The New Yorker Radio Hour

Salman Rushdie’s Fantastical American Quest Novel

<p><i><span>The New Yorker’s</span></i><span> fiction editor, Deborah Treisman, talks with Salman Rushdie about “Quichotte,” his apocalyptic quest novel. A few years ago, when the four hundredth anniversary of “Don Quixote” was being celebrated, Rushdie reread Cervantes’s book and found himself newly engaged by a much improved translation. He immediately began thinking of writing his own story about a “silly old fool,” like Quixote, who becomes obsessed with an unattainable woman and undertakes a quest to win her love. This character became Quichotte (named for the French opera loosely based on “Don Quixote”), who is seeking the love of—or, as she sees it, stalking—a popular talk-show host. As Quichotte journeys to find her, he encounters the truths of contemporary America: the opioid epidemic, white supremacy, the fallout from the War on Terror, and more. “I’ve always really liked the risky thing of writing very close up against the present moment,” Rushdie tells Treisman. “If you do it wrong, it’s a catastrophe. If you do it right, with luck, you somehow capture a moment.” At the same time, the novel gives full rein to Rushdie’s fantastical streak—at one point, for instance, Quichotte comes across a New Jersey town where people turn into mastodons. Treisman talks with the author about the influence of science fiction on his imagination, and about his personal connection to the tragedy of opioids. Rushdie’s much younger sister died from the consequences of addiction, and the book is centrally concerned with siblings trying to reconnect after separation. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The New Norms of Affirmative Consent

<p><span>Mischele Lewis learned that her fiancé was a con man and a convicted pedophile. By lying about who he was, did he violate her consent, and commit assault? Lewis’s story raises a larger question: What is consent, and how do we give it? It’s currently the standard by which the law regulates sexual behavior, but the continuing prevalence of harassment and assault has led many college campuses to adopt more stringent standards. At the core of many new rules is the principle of affirmative consent: that sexual partners must verbally and explicitly express their acceptance of each and every sexual overture. The problem is that few of us use affirmative consent—even many of its advocates find it cumbersome in practice. Alondra Nelson, a professor of sociology and the president of the Social Science Research Council, explores this shifting of sexual norms with </span><em><span>The New Yorker</span></em><span>’s<span> </span></span><a href="https://www.newyorker.com/contributors/joshua-rothman"><span>Joshua Rothman</span></a><span>. They spoke with the legal scholars<span> </span></span><a href="https://www.newyorker.com/contributors/jeannie-suk"><span>Jeannie Suk Gersen</span></a><span><span> </span>and Jacob Gersen, and with the facilitator of cuddle parties, who compares her nonsexual events to “going to the gym for consent.” Plus, an interview with a climate striker. Inspired by Greta Thunberg, fourteen-year-old Alexandria Villaseñor spends her Fridays outside the United Nations, demanding action on climate change. But the risk of “eco-grief” is high, she tells the reporter Carolyn Kormann.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Marianne Williamson Would Like to Clarify

<p><span>Marianne Williamson, the self-help author associated with the New Age movement, has never held political office. But the race for the Presidency, she thinks, is less a battle of politics than a battle of souls. In her appearance in the July Democratic debates, she said that </span><a href="https://www.newyorker.com/tag/donald-trump"><span>President Donald Trump</span></a><span> is bringing up a “dark psychic force.” “The worst aspects of human character have been harnessed for political purposes,” she tells </span><a href="https://www.newyorker.com/contributors/david-remnick"><span>David Remnick</span></a><span>. Williamson sees herself as a kind of spiritual counter to Trump, reshaping our moral trajectory. And she does have policies, which include repealing the 2017 tax cut and an ambitious plan for slavery reparations, and also tapping some surprising people for her Cabinet. Campaigning on her credentials hasn’t been easy: she’s had to debunk some myths and clarify some statements. She is not an anti-vaxxer, she insists—she apologizes for her earlier remarks on the subject—or a medical skeptic. “I’m Jewish,” she says, “I go to the doctor.” She does not, she says, even have a crystal in her home. “I know this sounds naïve,” she complains, but “I didn’t think the left was so mean. I didn’t think the left lied like this.” </span></p> <p> </p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Jia Tolentino on the Rise and Fall of the Internet

<p><a href="https://www.newyorker.com/contributors/Jia-Tolentino"><span>Jia Tolentino</span></a><span><span> </span>writes for<span> </span></span><em><span>The New Yorker</span></em><span><span> </span>about an extremely wide range of topics, but a central concern is what it has meant to her to have grown up alongside the Internet. In her new, best-selling collection of essays, “</span><a href="https://www.amazon.com/Trick-Mirror-Self-Delusion-Jia-Tolentino/dp/0525510540"><span>Trick Mirror: Reflections on Self-Delusion</span></a><span>,” she traces how the digital world has evolved and shaped our minds. Tolentino tells Remnick that, in the early, freer days of the Web, the Internet felt like “a neighborhood you could walk through, and just go into these houses decorated with all of these things you’d never seen before—and then you could leave.” Tolentino remains a very popular and influential figure online, but she has concerns about how the digital world has developed. Now that profit-seeking social-media giants dominate the landscape, there is fierce competition for our attention spans and the constant demand for people to perform their identities, all of which she finds “corrosive.” For Tolentino, writing—which takes “uncertainty and agony and work and devotion, and sustained attention”—is an antidote to that corrosion, and almost a kind of spiritual practice. “The fact of having time to think about something in private before it becomes public still feels like a real miracle to me.”</span><span>Plus, David Remnick talks with<span> </span></span><span>two of the creators—one Israeli, one Palestinian—of HBO’s “Our Boys.” The ten-part series examines the forces that led to a crime that was shocking even by the standards of a country that is used to terror: the torture and murder of<span> </span></span><span>a Palestinian teen-ager, Mohammed Abu Khdeir, by Israeli right-wing extremists. “Our Boys” is a<span> </span></span><span>brutally truthful depiction of the effects of hate crime.<span> </span></span><span> </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Roger Federer Opens Up

<p><span>The winner of twenty Grand Slam titles and the top-ranked men’s player for three hundred and ten weeks, Roger Federer remains a dominant force in tennis. On the eve of playing in his nineteenth U.S. Open, Federer spoke with David Remnick about how he got over the hot temper and predilection for throwing racquets that he showed early in his career. At the advanced age of thirty-eight—and as a father of young children—Federer explains what he’s had to give up in order to keep playing professionally. But he doesn’t plan to retire a day before he has to. “</span><span>I think it's nice to keep on playing, and really squeeze the last drop of lemon out of it,” he tells Remnick, “and not leave the game of tennis thinking, Oh, I should have stayed longer.” </span><span>Plus, the staff writer Hua Hsu on the singular career of a Chinese vocalist with global ambitions.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Derren Brown’s Big Secret

<p><span>Derren Brown wants you to know that he is not a magician. The term he prefers to use is “psychological illusionist,” and his acts mix psychology, misdirection, and showmanship. When he performs, he’s explicit about engaging with audiences’ minds and beliefs. “If you’re an audience member, the most interesting process is you,” he tells </span><a href="https://www.newyorker.com/contributors/Adam-Green"><span>Adam Green</span></a><span>, at the New Yorker Festival. Like most of the best mentalists in recent decades, Brown is open about the fact that his one big trick is his ability to manipulate a roomful of people. </span></p> <p><span>Brown’s show “Secret” opens on Broadway in early September. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Maggie Gyllenhaal on “The Deuce” and #MeToo

<p><span>Maggie Gyllenhaal’s first starring role was in the 2002 movie “Secretary,” a distriburbing romantic comedy about a troubled woman in a sadomasochistic relationship with her boss. Since then, Gyllenhaal has continued to push the boundaries of how sex is depicted on screen as an executive producer and star of “The Deuce,” HBO’s drama about the beginnings of the porn industry. In a conversation with </span><i><span>The New Yorker’s</span></i> <a href="http://newyorker.com/contributors/lauren-collins"><span>Lauren Collins</span></a><span>, Gyllenhaal talks about her character, Candy, who leaves street prostitution to perform in porn, and eventually makes her way into directing. Since the show premiered, the #MeToo movement has shed light on how women are asked to compromise themselves, not only in sex work but in entertainment, at almost every walk of life. “Many women have been asked to compromise themselves and have done it,” she tells Collins, admitting that she has moments of thinking, “Oh my god. How did I laugh at that joke or stay in that meeting or put that shirt on?” Gyllenhaal also talks about adapting for film a novel by Elena Ferrante, who gave her the rights—on condition that Gyllenhaal herself direct it. </span></p> <p><span>The third and final season of “The Deuce” begins in September, 2019. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Ian Frazier Among the Drone Racers

<p><a href="https://www.newyorker.com/contributors/ian-frazier"><span>Ian Frazier</span></a><span>, who has chronicled American life for </span><i><span>The New Yorker</span></i><span> for more than forty years, travelled to a house in Fort Collins, Colorado, where three roommates build, fly, and race drones. Jordan Temkin, Zachry Thayer, and Travis McIntyre are three of perhaps only fifty professional drone racers in the world, piloting the tiny devices through complex courses at upward of eighty miles an hour. Drones have had an enormous impact on military strategy, and the commercial applications seem limitless, but, for these pilots, drones exist in the strange overlap between pure adrenaline and big money that defines pro sports.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Rippling Effects of China’s One-Child Policy

<p><span>Nanfu Wang grew up under China’s one-child policy and never questioned it. “You don’t know that it’s something initiated and implemented by the authority,” she tells </span><i><span>The New Yorker’s</span></i><span> Jiayang Fan. “It’s a normal part of everything. Just like water exists, or air.” But when Wang became pregnant she started to understand the magnitude of the law—and the suffering behind it. Wang’s documentary, “One Child Nation,” explores the effects of one of the largest social experiments in history. She uncovers stories of confusion and trauma, in Chinese society and within her own family. After Wang’s uncle had a daughter, his family forced him to abandon her at a local market so that he and his wife could try for a son. “He stood there, across the street, watching to see if somebody would come and take the baby,” Wang tells Fan. “He wanted to bring her home, but his mom threatened to commit suicide. . . . He felt so torn. There was no right decision.”  </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Toni Morrison Talks with Hilton Als

<p><span>Toni Morrison read The New York Times with pencil in hand. An editor by trade, Morrison never stopped noting errors in the paper. In 2015, during a conversation with The New Yorker’s Hilton Als, Morrison noted that the stories she cared about were once absent from the news. Now they’re present, but distorted. “The language is manipulated and strangled in such a way that you get the message,” she noted wryly. “I know there is a difference between the received story… and what is actually going on.” Morrison, who died on Monday, was the first black woman to win the Nobel Prize in Literature and one of the most beloved writers of the 21st century. In a wide-ranging interview with Als, Morrison discusses her last novel, </span><i><span>God Help The Child</span></i><span>, writing in a modern setting, and her relationship to her father, whom she says was complicated man and bluntly calls a “racist.” When she was older, she learned that he had wittnessed the lynching of two of his neighbors. “I think that’s why he thought white people… were incorrigible,” she explains to Als. “They were doomed.” </span></p> <p><span>Language Advisory: At around 34 minutes into the interview, Hilton Als quotes a line from Toni Morrison’s book “Jazz” that contains the n-word. We feel it is important to leave the word uncensored as it is an accurate depiction of the language Morrison used in her description of black life in America. However, it may not be suitable for younger listeners. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Living in the Shadow of Guantánamo, Part 2

<p><span>In January, </span><i><span>The New Yorker’s</span></i><span> Ben Taub travelled to Mauritania to meet with Mohamedou Salahi. An electrical engineer who had lived in Germany, Salahi was detained at Guantánamo Bay for fifteen years and tortured, despite the fact that he was not a terrorist.  But one of the key pieces of evidence was that Salahi’s cousin, known as Abu Hafs al-Mauritani, was a high-ranking member of Al Qaeda—a member of the group’s governing Shura Council and a spiritual adviser to Osama bin Laden, who had drafted bin Laden’s infamous fatwa against the United States. While Salahi endured torture at Guantánamo, Abu Hafs was never captured or detained by the United States. When Ben Taub met Abu Hafs at a wedding of Mauritanian élites, he wondered how this man had gone free while his cousin had suffered so much. Abu Hafs agreed to an interview, but it quickly took a turn that Ben didn’t expect.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Living in the Shadow of Guantánamo

<p><span>When Mohamedou Salahi arrived at the Guantánamo Bay detention camp, in August of 2002, he was hopeful.  He knew why he had been detained: he had crossed paths with Al Qaeda operatives, and his cousin had once called him from Osama bin Laden’s phone.  But Salahi was no terrorist—he held no extremist views—and had no information of any plots. He trusted the American system of justice and thought the authorities would realize their mistake before long. </span></p> <p> </p> <p><span>He was wrong. </span></p> <p> </p> <p><span>Salahi spent fifteen years at Guantánamo, where he was subjected to some of the worst excesses of America’s war on terror; Donald Rumsfeld personally signed off on the orders for his torture.  And, under torture, Salahi confessed to everything—even though he had done nothing. “If they would have wanted him to confess to being on the grassy knoll for the J.F.K. assassination, I’m sure we could have got him to confess to that, too,” Mark Fallon, who led an investigation unit at Guantánamo, said.  </span></p> <p> </p> <p><span>Ben Taub </span><a href="https://www.newyorker.com/magazine/2019/04/22/guantanamos-darkest-secret"><span>reported</span></a><span> Mohamedou Salahi’s story for </span><i><span>The New Yorker</span></i><span> and tried to understand what had gone wrong in the fight against Al Qaeda. Salahi met Ben in Mauritania, because, when the U.S. released him, it was under the condition that Mauritania would withhold his passport. He would like to go abroad—he needs medical treatment, and he hopes to live in a democracy. But, for an innocent victim of Guantánamo, being released isn’t the same as being free. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Summer, By The Book

<p><span>The cultural critic Doreen St. Félix goes to Madame Tussauds with Justin Kuritzkes, the début author of the novel “</span><a href="https://www.amazon.com/Famous-People-Novel-Justin-Kuritzkes/dp/1250309026/ref=sr_1_1?keywords=Famous+People&qid=1564151937&s=books&sr=1-1"><span>Famous People</span></a><span>,” to talk about the nature of celebrity. Jia Tolentino heads for the children’s section of a bookstore with Rivka Galchen to compare notes on the kids’ books that still inspire them. And Jelani Cobb recommends three recent works of history that shed light on our current moment. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Tana French on “The Witch Elm”

<p><span>Tana French was an actor in her thirties when she sat down to write about a mystery that took the lives of two children, which became the global blockbuster “</span><a href="https://www.amazon.com/Woods-Novel-Tana-French/dp/0143113496"><span>In the Woods</span></a><span>.” With her subsequent books about the Dublin Murder Squad, French became known as “the queen of Irish crime fiction”—despite having been born in the United States. French’s latest book, “The Witch Elm,” departs from her line of police procedurals: the narrator is a civilian, a happy-go-lucky young man named Toby whose life is turned upside down when he is attacked during a burglary. Although the book involves a murder, “The core story arc is not the murder and the solution,” French tells </span><a href="https://www.newyorker.com/contributors/alexandra-schwartz"><span>Alexandra Schwartz</span></a><span>. “The core story arc is Toby going from this golden boy [with] his happy life to somebody who’s had that shattered. . . . Where will this crisis take him?” Though known as a literary mystery writer, French acknowledges that some of her fans have found the plot frustrating. “If you’re coming to this book expecting a straight-up crime novel . . . you are going to be a hundred pages in [asking], ‘Where’s my murder?’ ” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Jelani Cobb Talks with the Artist Fahamu Pecou

<p><span>Fahamu Pecou has shown work in museums all over the country and appeared on television shows like “Empire” and “black-ish.” The men the artist depicts tend to strike exaggerated poses, with sagging bluejeans and a cascade of colorful boxer shorts. Pecou gained notoriety in Atlanta, for a poster campaign bearing the legend “Fahamu Pecou Is the Shit.” The </span><i><span>New Yorker</span></i><span> staff writer </span><a href="https://www.newyorker.com/contributors/jelani-cobb"><span>Jelani Cobb</span></a><span> notes that Pecou </span><span>“has the ability to deal with themes that relate primarily to black male identity in the U.S.,” including stereotypes and police violence, “while injecting a very subversive element of humor.” Cobb went to Atlanta to meet with Pecou and spoke with him about the influence of African tradition on his life and work. </span></p> <p><span>L. D. Brown <span>of Grey Reverend<span> </span></span><span>contributed music for this story.</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Watching the Moon Landing

<p><span>Some people have always believed that the moon landing was a government hoax, and, in the age of the Internet, that conspiracy theory continues to thrive. Andrew Marantz explores the value of skepticism, and the point at which disbelief leads to a totalitarian breakdown. We went to the archives for three real-time accounts of what it was like to watch the moon landing on television. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Tom Hanks Reads His Tale of Going to the Moon

<p><span>In 2014, </span><span>Tom Hanks—the star of “Apollo 13,” among many other accomplishments—wrote a short story about going to the moon.  But his was not a dramatic story of NASA heroes facing grave danger. Hanks told the tale of a very twenty-first century mission, executed D.I.Y. style, with four misfits in a space capsule run off an iPad and held together with duct tape.  The story, “</span><a href="https://www.newyorker.com/magazine/2014/10/27/alan-bean-plus-four"><span>Alan Bean Plus Four</span></a><span>,” was published in </span><i><span>The New Yorker</span></i><span> in 2014.  Hanks originally read the story for the New Yorker’s </span><a href="https://www.newyorker.com/podcast/the-authors-voice"><span>Writer’s Voice</span></a><span> podcast.  </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Carly Rae Jepsen Talks with Amanda Petrusich

<p><span>“I can remember, even four months after [“Call Me Maybe” ’s] release, being claimed in the press as a one-hit wonder,” Carly Rae Jepsen says. “Isn’t it too soon to decide that? Give me a chance!” The Canadian singer and songwriter was by no means a one-hit wonder, and her talent for crafting earworm pop songs about love in all its forms won her a legion of fans and the devotion of many critics, including </span><i><span>The New Yorker’s</span></i><span> Amanda Petrusich. In 2017, while Jepsen was working on her fourth album, “Dedicated”—which was released in May, 2019—Jepsen sat down at the New Yorker Festival with Petrusich, to talk about her creative process. She had already written eighty songs for the record, she estimated. “If you wanted, I could write you a song right now, but it might not be good. I never run out of ideas, and I never stop enjoying doing it.” With her collaborator and guitarist Tavish Crowe, Jepsen performed an acoustic version of her hit “I Really Like You” live. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Alexandria Ocasio-Cortez on the 2020 Presidential Race and Why We Should Break up Homeland Security

<p><span>It’s hard to recall a newly elected freshman representative to Congress who has made a bigger impact than Alexandria Ocasio-Cortez. Her primary victory for New York’s Fourteenth District seat—as a young woman of color beating out a long-established white male incumbent—was big news, and Ocasio-Cortez has been generating headlines almost daily ever since. Practically the day she took her seat in Congress, Ocasio-Cortez became the hero of the left wing of the Democrats and a favored villain of Fox News and the right. She battled Nancy Pelosi to make the Green New Deal a priority, and has been involved with a movement to launch primary challenges against centrist or right-leaning Democrats. Like Bernie Sanders, she embraces the label of democratic socialism and supports free college education for all Americans. She has called for the abolition of Immigration and Customs Enforcement. She joined David Remnick in the New Yorker Radio Hour studio on July 5th, just after her trip to the border to examine migrant-detention facilities. Remnick and Ocasio-Cortez spoke about why she courted controversy by referring to some facilities as “concentration camps”; why she thinks the Department of Homeland Security is irredeemable; and whether Joe Biden is qualified to be President, given his comments about colleagues who supported forms of segregation. “Issues of race and gender are not extra-credit points in being a good Democrat,” she says. “They are a core part of the ... competencies that a President needs. . . . Where are you on understanding the people that live in this country?”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Aaron Sorkin Rewrites “To Kill a Mockingbird”

<p><span>As he set about adapting “To Kill a Mockingbird” for the stage, Aaron Sorkin found himself troubled by its protagonist, the small-town lawyer Atticus Finch. Harper Lee’s Finch, he thought, is tolerant to a fault—understanding rather than condemning the violent racism of many of his neighbors. Sorkin also felt that Lee’s two black characters, the maid Calpurnia and the falsely accused Tom Robinson, lacked a real voice. “I imagine that, in 1960, using African-American characters as atmosphere is the kind of thing that would go unnoticed by white people,” he tells David Remnick. “In 2018, it doesn’t go unnoticed, and it’s wrong, and it’s also a wasted opportunity.” Sorkin’s changes in his adaptation led to a lawsuit from Harper Lee’s literary executor, who had placed specific conditions on the faithfulness of his script. In Sorkin’s view, the criticisms of the executor, Tonja Carter, were tantamount to racism, in that they reinforced the lack of agency of black people in the South in the nineteen-thirties. (Carter declined to comment on Sorkin’s remarks, and the lawsuit was settled before the play was produced.) Sorkin says that, of his own volition, he cut some of his new lines that hinted too broadly toward the current Presidency. But Atticus Finch’s realization—that the people in his community whom he thought he knew best were people he never really knew at all—mirrors the experience of many Americans since 2016. </span><span>Plus, Ocean Vuong, the author of the best-selling autobiographical novel “On Earth We’re Briefly Gorgeous,” visits the food court at a largely Asian mall in Queens that reminds him of home. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

As Poet Laureate, Tracy K. Smith Hit the Road

<p><span>Tracy K. Smith was named Poet Laureate, in 2017, right after the most divisive election of our time. She could have spent her two-year appointment writing and enjoying a nice office in the Library of Congress, but she felt poetry might be able to help mend some of the divisions that the election had highlighted. Her plan was this: to put together a collection of poems from living poets, called “American Journal: Fifty Poems for Our Time,” that she felt were in some way relevant to our moment, and to hit the road—visiting community centers, senior centers, prisons, and colleges. While serving as Poet Laureate, Smith estimates that she travelled one or two nights every week, reading poems written by herself and others, and discussing them with groups of people. “It was exhausting, and exhilarating, and it</span><span> was probably the best thing I could have done as an American,” she told </span><i><span>The New Yorker’s</span></i><span> poetry editor, Kevin Young. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Valeria Luiselli on Reënacting the Border

<p><span>Valeria Luiselli first travelled to the U.S.–Mexico border in 2014, when the current immigration crisis began to heat up. Under the Trump Presidency, the border has become the dead center of American politics, and Luiselli returned with the radio producer Pejk Malinovski. Luiselli is a Mexican writer living in New York, and the author of “</span><a href="https://www.amazon.com/Lost-Children-Archive-Valeria-Luiselli/dp/0525520619"><span>Lost Children Archive</span></a><span>” and other books. She </span><a href="https://www.newyorker.com/magazine/2019/06/10/the-wild-west-meets-the-southern-border"><span>wrote</span></a><span> in </span><i><span>The New Yorker</span></i><span> about Wild West reënactments, in which actors stage scenes like a gunfight at O.K. Corral. In Tombstone, Arizona, and Shakespeare, New Mexico, she finds a very particular view of Western history that elides the U.S.’s long and complicated relationship with Mexico, which once owned this region. She finds that historical reënactments feed a notion of the border region as a lawless frontier requiring vigilantes to defend American interests. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Emily Nussbaum Likes to Watch

<p><span>For decades, critical praise for a TV show was that it was “not like TV,” but more like a novel or a movie. That ingrained hierarchy always bugged Emily Nussbaum, who went on to win the Pulitzer Prize for her criticism in </span><i><span>The New Yorker</span></i><span>. She has been compared to Pauline Kael, but Nussbaum—acknowledging the compliment—is quick to point out that she has never written about movies, nor has she wanted to. She was inspired to be a TV critic by “Television Without Pity,” a blog site of passionate, informed fans arguing constantly. In her new book, “</span><a href="https://www.amazon.com/Like-Watch-Arguing-Through-Revolution/dp/0525508961"><span>I Like to Watch: Arguing My Way through the TV Revolution</span></a><span>,” Nussbaum argues that the success of serious antihero dramas like “The Sopranos” and “Breaking Bad” has led many to devalue mainstays of TV, like comedies and even soap operas. It’s time to stop comparing TV to anything else, she tells David Remnick. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Trump Administration’s Plan to Deport Victims of Human Trafficking

<p><span>The </span><i><span>New Yorker</span></i><span> contributor </span><a href="https://www.newyorker.com/contributors/Jenna-Krajeski"><span>Jenna Krajeski</span></a><span> recently met with a woman who calls herself Esperanza. In her home country, Esperanza was coerced and threatened into prostitution, and later was trafficked into the United States, where she was subjected to appalling conditions. Esperanza eventually obtained legal help, and applied for something called a T visa. The T visa contains unusual provisions that recognize the unique circumstances of human-trafficking victims in seeking legal status. It has also been a crucial tool to obtaining victims’ coöperation in prosecuting traffickers. The Trump Administration claims to want to fight the problem of human trafficking, but Krajeski notes that its policies have done the opposite: T-visa applicants can now be deported if their applications are rejected</span><span>. This dramatic change in policy sharply reduced the number of applications from victims seeking help. “If what [the Administration] cares about is putting traffickers in prison, which is what they say they care about, their prosecutions are going down and will go down further,” Martina Vandenberg, the president of the Human Trafficking Legal Center, says. “Trafficking victims under the circumstances can’t actually coöperate.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Dexter Filkins on the Dangerous Escalations between the U.S. and Iran

<p><span>After a U.S. drone was allegedly shot down by Iran last week, relations between Tehran and Washington are again approaching a low point; </span><span>on Thursday, President Trump ordered and then called off an air strike</span><span>. The situation has been deteriorating since the beginning of the Trump era, with the Administration actively supporting Saudi Arabia as a regional competitor to Iran, and the President withdrawing the United States from the 2015 Iran nuclear deal. The<span> </span></span><em><span>New Yorker<span> </span></span></em><span>staff writer<span> </span></span><a href="https://www.newyorker.com/contributors/dexter-filkins"><span>Dexter Filkins</span></a><span><span> </span>says that Iran’s initial strategy was to wait the Trump Presidency out. That calculus has changed as more hawkish advisors, like Mike Pompeo and John Bolton, who are intent on imposing harsh sanctions on Iran, have joined the Administration. The result has been a series of tit-for-tat exchanges between the two countries, which could ultimately lead to a larger conflict. “If things got out of control in that region, that would be, Iraq, to Iran, to Afghanistan,” Filkins said. “I can't imagine where that would end, or how it would end." </span><span>Kelefa Sanneh shares three music picks with David Remnick: artists who deliver all the emotional joys of pop music, but aren’t extremely popular.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

David Remnick Talks with Robert Caro about “Working”

<p><span>Robert Caro is a historical biographer unlike anyone else writing today, with the Pulitzer Prizes, National Book Awards, and other honors to prove it. But to call his books biographies seems to miss the mark: they’re so rich in detail, so accurate, and at the same time so broad in scope, that they’re more like epics of American history. David Remnick sat down with Caro at the McCarter Theater, in Princeton, New Jersey, on the occasion of the publication of “Working,” a volume of Caro’s speeches and other writings. They covered Caro’s early years as a newspaper reporter, his determination to tackle a project—the rise to power of Robert Moses—that no one had accomplished, and finally his chronicle of the life of Lyndon Johnson. Caro has completed four volumes on Johnson, with a fifth, covering the Presidency, in the works. Remnick asks about Caro’s singular method of interviewing in depth, and Caro describes his interview with Sam Houston Johnson, the president’s brother, which Caro conducted at the National Park Service’s Lyndon B Johnson Boyhood Home historic site. “I took him into the dining room,” Caro recalls, and told Johnson to sit where he had sat as a child. “I didn’t sit where he could see me . . . . I sat behind him. </span><span>So I said, ‘Now tell about these terrible arguments your father used to have with Lyndon at the table.’ At first it was very slow going, you’d have to keep prompting him. But finally he was just shouting it out: ‘Lyndon you’re a failure, you’ll always be a failure. And what are you, you’re a bus inspector!’ And I felt he was back in the moment. So I said, ‘Now Sam Houston, I want you to tell me again those wonderful stories you told me before, that everybody tells about Lyndon Johnson.’ And there was this long pause. And then he says, ‘I can’t.’ And I said, ‘Why not?’ And he says, ‘Because they never happened.’ And without me saying another word, he starts to tell the story of Lyndon Johnson, which is a very different story of a very ruthless young man.”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Will the Government Get Tough on Big Tech?

<p><span>Apple, Amazon, Alphabet (which owns Google), and Facebook—known in the tech world as the Big Four—are among the largest and most profitable companies in the world, and they’ve been accustomed to the laxest of oversight from Washington. But the climate may have shifted in a significant way. The Federal Trade Commission, the Department of Justice, and the House Judiciary Committee are all investigating different aspects of the Big Four; Elizabeth Warren has made breaking up these companies a cornerstone of her Presidential campaign. </span><a href="https://www.newyorker.com/contributors/sue-halpern"><span>Sue Halpern</span></a><span>, a </span><i><span>New Yorker</span></i><span> contributor, sounds a cautious note about these developments. Current antitrust law doesn’t well fit the nature of these businesses, and breaking up the companies will not necessarily solve underlying issues, like the lack of privacy law. In a twist, Halpern says, the Big Four and now asking the federal government for more regulation—because, she explains to David Remnick, the companies’ lobbyists can sway Washington more easily than they can influence state governments like California, which just passed a rigorous data-privacy law similar to the European Union’s. “They’re being called to account, they have to do something,” she notes, “but they want to direct the conversation so that, ultimately, they still win.” </span><span>Plus, we contemplate the dire prospect of Houston without air conditioning. Bryan Washington, a Houston native and a celebrated young fiction writer, introduces non-natives to a cherished local institution: the open-air bar and community space called an ice house. </span></p> <p> </p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

From Stonewall to the Present, Fifty Years of L.G.B.T.Q. Rights

<p><span>Masha Gessen co-hosts this episode of the New Yorker Radio Hour, guiding David Remnick through the fifty years of civil-rights gains for L.G.B.T.Q. people. From drag queens reading to children at the library to a popular gay Presidential candidate, we’ll look at how the movement for L.G.B.T.Q. rights has changed our culture and our laws. The actress and comedian Lea DeLaria takes us through five decades of queer history in five minutes. Gessen talks with a Stonewall historian named Martin Duberman about whether the movement has become too conservative, and, later, she visits with a gay asylum seeker who recently fled Russia’s state security agency.</span></p> <p><span>CORRECTION: An earlier version of this program misidentified the location of the 2016 Pulse night-club shooting.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Ava DuVernay on “When They See Us,” About the Boys Who Became the Central Park Five

<p><span>Ava DuVernay doesn’t like using the term Central Park Five—a moniker created by the press in the aftermath of the notorious and brutal assault of a twenty-eight-year-old woman, Trisha Meili. “They’re not the Central Park Five,” she tells the </span><i><span>New Yorker </span></i><span>staff writer Jelani Cobb. “They’re Korey, Yusef, Antron, Kevin, and Raymond.” They were five teens who were coerced into confessing to a terrible crime by police determined to find a culprit. It was a time when “</span><span>the police, the district attorney, the prosecutors [wanted] to get a ‘win’ on the board,” DuVernay thinks, “because there were so many losses, so much going wrong.” </span><span>Cobb </span><a href="https://www.newyorker.com/news/daily-comment/the-central-park-five-criminal-justice-and-donald-trump"><span>wrote</span></a><span> in </span><i><span>The New Yorker</span></i><span> that “The reaction to Meili’s assault came as the nadir of a two-decade-long spiral of racial animosity driven by a fear of crime,” noting that, in that same week, brutal attacks on women of color failed to generate any headlines or perceptible outrage. The story has returned to public consciousness in recent years because of its role in launching Donald Trump’s political career. One of Trump’s first political acts, in 1989, was to take out a newspaper ad calling for the execution of the boys, and he stuck by his view even after they were exonerated. DuVernay’s goal was to tell the story of those five boys and the men they became. </span></p> <p><span>“When They See Us” was released on Netflix on May 31st. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Emily Nussbaum on TV’s “Deluge” of #MeToo Plots

<p><span>The #MeToo movement of recent years started in the entertainment industry, with revelations about moguls such as Harvey Weinstein and CBS’s Les Moonves, and, since 2017, television writers have been grappling with how to address sexual harassment for a modern audience. Emily Nussbaum, </span><em><span>The New Yorker’s</span></em><span> television critic, examined the issue in a </span><a href="https://www.newyorker.com/magazine/2019/06/03/tvs-reckoning-with-metoo"><span>recent essay</span></a><span>. Some of the shows she thinks are doing the best job are actually comedies, from the strange animated series “Tuca and Bertie” to the deeply cynical “Veep.” “Maybe there’s been a hesitation to deal with this head-on in drama,” she tells David Remnick, “because drama does, to some extent, at least, require sincerity, and sincerity can be uncomfortable in talking about trauma and assault.” One of Nussbaum’s favorites from this “deluge” of plotlines comes on the show “High Maintenance,” where, instead of some appalling revelation of misconduct, we watch a character reassessing a seemingly minor incident with fresh eyes. “He’s clearly thought about this in a post-MeToo way, as ‘Is this the shitty thing that I did that traumatized a woman that I know? . . . How do I take responsibility for it?’ ” </span><span>Plus, Ruth Franklin on the late poet Mary Oliver, whose spirituality, love of nature, and unusual directness made her one of the most beloved poets of our time.</span></p> <p> </p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>