Writers

The author joins Deborah Treisman to read and discuss “Every Night for a Thousand Years,” which was published in The New Yorker in 1997.

A new biography gives a compelling sense of a comic and cinematic genius, and also of the forces that derailed her Hollywood career.

The author joins Deborah Treisman for a special tribute to Alice Munro. He reads and discusses “Before the Change,” which was published in The New Yorker in 1998.

Diane Seuss says, of writing her latest collection, “Modern Poetry,” “I really did feel that I didn’t know how to move forward without something like an answer.”

A new show about the Cold War, “Not All Propaganda Is Art,” reveals the dark, sometimes comic ironies of trying to control the world through culture.

Working with the author, who has died, at ninety-two, was both a thrill and a lesson in intentionality.

The author joins Deborah Treisman to read and discuss the stories “The Bible” and “The Stolen Pigeons,” which were published in The New Yorker in 2006 and 2007.

The author of “The Argonauts” and the new collection “Like Love” discusses the performative aspect of writing, reading her old work, and becoming “lightly interested” in genre for the first time.

The author joins Deborah Treisman to read and discuss the story “Likes,” which was published in a 2017 issue of The New Yorker.

In her memoir of transitioning in her sixties, the writer assesses the cost of suppressing her identity for decades.

In his first novel, the Iranian American poet Kaveh Akbar asks whether our pain matters, and to whom, and how it might be made to matter more.

An editor who could see around corners and deep into thorny manuscripts.

The author joins Deborah Treisman to read and discuss the story “Safari,” which was published in a 2010 issue of The New Yorker.

The author joins Deborah Treisman to read and discuss the story “Labyrinth,” which was published in a 2012 issue of The New Yorker.

The Russian poet and essayist was a founding member of the Moscow conceptualist movement, an “implausibly social” presence in Moscow, and a firm believer to the end in the possibility of living in Russia with dignity and decency.

A former New Yorker fact checker recalls a serious saint who prized fun.

The autofictionist has made the drama of finding and losing the self central to her work. Raising two children during the pandemic prompted a change in focus.

The critic, an enemy of pretension, addressed a dazzling array of subjects with intelligence and a one-of-a-kind wit.

The author joins Deborah Treisman to read and discuss the story “The Bees, Part 1,” which was published in a 2002 issue of The New Yorker.

Ava DuVernay’s rendering of Isabel Wilkerson’s book “Caste” is a compelling fusion of history and drama.