Sasha Weiss is a writer and the deputy culture editor at The New York Times Magazine. Previously she was the literary editor at The New Yorker and an editor at The New York Review of Books.

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The Critic and Her Publics

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Radhika Jones is the fifth editor-in-chief of Vanity Fair. She previously held senior editorial roles at The New York Times, Time, and The Paris Review. She also was the managing editor at Grand Street, an editor at Artforum, and the arts editor of The Moscow Times, where she began her career. Jones holds a B.A. from Harvard University and a Ph.D. in English and comparative literature from Columbia, where she has also taught courses in writing and literature. Born in New York City, she grew up in Cincinnati and Ridgefield, Connecticut.

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The Critic and Her Publics

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

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Zakiya Dalila Harris received her MFA in creative writing from The New

School. Her debut novel, The Other Black Girl, was an instant New York

Times bestseller and is now a critically acclaimed Hulu Original Series.

Her essays and book reviews have appeared in Cosmopolitan, The

Guardian, The New York Times, The Rumpus, and elsewhere. She lives in

Brooklyn with her husband.

_________________________________

The Critic and Her Publics

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Fergus McIntosh is the head research editor at The New Yorker and runs the magazine's fact-checking department.

_________________________________

The Critic and Her Publics

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jackson Howard is an editor and writer from Los Angeles who lives in Brooklyn.

He’s Senior Editor at Farrar, Straus and Giroux and its imprints MCD and AUWA (headed by Questlove), where he acquires and edits a broad range of fiction and nonfiction. Writers he has published include Judith Butler, Brontez Purnell, Catherine Lacey, Bryan Washington, Laura van den Berg, Sarah Schulman, Jonathan Escoffery, Fernando A. Flores, Susan Straight, Imogen Binnie, Shon Faye, Henry Hoke, Thomas Grattan, Venita Blackburn, Missouri Williams, and many others. Books he has edited have won or been nominated for the Booker Prize, the National Book Award, the Kirkus Prize, the Lambda Literary Award, the PEN Open Book Award, the PEN/Faulkner Award, the PEN/Hemingway Award, and the Los Angeles Times Award for First Fiction.

A longtime Pitchfork contributor, his reviews, profiles, and essays have also appeared in The New York Times Magazine, The Cut, Rolling Stone, The Ringer, W., i-D, office, Document, and elsewhere.

In 2023, he was featured in New York magazine’s Power Issue and was named one of Harper’s BAZAAR’s 36 Voices of Now and part of Town & Country’s Creative Aristocracy. In 2022, he was named a Star Watch Honoree by Publishers Weekly.

_________________________________

The Critic and Her Publics

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Sarah Stillman is a staff writer at The New Yorker and one of the most decorated investigative reporters of her generation. She's won several National Magazine Awards, the Pulitzer Prize, and a MacArthur 'Genius' Grant. Her articles draw attention to the men and women forced to do the bidding of the American security state; the third-country nationals tricked into working on military bases in Iraq; the addicts coerced into serving as informants; the victims of civil asset forfeiture. Our conversation touched on every stage of Sarah's career, from her days as a student journalist to her current directorship of Yale's investigative reporting lab. As a teacher, she helps students cultivate the relentlessness and the compassion that makes her a uniquely effective reporter."

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Meghan O'Rourke is a writer, poet, and editor. She is the author of the New York Times bestseller The Invisible Kingdom: Reimagining Chronic Illness (2022); the bestselling memoir The Long Goodbye (2011); and the poetry collections Sun In Days (2017), which was named a New York Times Best Poetry Book of the Year; Once (2011); and Halflife (2007), which was a finalist for the Patterson Poetry Prize and Britain’s Forward First Book Prize. O’Rourke is the recipient of numerous awards, including a Guggenheim Fellowship, a Radcliffe Fellowship, a Whiting Nonfiction Award, the May Sarton Poetry Prize, the Union League Prize for Poetry from the Poetry Foundation, a Lannan Literary Fellowship, and two Pushcart Prizes. Currently the editor of The Yale Review, she began her career as a fiction and nonfiction editor at The New Yorker. Since then, she has served as culture editor and literary critic for Slate as well as poetry editor and advisory editor for The Paris Review. Her essays, criticism, and poems have appeared in The New Yorker, The Atlantic Monthly, Slate, Poetry, The Kenyon Review, and Best American Poetry, among others. She is a graduate of Yale University, where she also teaches.

Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by

Leanne Shapton • Sponsored by Alfred A. Knopf

The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

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Kaitlyn Greenidge is the author of Libertie and We Love You, Charlie Freeman, one of the New York Times Critics' Top 10 Books of 2016. Her writing has appeared in the Vogue, Glamour,the Wall Street Journal, Elle, Buzzfeed, Transition Magazine, Virginia Quarterly Review, The Believer, American Short Fiction and other places. She is the recipient of fellowships from the Whiting Foundation, the National Endowment for the Arts, the Radcliffe Institute for Advanced Study, the Lewis Center for the Arts at Princeton University and the Guggenheim Foundation. She is currently Features Director at Harper’s Bazaar as well as a contributing writer for The New York Times.

Recorded October 18, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by Alfred A. Knopf

The Critic and Her Publics is a production of the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Literary Hub.

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Emily Greenhouse is the editor of the New York Review of Books. She is the former managing editor of The New Yorker.

For the full episode transcript, visit the NYRB

Recorded September 17, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by Alfred A. Knopf

The Critic and Her Publics is a production of the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Literary Hub.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We've got some exciting news regarding the future of The Critic and Her Publics—and here to bring it to you is the latest episode of Literary Hub's The Lit Hub Podcast.

If you don't know The Lit Hub Podcast, it's the in-house show at Lit Hub, hosted by podcasts editor Drew Broussard. This week features Merve Emre talking about what's next for TCAHP as well as Lit Hub's editor-in-chief Jonny Diamond on why supporting independent media is important and a raucous round-table of Lit Hub staff talking about awards season.

Be sure to subscribe to The Lit Hub Podcast for more bookish fun—and to stay tuned for the return of The Critic and Her Publics in January 2025!

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Christine Smallwood is the author of La Captive (Fireflies Press, 2024) and the novel The Life of the Mind (Hogarth, 2021), which Time magazine named one of the top ten fiction books of the year. Her essays, reviews, and profiles have been published in Harper’s, The New York Review of Books, The New Yorker, Bookforum, and The New York Times Magazine, where she is a contributing writer. She holds a PhD in English from Columbia University and is a core faculty member of the Brooklyn Institute for Social Research, where she teaches courses on the nineteenth-century novel and other topics.

Recorded April 16, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Carina del Valle Schorske is a writer, translator, and wannabe backup dancer. Her debut essay collection, The Other Island, is forthcoming from Riverhead Books. It was recently awarded a Whiting Creative Nonfiction Grant. She writes about Caribbean culture, literary politics, diasporic dramas, and the songs she can’t stop singing to herself. Her essays have been published many places including The Believer, The Cut, The Point, and the New York Times Magazine, where she is now a contributing writer. As a translator, she focuses on Puerto Rican poetry, especially the work of Marigloria Palma. Her own poetry has been featured in a variety of small journals and anthologies, and supported by fellowships from CantoMundo, MacDowell, and the Bread Loaf Writers’ Conference.

Recorded October 17, 2023 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Maggie Doherty is the author of The Equivalents: A Story of Art, Female Friendship, and Liberation in the 1960s (2020), which won the Marfield Prize for Arts Writing and was a finalist for the National Book Critics Circle Award for Biography. Her writing has appeared in The New Yorker, the New York Review of Books, the New York Times, and the Nation, among other publications. 

Recorded April 9, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Doreen St. Félix has been a staff writer at The New Yorker since 2017. Previously, she was a culture writer at MTV News. Her writing has appeared in the Times Magazine, New York, Vogue, The Fader, and Pitchfork. St. Félix was named on the Forbes “30 Under 30” media list in 2016. In 2017, she was a finalist for a National Magazine Award for Columns and Commentary, and, in 2019, she won in the same category.

Recorded March 26, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Lauren Michele Jackson is an assistant professor of English at Northwestern University and a contributing writer at The New Yorker. She is the author of the essay collection White Negroes and is currently working on a second book, with Amistad Press. She is part of New America’s 2022 class of National Fellows.

Recorded March 5, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Jo Livingstone is a medieval literature scholar, a critic, and the 2020 National Book Critics Circle recipient of the Nona Balakian Citation for Excellence in Reviewing. After receiving a BA in English literature from the University of Oxford and a PhD in medieval literature from New York University, Livingstone went on to write cultural criticism for The New Republic and currently manages the editorial website The Stopgap with Daniel Lavery. They are currently a visiting professor at Pratt Institute.

Recorded February 20, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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"In the fall of 2022, I saw the novelist Shelia Heti give a presentation on her conversations with early AI chatbots. Their names were Eliza, Alice, and George, and they had wild, undisciplined opinions about art, selfhood, and God. Talking to them seemed to come naturally to Sheila: for several years, she had been the interviews editors at The Believer and her novels Motherhood and Pure Colour featured narrators who ask difficult questions of non-human entities like the I Ching or a leaf on a tree. A few months after OpenAI released ChatGPT-5, Sheila and I spoke about the role of the interview at a time when human thought and feeling are impinged by artificial intelligence and whether machines can help us to unlock the mysteries of consciousness." — Merve Emre

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Moira Donegan is writer in residence for the Clayman Institute, where she participates in the intellectual life of the Institute, hosts its artist salon series, teaches a class in feminist, gender, and sexuality studies, and mentors students, while continuing her own projects and writing. Her criticism, essays, and commentary, which cover the intersection of gender, politics, and the law, have appeared in places such as the New York Times, the New Yorker, the New York Review of Books, the London Review of Books, and Bookforum. Donegan has been an editor at the New Republic and n+1, and currently she writes a column on gender in America for The Guardian. Her first book, Gone Too Far: MeToo, Backlash, and the Future of Feminist Politics, is forthcoming from Scribner. 

Recorded February 6, 2024 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Anahid Nersessian is a literary critic and Professor of English at the University of California, Los Angeles. Her first book, Utopia, Limited: Romanticism and Adjustment, was published by Harvard University Press in 2015, and her second, The Calamity Form: On Poetry and Social Life, by the University of Chicago Press in 2020. Her latest, Keats's Odes: A Lover's Discourse was released in 2022. She is a frequent contributor to The New York Review of Books, and her writing has also appeared in The Paris Review, New Left Review, The Los Angeles Review of Books, and n+1. She co-founded and co-edits the Thinking Literature series at the University of Chicago Press.

Recorded November 14, 2023 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Hannah Goldfield is a staff writer at The New Yorker, covering restaurants and food culture. Previously, she was a fact checker at The New Yorker and an editor at T: The New York Times Style Magazine. Her writing has appeared in New York magazine and the Times, among other publications.

Recorded November 7, 2023 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Sophie Pinkham is a writer, journalist, and critic specializing in Russian and Ukrainian literature, culture, and politics. She is the author of Black Square: Adventures in Post-Soviet Ukraine (2016) and the forthcoming The Spirit in the Trees, for which she has received a National Endowment for the Humanities Public Scholar grant. A frequent contributor to the New York Review of Books, Pinkham writes primarily (though not exclusively) about Russia and Ukraine. Her work has also appeared in The New York Times, The Economist 1843 Magazine, The New Yorker, New Left Review, The Washington Post, and many other publications.

Recorded October 10, 2023 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Andrea Long Chu is a Pulitzer Prize–winning essayist and critic at New York magazine. Her book Females, an extended annotation of a lost play by Valerie Solanas, was published by Verso in 2019 and was a finalist for the Lambda Literary Award in Transgender Nonfiction. Her writing has also appeared in n+1, The New York Times, The New Yorker, Artforum, Bookforum, Boston Review, Chronicle of Higher Education, 4Columns, and Jewish Currents.

Recorded September 26, 2023 at the Shapiro Center at Wesleyan University

Edited by Michele Moses

Music by Dani Lencioni

Art by Leanne Shapton

Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf

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Introducing The Critic and Her Publics, a new podcast series from The New York Review of Books and Lit Hub. Hosted by Merve Emre.

New episodes every other week beginning Tuesday January 30th.

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The new season of The Critic and Her Publics—The Art of the Interview—begins!

"Chana Joffe-Walt is a Peabody Award-winning journalist and a producer at This American Life. Her series on school segregation, Nice White Parents, examined how progressive Brooklyn families undermined racial integration. She regularly takes over from Ira Glass to host special episodes on race, labor, and education. But it was her series of conversations with men, women, and children in Gaza that made me want to begin the season with her, to explore how the interview can preserve the dignity and complexity of ordinary people in a time of genocide." — Merve Emre

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In this final episode of Hawthornden's Como Conversazione series for 2025, we’ll confront a subject that the literary world likes to keep subtextual: money. The translators and publishers, who usually meet over contract negotiations, open up their books and compare bottom lines, to see who feels like they’re being short-changed, and why. Is there—or could there be—a pay structure that works for everyone? And how should the translator be compensated, when their role is still so unresolved? 

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How do we decide which translations are better than others? 

In this episode of Hawthornden's Como Conversazione, Jacques Testard of Fitzcarraldo Editions and Adam Levy of Transit Books reveal how they evaluate books for acquisition. And, because so many of the guests on this show have served on prize juries, we compare our experiences making judgments that can seem at once arbitrary and hugely consequential. 

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In this episode of Hawthornden's Como Conversazione, another session of practical translation: the reading and comparing of many renditions of one passage, to see how translators make their choices. 

But the text we’ll be examining, 1001 Nights, presents an unusual challenge. Unlike with the Proust that we discussed in the first episode, there is not one fixed source text to work with. There were many retellings of Scheherazade’s tales over the centuries, which were then written down as many different manuscripts. What, then, does it mean for a translator to “take liberties,” or to be “faithful to the text”?

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In this episode of Hawthornden's Como Conversazione, we discuss the problem of English. What happens when you bring a nation’s literature into its colonizer’s language? Is it inevitably a kind of violence? Here, we look to the field of translation studies, which provides some answers—not all of them satisfying. 

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In this episode of Hawthornden’s Como Conversazione, the translators discuss the fraught emotional condition of their work: the sense that not only is their work shameful and grotesque but that they are too, for daring to attempt it. 

Translation demands a deep and scholarly knowledge of language, which never feels sufficient. Translators are often faced with a binary of either making themselves invisible or asserting their styles. Many of them are caught between identities. You’ll hear Maureen Freely, an American who grew up in Istanbul, talk about her vexed relationship with Orhan Pamuk and Tiffany Tsao, American-born, but of Indonesian heritage, confess the shame she felt when translating Budi Darma. All of the translators in this group, for reasons of temperament and structure, seem to have a masochistic relationship to their work. But as in all cases of masochism, the pain is a kind of pleasure, too.

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