Episode 22: Nina McConigley

Episode 23: Alice Martin and Is Exposition Gendered?

Women everywhere have an indescribable urge to get up and go west. That would be weird if it was real; in the hands of Alice Martin, author of the novel Westward Women, it’s not only weird but an incredible conceit for a thoughtful work of literary fiction that’s among the best books we’ve read this year. We were lucky to get Alice as a guest. This was followed by some deep thoughts about exposition in fiction, such as “what is it” and “is it for girls?” Turns out it’s for everyone, but there may be some expectations about how manly men writers don’t do much of it, because it’s not masculine to tell people what you’re thinking, I guess? Westward Women [https://alicejmartin.com/westward-women-page] is out now.   Works Cited this episode:   A New Home, Who’ll Follow? Caroline Kirkland On the Calculation of Volume, Solvej Balle Bunny, Mona Awad The Husbands, Holly Gramazio Once and Again, Rebecca Serle The Sun Also Rises, Ernest Hemingway The Orchard Keeper, Cormac McCarthy Brighton Rock, Graham Greene One Hundred Years of Solitude, Gabriel Garcia Marquez Legends of the Fall, Jim Harrison Speak, Memory, Vladimir Nabokov The Housemaid, Freida McFadden Mockingjay, Suzanne Collins Legends of the Fall, dir. Edward Zwick

Episode 22: Nina McConigley

We had a great time with Nina McConigley, author of the new novel How to Commit a Postcolonial Murder, which hits all the beats you want from a book where a character named Agatha Krishna says, “We blame the British.” Nina shared with us her thoughts on how colonialism divided not only countries but selves, and where characters (and real people) find themselves within those divides. Then, how can you tell if a translated work is good when you don’t know the author’s language? Maybe the translator created something great that isn’t really true to the original version, or brought down a great work with their bad translation. (Note to translators: We think you are cool and the above scenario is purely hypothetical.) How to Commit a Postcolonial Murder [https://ninamcconigley.com/fiction/how-to-commit-a-post-colonial-murder/] is available now.   Works cited this episode: Angels in America, Tony Kushner Cowboys and East Indians, Nina McConigley Murder on the Orient Express, Agatha Christie Death on the Nile, Agatha Christie Crime and Punishment, Fyodor Dostoevsky Sympathy for the Traitor: A Translation Manifesto by Mark Polizzotti The Odyssey, Homer, translated by Emily Wilson Beowulf, translated by Seamus Heaney One Hundred Years of Solitude, by Gabriel Garcia Marquez, translated by Gregory Rabassa Our Share of Night, Mariana Enriquez, translated by Megan McDowell On the Soul (De Anima), Aristotle, translated by Hugh Lawson-Tancred The Divine Comedy, Dante Alighieri, translated by Henry Wadsworth Longfellow The Hitchhiker’s Guide to the Galaxy, Douglas Adams

Episode 21: PEN/Bingham Prize winner Jared Lemus

We were fortunate to have Jared Lemus, author of the story collection Guatemalan Rhapsody, join us to discuss masculinity and empathy in fiction. Jared recently won the PEN/Robert W. Bingham Prize for debut story collection, and he was also once Nate’s co-worker. (Which is also a noteworthy achievement.) Plus, what if the author was peering over your shoulder while you read their book? They aren’t, but what if you intentionally imagined that they were, and it was up to you to figure out what they’re doing with their writing? This is all just hypothetical and not a real topic from our podcast. Works cited this episode: How to Commit a Postcolonial Murder, Nina McConigley Go Tell it on the Mountain, James Baldwin Giovanni’s Room, James Baldwin Paradise Lost, John Milton “The Death of the Author [https://www.ubu.com/aspen/aspen5and6/threeEssays.html#barthes],” Roland Barthes “The Intentional Fallacy [https://www.jstor.org/stable/27537676],” W.K. Wimsatt Jr. and M.C. Beardsley The Sun Also Rises, Ernest Hemingway The Old Man and the Sea, Ernest Hemingway A Farewell to Arms, Ernest Hemingway The Maltese Falcon, Dashiell Hammett The Epic of Gilgamesh Beowulf

Episode 20: John Sayles

We’re excited to welcome filmmaker and author John Sayles to the show. John spoke with us about his most recent novel, Crucible, which focuses on the impact that an egocentric automobile magnate’s uninformed plans has on the economy and other populations. Sounds vaguely familiar. We also dove into John’s career, screenwriting vs. writing fiction, and what makes Pittsburgh so great.   Then, our intrepid hosts returned to a topic hinted at last time: how much overlap there is between the books the two of us have read? What a shocker: we both read Moby-Dick!   Crucible by John Sayles [https://www.penguinrandomhouse.com/books/804610/crucible-by-john-sayles/] is out now   Works cited this episode:   A Moment in the Sun, John Sayles The Great Gatsby, F. Scott Fitzgerald Naked Lunch, William S. Burroughs White Teeth, Zadie Smith Fear and Loathing in Las Vegas, Hunter S. Thompson One Hundred Years of Solitude, Gabriel García Márquez A Game of Thrones, George R.R. Martin The Girl with the Dragon Tattoo, Stieg Larsson The Hunger Games, Suzanne Collins To Kill a Mockingbird, Harper Lee The Mummy, the Will, and the Crypt, John Bellairs Want, Lynn Steger Strong Why We Read Fiction: Theory of Mind and the Novel, Lisa Sunshine Don’t Skip Out on Me, Willy Vlautin The Killer is Dying, James Sallis Pulp Fiction, dir. Quentin Tarantino The Corrections, Jonathan Franzen

Episode 19: Rejection is Good! And you never read alone

So your manuscript was rejected by another publisher. Will you revise your work to meet the shifting whims of the marketplace, or hold steady to your uncompromising vision, bragging all the while about the rejections you’ve accumulated like tumbleweeds tangled in a barbed wire fence? Meanwhile, we also wonder if one can ever truly read a book alone, or if the various social contexts are inextricable from that experience, like tumbleweeds tangled in a barbed wire fence.     Works cited this episode:   “Why is everyone suddenly obsessed with reframing rejection [https://lithub.com/why-is-everyone-suddenly-obsessed-with-reframing-rejection/]?” Brittany Allen, LitHub This Side of Paradise, F. Scott Fitzgerald The Great Gatsby, F. Scott Fitzgerald Tender is the Night, F. Scott Fitzgerald All the Pretty Horses, Cormac McCarthy Blood Meridian, Cormac McCarthy “Host,” [https://www.theatlantic.com/magazine/archive/2005/04/host/303812/] David Foster Wallace, The Atlantic “In Defense of the Traditional Review [https://www.newyorker.com/culture/the-lede/in-defense-of-the-traditional-review],” Richard Brody, The New Yorker Middlemarch, George Eliot Sundial, Catriona Ward Piranesi, Susanna Clarke She’s Come Undone, Wally Lamb I’m Losing You, Bruce Wagner Don Quixote, Miguel de Cervantes Moby-Dick, Herman Melville “The Couch,” Seinfeld, created by Larry David and Jerry Seinfeld Beloved, Toni Morrison