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Brad Listi is the author of the novel Be Brief and Tell Them Everythingavailable from Ig.

 

Listi was born in Milwaukee. His other books include the novel Attention. Deficit. Disorder., an LA Times bestseller, and Board, a work of nonfiction collage, co-authored with Justin Benton. He is the founding editor of The Nervous Breakdown, an online literary magazine, and in 2011 he launched the Otherppl podcastwhich features in-depth interviews with today’s leading writers. He lives in Los Angeles.

Today’s interview is conducted by guest host Steve Almond.

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Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today’s leading writers.

Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Etc.

Available where podcasts are available: Apple PodcastsSpotifyStitcheriHeart Radio, etc.

Subscribe to Brad Listi’s email newsletter.

Support the show on Patreon

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@otherppl

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Email the show: letters [at] otherppl [dot] com

The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores.

Lejla Kalamujic is the author of the novel-in-stories Call Me Esteban, available from Sandorf Passage. Translated by Jennifer Zoble.

 

Kalamujic is an award-winning queer writer from Bosnia and Herzegovina. Call Me Esteban received the Edo Budisa literary award in 2016 and it was the Bosnian-Herzegovinian nominee for the European Union Prize for Literature in the same year.

Jennifer Zoble translates Bosnian/Croatian/Serbian- and Spanish-language literature. Her translation of Mars by Asja Bakic (Feminist Press, 2019) was selected by Publishers Weekly for the fiction list in its “Best Books 2019” issue. She contributed to the Belgrade Noir anthology (Akashic Books, 2020), and her work has been published in McSweeney’s, Lit Hub, Words Without Borders, Washington Square, The Iowa Review, and The Baffler, among others. She’s a clinical associate professor in the interdisciplinary Liberal Studies program at NYU.

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Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today’s leading writers.

Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Etc.

Available where podcasts are available: Apple PodcastsSpotifyStitcheriHeart Radio, etc.

Subscribe to Brad Listi’s email newsletter.

Support the show on Patreon

Merch

@otherppl

Instagram

YouTube

Email the show: letters [at] otherppl [dot] com

The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores.

725. Anna Qu

By TNB Editors

Podcasts

Anna Qu is the author of Made in China: A Memoir of Love and Labor, available from Catapult.

 

 

Qu is a Chinese American writer. She writes personal essays on identity and growing up in New York as an immigrant. Her work has appeared in Poets & Writers, Lithub, Threepenny ReviewLumina, Kartika, Kweli, Vol.1 Brooklyn, and Jezebel, among others. She holds an MFA in Creative Nonfiction from Sarah Lawrence College.

She also serves as the Nonfiction Editor at Kweli Journal, and teaches at the low res MFA program at New England College, Sackett Street Writers’ Workshop, and Catapult. She lives in Brooklyn with her partner and their cat, Momo.

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Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today’s leading writers.

Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Life. Death. Etc.

Support the show on Patreon

Merch

@otherppl

Instagram

YouTube

Email the show: letters [at] otherppl [dot] com

The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores.

Azareen Van der Vliet Oloomi is the author of the novel Savage Tonguesavailable from Houghton Mifflin Harcourt.

 

Her previous novel, Call Me Zebrawon the Pen/Faulkner Award for Fiction and the John Gardner Award. She was a National Book Foundation “5 Under 35” honoree for her debut novel, Fra Keeler, and her work has appeared in a variety of publications, including the Paris Review, Guernica, Granta, and BOMB. She splits her time between South Bend, Indiana, and Chicago.

***

Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today’s leading writers.

Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Life. Death. Etc.

Support the show on Patreon

Merch

@otherppl

Instagram

YouTube

Email the show: letters [at] otherppl [dot] com

The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores.

Now playing on Otherppl, a conversation with Adrienne Brodeur. Her memoir, Wild Game: My Mother, Her Lover, and Me, is available from Houghton Mifflin Harcourt. It was the official October pick of The Nervous Breakdown Book Club.

 

Brodeur has spent the past two decades of her professional life in the literary world, discovering voices, cultivating talent, and working to amplify underrepresented writers. Her publishing career began with founding the fiction magazine, Zoetrope: All-Storywith filmmaker Francis Ford Coppola, where she served as editor in chief from 1996-2002. The magazine has won the prestigious National Magazine Award for best fiction four times. In 2005, she became an editor at Harcourt (later, HMH Books), where she acquired and edited literary fiction and memoir. Adrienne left publishing in 2013 to become Creative Director — and later Executive Director — of Aspen Words, a literary arts nonprofit and program of the Aspen Institute. In 2017, she launched the Aspen Words Literary Prize, a $35,000 annual award for an influential work of fiction that illuminates a vital contemporary issue and demonstrates the transformative power of literature on thought and culture.

She splits her time between Cambridge and Cape Cod, where she lives with her husband and children.

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Now playing on Otherppl, a conversation with Karen Stefano. Her new book, What a Body Remembers: A Memoir of Sexual Assault and Its Aftermath, is available from Rare Bird Books. It is the official June pick of The Nervous Breakdown Book Club.

 

Stefano’s other books include the short story collection The Secret Games of Words (1GlimpsePress 2015) and the how-to business writing guide, Before Hitting Send (Dearborn 2011). Her work has appeared in Ms. Magazine, The Rumpus, Psychology Today, California Lawyer, The South Carolina Review, Tampa Review, Epiphany, Volume 1 Brooklyn, and many other journals and magazines.

Get the free Otherppl app.

Support the show at Patreon or via PayPal.

Clay Byars is the guest. His memoir Will & I is available from FSG Originals.

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Listen via iTunes.

Support the show at Patreon or via PayPal.

“Neither Here Nor There” | Rebecca Marino

Inside a moving hotel elevator, I’m painting pink strokes on the wall. It feels like I’m painting glue on thick fabric. I’m in a hurry because the first floor is fast approaching. Right before the door slides open, I bring the thin paintbrush down to my right side, trying to hide it from whoever is waiting to step in. I can’t see the person, but I know it’s a man. We stand in silence until he leaves. The doors close again, and again I bring the brush to the wall, this time retracing the strokes, trying to fix it before someone else arrives. This repeats.

JenPercy_authorphoto_creditMichaelKreiserYou switch from past tense to present tense halfway through Demon Camp. Why the shift?

I wanted to show a change in my psychology and relationship with my subject matter. Present tense gives the reader a sense of immediacy; it allows us to experience the world as it is being perceived at the moment. It is raw and unprocessed information. The moment I arrive to Portal, Georgia, where a great deal more people believe in demons than do not, my ability to process the world at any remove had begun to fail. It’s like the first time you step off a plane in a foreign country. For a while, the country is greater than you. You see everything. Feel everything. It’s too much. You’re a sponge, really. So, I felt consumed by Portal. This shift also represents, on a formal level, what a traumatic memory can do to someone. It can trap them. The immediacy of a traumatic memory is one of its distinguishing traits. 

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People who have known you all your life are often surprised when they read your fiction. People who have held you in their arms, buttoned your pajamas, put band-aids on your booboos, whose children you grew up with. People who are family, and who like to remind you about that once or twice a year over a Rubio’s fish taco at the mall.

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Certain films, whether they’re franchise fare like The Hunger Games or The Avengers, or indie tone poems like Tree of Life or Drive, insist on a visceral, almost inchoate, appreciation. Sure, you can talk about how camera angles frame the director’s ethical perspective, or explore how lighting choices illuminate character, but you’d be hamstringing yourself. When Katniss takes her sister’s place in the arena or Captain America sacrifices himself to save a world he doesn’t feel a part of; when volcanic eruptions symbolize a father’s rage, or a chord of 80’s techno-pop evokes a young man’s inability to feel, we watch our own aspirations and insecurities writ large on the silver screen.   

When I was young, I went through many phases.

My childhood can be clearly divided into the obsessions I developed and practiced religiously.

The most memorable to me were the months in which I dedicated my every waking hour to the pursuit of scientific knowledge.

In the past, I had been terrorized by insects.

They were constantly popping up in places that seemed unnatural and inappropriate, like in my bed or clinging to the edge of a toilet.

To me, there was nothing worse than curling up in your freshly cleaned bed sheets, laying your head down on the pillow, and closing your eyes, only to feel the tingling sensation of tiny little legs skittering across the back of your neck and into your hair.

There was one period of time in my childhood when I kept discovering strange looking bugs in my comb after I finished fixing my hair.

These were no lice. Compared to a louse, these bugs were Godzilla.

I would pick it out of my comb, shudder, and hope it would be an isolated event.

But these particular bugs became all too common a sight in my hair each morning.

I looked through books to identify the bug so I could read about it. I needed to know if it was an insect that might dwell in one’s hair.

When I matched the species up with the bedbug, it wasn’t easy information to swallow.

Eventually, my anxiety about the situation grew into something of a maniacal frenzy. I scratched my head until it bled and pulled clumps of hair out of my scalp.

“They’re living in my hair!” I screamed at my parents.

“Lenore, they can’t be! They’re too big to live in your hair. Maybe a few made their way up there accidentally, but there’s no colony of bedbugs in your hair,” they’d say.

Days went by, and I didn’t spot another one.

My head was free of the bedbug infestation, but the scratching from all the psychosomatic itching left my scalp scabby and even itchier.  It was weeks before the dried blood stopped falling from my head. My mom even tried to get a new bed such as these hospital beds engineered for safety as well as new pillows.

And after all of it, it seemed all too likely that I had imagined the whole thing.

This incident soured my relationship with bugs.  They became my enemies.  It didn’t take them long to realize that they had messed with the wrong little (possibly delusional) girl.

I decided to direct all of my scientific experiments in the direction of bug research.  Only bugs, though. I would never hurt a real animal.

Most kids like to catch bugs and put them in jelly jars.  They punch a few holes in the top and throw some sticks in there in an effort to recreate their natural habitat and try to keep the insects alive long enough to call them pets.

I did this too, but I didn’t make air holes in the jar.  Instead, I watched to see how long it took for them to suffocate.  Then I’d document specific reaction times in a little spiral notebook.

I referred to them as my “findings.”

This process was not, to me, an exciting one. It was a matter of importance in the scientific community.  If I didn’t run tests to see how long a certain insect could survive without air or water, who would?  How would we as a people ever know?  The way I saw it, my lab experiments were a necessary evil.  Humans simply needed this information.  Or else.  Or else what?  Would you really want to risk whatever the answer to this question may be?

I didn’t.

In another form of experimental science, I spent many summer nights in my childhood smacking lightning bugs with a baseball bat and then spreading their glowing torsos across my driveway with my sneaker.  The faint light would last for up to thirty seconds when you hit the lightning bug at just the right time.

That took practice.

Once the lightning bug butts had stopped shining their brilliant light, I collected samples and placed them on slides for a microscope.  My parents had bought me a science kit that included a microscope and other fun lab equipment.  Hours would go by as I gathered bug guts and wings to magnify.

As a scientist, I was careful, meticulous.  I catalogued every specimen, just like my father had taught me.  “Real scientists catalogue,” he said. “Don’t be sloppy with your work. If you get sloppy, you’re at risk of being sued.”  So I was careful.  Just as soon as a glob of dragonfly brain was smeared across the slide, it was properly labeled and stored.

My mom let me set up my lab on the kitchen table.  I would carefully study each sample and sketch them in my notebook along with all of my other findings.  Because I had labeled them so professionally before, I was able to keep very accurate notes.  The smell of the sample (sharp cheddar), the texture (bumpy), buoyancy (sometimes), and yes, even the taste of the sample (bitter apple), were all included.  Whenever I came across a particularly interesting slide, I’d show my mother.

“What’s this I’m looking at?” She’d ask, trying to encourage my quest for education.

“It’s an ant’s vagina.”

“How do you know it’s the genital region of the ant?”

“Because I labeled it.”

“It looks red.”

“Well, she was in heat. Which would explain the extreme buoyancy.”

“Of course,” my mother agreed.

My father, while proud that I was showing an interest in something scientific rather than artistic, was not as patient.  He only looked at a few slides before becoming bored, complaining that the insides of a bug are just the insides of a bug.  And sometimes that’s true: The insides of a bug are just the insides of a bug.  Maybe it was the truth in my father’s opinion that made me lose interest in my own personal pursuit of scientific discovery.  Maybe it was the fact that I felt my beginner’s microscope was inadequate in it’s magnifying capabilities.  How was I supposed to make significant scientific advances with a microscope that was stamped with a “Playskool” sticker?

I guess in the end, I did alright, anyway.

Now when I want to kill bugs, I use Raid.

I’ve discovered it’s much more efficient.