Books & Writers: Novelists, Screenwriters, Poets, Journalists, Playwrights, Non-fiction Writers & Showrunners Talk Writing, Creativity & The Creative Process

Today, we hear from writers  Yann Martel, Carl Safina  and  David George Haskell  on the practice of listening to the living world.  Tom Chi  discusses the dangerous volatility of a one-degree shift.  Clayton Aldern  explores how climate change alters brain health and behavior, while  Ami Vitale,Osprey Orielle Lake  and  Martín Von Hildebrand...

What if the defining revolution of Earth's history wasn't led by animals or humans, but by flowers? Are we truly individuals, or are our bodies and minds just walking ecosystems? Our guest today is  David George Haskell , a biologist who has spent much of his life training himself to see the universal within the infinitesimally small. He's famously sat for a year in a single square meter of T...

Step into the deep time of the forest floor, where a single fallen leaf contains the history of the world, and invisible fungal networks hum with ancient conversations. Biologist and acclaimed author David George Haskell reveals a staggering truth: we are completely dependent on the botanical world, and our belief in strict human individuality is a biological illusion. Haskell has spent much of hi...

"The thing that puzzled him was why people don't agree to be fully expressed while they're alive. Why does it only happen in their last moment? Why wouldn't you live being fully expressed?" My guest today is  AL Kennedy . She is one of Britain’s most acclaimed and versatile literary voices, a writer who can inhabit the internal life of a soldier in a POW camp, as she did in her Costa Book Awa...

What happens when the state infiltrates your most intimate relationships? How do we protect the innocence and imagination of children in an increasingly authoritarian world? “"If you have love, eventually you're going to win. It's not that people aren't going to die. It's not terrible things aren't going to happen. But if you stay with that and you stay centered in that, you'll get through and you...

“Grief is a particular kind of unrequited love. It wasn't unrequited in the past. Usually, we think of unrequited love as you never got to do it, you never had it for yourself. But, in fact, there can be requited love, which is then unrequited love in the paroxysms of grief.” Today, we are honored to welcome a writer whose work has long explored the intimate landscapes of the mind, memory and the...

“Grief happens because you don't stop loving the person who died. The person doesn't exist in your reality anymore. The everyday is not colored and shaped by this other human being, but you don't stop loving the person. So grief is a particular kind of unrequited love. And probably without that dynamic relationship with this person, I would be someone else. And he would've been someone else. I mea...

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes. (0:00) Novelist  Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History (2:05) Tony Award-winning Actor Neil Patrick Harris on...

How do writers develop their voice, showing us what is important in life? ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying ) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her...

How can we use negative spaces in fiction to engage with readers’ imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves? KATIE KITAMURA (Author, Audition, Intimacies ) emphasizes that a book is created in collaboration with the reader , using negative spaces in the narrative structure to allow for reader interpretation, pa...

“ People today are so used to Basquiat's prices being extraordinarily high and rising that it's almost hard for people to understand that wasn't always the case. In the year he died, 1988, a terrific painting by Basquiat might have sold for $30,000. Relative to his other artistic peers, like a great Julian Schnabel painting that cost $800,000. After Basquiat died, some speculative capital entered...

“ All of the great artists are there for a reason: because they rebelled in some way. They created a visual vocabulary that felt fresh and new, which excited people. So, the great artists are not built on sort of anthills of sand. They're built on things of substance and of meaning. Though this is not a sufficient condition to become an icon, it's a necessary but not sufficient condition. I think...

“How do you render something interior filmically? How do you communicate the details of the lost child, of the amount of time of the stuck creative process, and even the exterior, or the externalization of the house as a kind of hellish thing that's barely staying together—literally flooding with waste—and that you can't afford? So those are the details that we had to carefully figure out how to w...

“And I think there's also just something about an unfettered or uncensored id that is so captivating. We all have that fantasy of doing exactly what we want with no consequences and sort of letting that go. I think when you see an athlete at the peak of their game, doing that embodied thing and living that dream, or when someone has actually done horrible things that you would never allow yourself...

How do our environments shape who we are and how we care for the world and each other? There are many solutions to climate change, inequality, and poverty around the world. How can we learn from them and transform our society? Eiren Caffall ( All the Water in the World ) discusses the importance of embracing complexity and emotional flexibility in facing ecological grief. Irvin Weathersby Jr. ( In...

“ I feel that when you don't tell your story, it's as if you have a limited existence. We can always have some kind of choice, but I'm saying that the story we choose may be the most crucial choice that we make, because this story will affect all the other choices.” Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities...

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always...

“I had to become the father of my family very young because my parents divorced when I was 12. My situation was a little bit unusual in that my father kind of disappeared, and I had been making a fair amount of money as a kid, doing commercials and television and film. We needed money, and I kind of became the breadwinner. But I had this amazing world that I had access to, which was the world of t...

“I won my first Emmy when I was 21, which was the result of absolutely devoting myself day and night for two years to doing all the scene work. I attended classes simultaneously and did plays until my mother died. I studied with Michael Howard for eight years. Even when I was so tired I couldn't get up to do a scene, he would say, "Get up and do a poem." It helped me enormously; it saved me. The w...

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump...

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those is...

“Poetry is the prince of the literary arts to me. It's at the very top because it's language refined to its apex of memorability. I am interested in poetry as memorability and poetry as something you live by. These are the words you live by. These words stay in your brain and guide your life. That's what I am interested in. My memoir slash autofiction is called Borges and Me , and as you know, it'...

What happens when the state, with the pretext of protecting public safety, can detain indefinitely certain individuals whose dreams seem to indicate they may be capable of committing a crime?  Set in a precarious world where sleep-enhancing devices and algorithms provide the tools and formulae for making one’s unconscious a witness to one’s possible waking life, this novel touches on a myriad...

“One of the biggest symbols of America is Mount Rushmore. This monument, right? But I think most people fail to realize where it's located and why it's located there. Even more importantly, who did it? It's on a sacred Native American mountain, a place that was central to their creation stories. But then you think about who did it, and it was a Klansman. The guy who sculpted Mount Rushmore was a K...

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method neede...