This week on Otherppl: an epic end to a pathetic and demoralizing year.
With guest appearances by Megan Boyle, Leland Cheuk, Richard Chiem, Rachel Bell de Navailles, Juliet Escoria, Joseph Grantham, Mik Grantham, Ben Loory, Gene Morgan, Timothy Willis Sanders, and Bud Smith.
Now playing on Otherppl, a conversation with Monika Woods. She is a literary agent and founder of Triangle House Literary in New York.
Woods’ clients have won the PEN Bingham Award, been listed for the National Book Award, The Kirkus Prize, The Edgar Awards, LAMBDA Awards, and the Believer Book Award, appeared on the New York Timesbestseller list, and been named books of the year by The New York Timesand NPR, among other honors.
She is a graduate of SUNY Buffalo and the Columbia Publishing Course and has worked closely with leading voices in contemporary literature over her decade-long publishing career. Her interests include literary fiction and compelling non-fiction in cultural criticism, food, popular culture, journalism, science, and current affairs.
She is particularly excited about plot-driven literary novels, non-fiction that is creatively critical, unique perspectives, a great cookbook, and above all, original prose.
This is Juliet’s second time on the program. She first appeared in Episode 273on April 30, 2014.
She also wrote the short story collection Black Cloud, which was originally published in 2014 by Civil Coping Mechanisms. In 2015, Emily Books published the ebook, Maro Verlag published a German translation, and Los Libros de la Mujer Rota published a Spanish translation. Witch Hunt, a collection of poems, was published by Lazy Fascist Press in 2016.
Escoria was born in Australia, raised in San Diego, and currently lives in West Virginia.
In many ways, the greatest praise we can bestow on a piece of art is to say it inhabits its world so fully as to define it. Whether we’re talking about Flannery O’Connor or Jane Austen, Charles Dickens or Ernest Hemingway, the writers we come back to, the ones who maintain readership and critical attention, often capture their environments to such an extent that their claim on the territory comes to supplant the reality they once sought to depict.
What would 19th century England mean to us without David Copperfield and Oliver Twist? What would 20th century Paris be without The Sun Also Rises? Even though film’s more overt, incandescent iconography has overtaken the literary in the popular consciousness, one of the written word’s chief uses remains its role as historical document and anthropological source, a record of the things that animate geographies and eras, nations and civilizations. And let’s be clear: Even today, there would be no cinema without writing. Whether in the form of novels and stories that provide jumping-off points for screenwriting or the scripts themselves, the production of the images that become our shared memories could never happen without the written word.
The Nervous Breakdown’s inaugural Microbrew showcases the diversity of American letters. Realist and fabulist, lyrical and metafictional, novels and stories, novellas and poetry. Drawn from small and big presses alike, this is a group of writers engaged in the work of claiming their territory, defining their worlds with such linguistic precision and clarity of vision that those worlds, if we’re lucky, begin to feel like our own.
The working/joke title was Drugs and Boys. I thought it was funny because it was so obvious. It could have also been called Substance Abuse, Bad Relationships, and Mental Illness but that is a really long title.
These days, and I do what I should. I eat breakfast, I get enough sleep, I wash my hair. When I’m troubled I tell someone who has felt like me. When I’m agitated I close my eyes, take deep breaths, and treat my thoughts like clouds. I don’t do drugs anymore, even though sometimes I’d like to. I have a man who loves me, and I’ve never thrown anything at this one, besides a bucket or two of sharp words.