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<!DOCTYPE html><html lang="en-US"><head><title>Hiromi Kawakami on Communalism in Japan | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Dennis Zhou"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="Dennis Zhou interviews the author Hiromi Kawakami about “The Kitchen God,” her story from the July 10 & 17, 2023, issue of The New Yorker."/><meta name="id" content="649b56dbada160419b41d14a"/><meta name="keywords" content="fiction,disable inline signup unit,japan"/><meta name="news_keywords" content="fiction,disable inline signup unit,japan"/><meta name="robots" content="index, follow, noarchive, max-image-preview:large"/><meta name="content-type" content="article"/><meta name="parsely-post-id" content="649b56dbada160419b41d14a"/><meta 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{"channel":"books","content":{"copyCount":1355,"imageCount":0,"embedCount":1,"ratio":1355,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["649b56dbada160419b41d14a"],"platform":["verso"],"tags":["books","this-week-in-fiction","fiction","japan"]},"targeting":{"feature_flags":[]},"server":"production","slug":"hiromi-kawakami-07-10-23","subChannel":"this-week-in-fiction","subSubChannel":"","templateType":"mt_article_two_column"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"My grandmother often told me that there was a god in our kitchen, and that I should pray to him. Kitchen gods preside over the preparation and cooking of food—the basis of our daily lives—which is why they deserve our thanks. The kitchen god my grandmother spoke of comes from the Shinto tradition, but the three-faced god in my story also derives from the god who protects the “three jewels” of Buddhism: namely, the Buddha, his teachings, and the Buddhist clergy. So the kitchen god, in both Japanese culture and in my story, is a combination of one of the countless gods in Shinto folk belief and the mystical side of Buddhism, represented by the mountain ascetics of the Yamabushi tradition.\nIzumi, who narrates the story, seems to be at the mercy of strange appetites: peeling and eating stucco off the walls, shoplifting foods from the convenience store, subsisting off sweets like preserves and madeleines from the Shoppers’ Co-op. Is there a source for these appetites?\nWe may be led to think that Izumi suffers from what doctors call parorexia, and that her munching on stucco, as well as her shoplifting and binge eating, are symptoms of psychological stress. As an author, however, my purpose was most definitely not to make that kind of causal connection, which is why I am choosing a vague phrase like “may be led to think” here. Since I hope readers will use their imaginations to form their own understanding, I will refrain from saying anything further.\nThe story mostly takes place in a “company apartment” building, where Izumi has responsibilities such as looking after the staircases and circulating information, and where the female residents all call one another okusan (a word for “housewife”). Will you describe this living arrangement for readers who might not be familiar with it? How did you decide to set the story in one of these buildings?\nA common pattern marks those locations where communalism is still practiced in Japan, such as apartment buildings for families whose breadwinners all work for the same company, places where members of a similar age group cluster, localities with a long tradition of collective living, etc. People customarily share chores in these places without outside help, including cutting the grass and cleaning the buildings, caring for the elderly and the very young, and managing the local festival; in other words, they jointly shoulder the labor and the financial responsibilities of their community.\nThe plus side of this custom is that it helps foster closer personal ties among members, but the downside is that those who fail to follow the unwritten rules of the collective become outcasts. In this story, which I wrote twenty years ago, the housewives are all subsumed by the group; they call each other okusan or so-and-so’s mother and avoid the use of individual names. This pattern remains basically unchanged, though more and more young women and men reject such communalism as outmoded today, and refuse to participate.\n“The Kitchen God” is part of your forthcoming collection, “Dragon Palace,” which will be released in the U.S. in September. Many of the stories in the collection include animals (such as foxes, moles, and octopuses), some of which may or may not be gods, spirits, and other shapeshifters, but all of which have their own air of mystery; in “The Kitchen God,” for example, there appears to be a weasel infestation in the building, though we never catch sight of the animals and only hear reports about them rifling through the trash disposal or squeezing into residents’ apartments. Is there something specific about animals that attracts you to including them in your stories?\nWhat the stories of “Dragon Palace” have in common is a focus on the enigmatic nature of humans and human relationships. All the relationships in the stories are warped and twisted, outlandish even, yet they were intensely real to me as I wrote them. Talking foxes, moles, and octopuses may not be a part of modern Japanese urban life, but I found it easier and more natural to write about those mysterious spirits than about regular people.\nWhy was that? In retrospect, I think choosing a human vehicle would have locked me within the conventional boundaries of the “human,” whereas creating characters who were not human on the surface but had underlying humanlike aspects freed me to think outside the box, separate from those conventions. Which also made the stories fun to write.\nBy the way, the spirits that we encounter in “Dragon Palace” and early collections like “To Tread on a Snake” (“Hebi wo Fumu,” translated by Lucy North as “Record of a Night Too Brief”) seldom appear in my later writing. Once I had broken through some of those “human” conventions in “Dragon Palace,” my characters in later works became people in both body and spirit; though deep down they may well still be octopuses, moles, and foxes. How mysterious people are!\nWhat is the connection, if any, between the weasels and Izumi’s “kitchen god”?\nIs there a connection between the weasel that is rumored to be living in the building and the kitchen god? I would prefer to leave this question to my readers. Why deprive them of the fun of coming up with their own answers, one of literature’s great pleasures? Still, the author of a work is also one of its readers, and I can conjecture that the “connection” between the weasel and the kitchen god may lie in the fact that both are “threatening” to the narrator. She herself doesn’t know why she is so stressed, but we can see that she is somehow trapped within the cage of her own unconscious mind. Therefore, anything that arises outside that cage is disquieting.\nYou describe the various potted plants—philodendrons, cyclamens, spider plants—that commonly decorate what you call an “aunt’s living room,” and that Izumi also has throughout her apartment. Why do you think that Izumi and these “aunts” are so attracted to these potted plants? Do you collect these plants yourself?\nI think that sense of threat or disquiet also lurks in the plants overflowing Izumi’s apartment. And, by the way, I don’t keep potted plants in my home! I do have a small garden, but the only things growing there are plants that require no looking after.\nIzumi strikes up a relationship with a man named Mr. Sanobe, who at first pays her for sex, before believing that they’ve become lovers and ultimately assaulting her. How did you decide to pair the story of her affair with Mr. Sanobe with the story of the kitchen god?\nI think I may have a better understanding today of why I came up with Mr. Sanobe than I did at the time I composed the story. I do recall how painful it was to write the character, yet, at the same time, what a relief it was to purge the feelings he called up in me.\nRereading the story twenty years later, I can see how upset I was at the clearly exploitative nature of relationships between men and women. I am referring not only to the obviously vile case of Izumi and Mr. Sanobe but to a similar pattern that can characterize even normal, outwardly happy couples. Men are not solely to blame in this, either: women participate by either affirming or resigning themselves to this system of exploitation, which underpins the workings of Japanese society. This situation infuriated me—I wanted to oppose it wherever possible—yet I came to realize that I myself was part of it, which led me to a kind of despair. It was painful to incorporate that despair into my fiction, but putting it into words turned out to be of great help in my own emancipation. ♦\nHiromi Kawakami’s responses were translated, from the Japanese, by Ted Goossen.","isBasedOn":"https://www.newyorker.com/books/this-week-in-fiction/hiromi-kawakami-07-10-23","articleSection":"this week in fiction","author":[{"@type":"Person","name":"Dennis Zhou","sameAs":"https://www.newyorker.com/contributors/dennis-zhou"}],"dateModified":"2023-07-03T06:00:00.000-04:00","datePublished":"2023-07-03T06:00:00.000-04:00","headline":"Hiromi Kawakami on Communalism in Japan","image":["https://media.newyorker.com/photos/649dd5827ac8745598303f21/16:9/w_2800,h_1575,c_limit/TWIF_Template-Kawakami.jpg","https://media.newyorker.com/photos/649dd5827ac8745598303f21/4:3/w_2100,h_1575,c_limit/TWIF_Template-Kawakami.jpg","https://media.newyorker.com/photos/649dd5827ac8745598303f21/1:1/w_1575,h_1575,c_limit/TWIF_Template-Kawakami.jpg"],"keywords":["this week in 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fTFWxD"><div class="RubricWrapper-dKmCNX cXTooZ rubric ContentHeaderRubricContainer-eTudtt iRsSlw"><a class="RubricLink-gRWSOU fgWnkQ rubric__link" href="/books/this-week-in-fiction"><span class="RubricName-fVtemz cLxcNi rubric__name">This Week in Fiction</span></a></div></div></div><h1 data-testid="ContentHeaderHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderHed-NCyCC iUEiRd kOQxwh hpJvIc">Hiromi Kawakami on Communalism in Japan</h1></div><div class="ContentHeaderAccreditation-lfctVB enhwXT content-header__accreditation" data-testid="ContentHeaderAccreditation"><div class="ContentHeaderDek-bIqFFZ cFMTQw">The author discusses “The Kitchen God,” her story from the latest issue of the magazine.</div><div class="ContentHeaderByline-kmPyCa gvUmxJ"><div class="ContentHeaderBylineContent-dpPmNn DRFq"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines ContentHeaderBylines-cZqgyJ bqbBYQ"><span class="BylineWrapper-jWHrLH fvlutP byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN eErqIx byline__name-link button" href="/contributors/dennis-zhou">Dennis Zhou</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2023-07-03T06:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderPublishDate-eIBicG iUEiRd hkjWCS kEBrdf">July 3, 2023</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHeaderLeadAsset-hGbumP iWPCcH lead-asset ContentHeaderLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallrule" data-testid="ContentHeaderLeadAsset"><figure class="ContentHeaderLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHeaderLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__content__photo"><span class="SpanWrapper-umhxW jvZaPI responsive-asset ContentHeaderResponsiveAsset-bREgIb khLUzS"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO KhjZz ContentHeaderResponsiveAsset-bREgIb khLUzS responsive-image responsive-image--expandable" tabindex="0" role="button"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_120,c_limit/TWIF_Template-Kawakami.jpg 120w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_240,c_limit/TWIF_Template-Kawakami.jpg 240w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_320,c_limit/TWIF_Template-Kawakami.jpg 320w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_640,c_limit/TWIF_Template-Kawakami.jpg 640w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_960,c_limit/TWIF_Template-Kawakami.jpg 960w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_120,c_limit/TWIF_Template-Kawakami.jpg 120w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_240,c_limit/TWIF_Template-Kawakami.jpg 240w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_320,c_limit/TWIF_Template-Kawakami.jpg 320w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_640,c_limit/TWIF_Template-Kawakami.jpg 640w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_960,c_limit/TWIF_Template-Kawakami.jpg 960w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_1280,c_limit/TWIF_Template-Kawakami.jpg 1280w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_1600,c_limit/TWIF_Template-Kawakami.jpg 1600w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_1920,c_limit/TWIF_Template-Kawakami.jpg 1920w, https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_2240,c_limit/TWIF_Template-Kawakami.jpg 2240w" sizes="100vw"/><img alt="Hiromi Kawakami." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/649dd5827ac8745598303f21/master/w_2560%2Cc_limit/TWIF_Template-Kawakami.jpg"/></picture></div></div></span><div class="CaptionWrapper-jSZdqE koIZQP caption ContentHeaderLeadAssetCaption-hPWmSN cwKyFH" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd kboznU caption__credit">Illustration by The New Yorker; Source photograph by Rinko Kawauchi / Courtesy The Wylie Agency</span></div></div></figure><div data-testid="ContentHeaderLeadRailAnchor" class="ContentHeaderLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN fRhmFI article-body__content"><div class="ActionBarWrapperContent-lasBkU jrRtuw"><div class="ActionBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh hDHofQ viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU hNBMHq bookmark large-screen"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh dupdPP viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU jbWTJi bookmark mobile"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="has-dropcap has-dropcap__lead-standard-heading"><strong>In your story “<a href="https://www.newyorker.com/magazine/2023/07/10/the-kitchen-god-fiction-hiromi-kawakami">The Kitchen God</a>,” a housewife named Izumi sees small, three-faced creatures that she calls “kitchen gods” dwelling in her apartment. What was your inspiration in creating the figure of the kitchen god?</strong></p><p class="paywall">My grandmother often told me that there was a god in our kitchen, and that I should pray to him. Kitchen gods preside over the preparation and cooking of food—the basis of our daily lives—which is why they deserve our thanks. The kitchen god my grandmother spoke of comes from the Shinto tradition, but the three-faced god in my story also derives from the god who protects the “three jewels” of Buddhism: namely, the Buddha, his teachings, and the Buddhist clergy. So the kitchen god, in both Japanese culture and in my story, is a combination of one of the countless gods in Shinto folk belief and the mystical side of Buddhism, represented by the mountain ascetics of the <em>Yamabushi</em> tradition.</p><p class="paywall"><strong>Izumi, who narrates the story, seems to be at the mercy of strange appetites: peeling and eating stucco off the walls, shoplifting foods from the convenience store, subsisting off sweets like preserves and madeleines from the Shoppers’ Co-op. Is there a source for these appetites?</strong></p><p class="paywall">We may be led to think that Izumi suffers from what doctors call parorexia, and that her munching on stucco, as well as her shoplifting and binge eating, are symptoms of psychological stress. As an author, however, my purpose was most definitely <em>not</em> to make that kind of causal connection, which is why I am choosing a vague phrase like “may be led to think” here. Since I hope readers will use their imaginations to form their own understanding, I will refrain from saying anything further.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall"><strong>The story mostly takes place in a “company apartment” building, where Izumi has responsibilities such as looking after the staircases and circulating information, and where the female residents all call one another <em>okusan</em> (a word for “housewife”). Will you describe this living arrangement for readers who might not be familiar with it? How did you decide to set the story in one of these buildings?</strong></p><p class="paywall">A common pattern marks those locations where communalism is still practiced in Japan, such as apartment buildings for families whose breadwinners all work for the same company, places where members of a similar age group cluster, localities with a long tradition of collective living, etc. People customarily share chores in these places without outside help, including cutting the grass and cleaning the buildings, caring for the elderly and the very young, and managing the local festival; in other words, they jointly shoulder the labor and the financial responsibilities of their community.</p><p class="paywall">The plus side of this custom is that it helps foster closer personal ties among members, but the downside is that those who fail to follow the unwritten rules of the collective become outcasts. In this story, which I wrote twenty years ago, the housewives are all subsumed by the group; they call each other <em>okusan</em> or so-and-so’s mother and avoid the use of individual names. This pattern remains basically unchanged, though more and more young women and men reject such communalism as outmoded today, and refuse to participate.</p><p class="paywall"><strong>“The Kitchen God” is part of your forthcoming collection, “<a data-offer-url="https://www.amazon.com/Dragon-Palace-Hiromi-Kawakami/dp/1737625350" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Dragon-Palace-Hiromi-Kawakami/dp/1737625350"}" href="https://www.amazon.com/Dragon-Palace-Hiromi-Kawakami/dp/1737625350" rel="nofollow noopener" target="_blank">Dragon Palace</a>,” which will be released in the U.S. in September. Many of the stories in the collection include animals (such as foxes, moles, and octopuses), some of which may or may not be gods, spirits, and other shapeshifters, but all of which have their own air of mystery; in “The Kitchen God,” for example, there appears to be a weasel infestation in the building, though we never catch sight of the animals and only hear reports about them rifling through the trash disposal or squeezing into residents’ apartments. Is there something specific about animals that attracts you to including them in your stories?</strong></p><p class="paywall">What the stories of “Dragon Palace” have in common is a focus on the enigmatic nature of humans and human relationships. All the relationships in the stories are warped and twisted, outlandish even, yet they were intensely real to me as I wrote them. Talking foxes, moles, and octopuses may not be a part of modern Japanese urban life, but I found it easier and more natural to write about those mysterious spirits than about regular people.</p><div class="Container-bkChBi byNLHx"></div><p class="paywall">Why was that? In retrospect, I think choosing a human vehicle would have locked me within the conventional boundaries of the “human,” whereas creating characters who were not human on the surface but had underlying humanlike aspects freed me to think outside the box, separate from those conventions. Which also made the stories fun to write.</p><p class="paywall">By the way, the spirits that we encounter in “Dragon Palace” and early collections like “To Tread on a Snake” (“Hebi wo Fumu,” translated by Lucy North as “<a data-offer-url="https://www.amazon.com/Record-Night-Brief-Japanese-Novellas/dp/1782272712" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Record-Night-Brief-Japanese-Novellas/dp/1782272712"}" href="https://www.amazon.com/Record-Night-Brief-Japanese-Novellas/dp/1782272712" rel="nofollow noopener" target="_blank">Record of a Night Too Brief</a>”) seldom appear in my later writing. Once I had broken through some of those “human” conventions in “Dragon Palace,” my characters in later works became people in both body and spirit; though deep down they may well still be octopuses, moles, and foxes. How mysterious people are!</p><p class="paywall"><strong>What is the connection, if any, between the weasels and Izumi’s “kitchen god”?</strong></p><p class="paywall">Is there a connection between the weasel that is rumored to be living in the building and the kitchen god? I would prefer to leave this question to my readers. Why deprive them of the fun of coming up with their own answers, one of literature’s great pleasures? Still, the author of a work is also one of its readers, and I can conjecture that the “connection” between the weasel and the kitchen god may lie in the fact that both are “threatening” to the narrator. She herself doesn’t know why she is so stressed, but we can see that she is somehow trapped within the cage of her own unconscious mind. Therefore, anything that arises outside that cage is disquieting.</p><p class="paywall"><strong>You describe the various potted plants—philodendrons, cyclamens, spider plants—that commonly decorate what you call an “aunt’s living room,” and that Izumi also has throughout her apartment. Why do you think that Izumi and these “aunts” are so attracted to these potted plants? Do you collect these plants yourself?</strong></p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="2gm0zc"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">I think that sense of threat or disquiet also lurks in the plants overflowing Izumi’s apartment. And, by the way, I don’t keep potted plants in my home! I do have a small garden, but the only things growing there are plants that require no looking after.</p><p class="paywall"><strong>Izumi strikes up a relationship with a man named Mr. Sanobe, who at first pays her for sex, before believing that they’ve become lovers and ultimately assaulting her. How did you decide to pair the story of her affair with Mr. Sanobe with the story of the kitchen god?</strong></p><p class="paywall">I think I may have a better understanding today of why I came up with Mr. Sanobe than I did at the time I composed the story. I do recall how painful it was to write the character, yet, at the same time, what a relief it was to purge the feelings he called up in me.</p><p class="paywall">Rereading the story twenty years later, I can see how upset I was at the clearly exploitative nature of relationships between men and women. I am referring not only to the obviously vile case of Izumi and Mr. Sanobe but to a similar pattern that can characterize even normal, outwardly happy couples. Men are not solely to blame in this, either: women participate by either affirming or resigning themselves to this system of exploitation, which underpins the workings of Japanese society. This situation infuriated me—I wanted to oppose it wherever possible—yet I came to realize that I myself was part of it, which led me to a kind of despair. It was painful to incorporate that despair into my fiction, but putting it into words turned out to be of great help in my own emancipation. ♦</p><p class="paywall"><em>Hiromi Kawakami’s responses were translated, from the Japanese, by Ted Goossen.</em></p></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 PaywallInlineBarrierWithWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__inline-barrier article__body"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot 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summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Kitchen God","id":"649afeaa03ba9998f5c1df35","index":0,"contentType":"venue","hotelLink":"/magazine/2023/07/10/the-kitchen-god-fiction-hiromi-kawakami","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="/magazine/2023/07/10/the-kitchen-god-fiction-hiromi-kawakami" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_120,c_limit/230710_r42615_rd.jpg 120w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_240,c_limit/230710_r42615_rd.jpg 240w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_320,c_limit/230710_r42615_rd.jpg 320w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_640,c_limit/230710_r42615_rd.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_120,c_limit/230710_r42615_rd.jpg 120w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_240,c_limit/230710_r42615_rd.jpg 240w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_320,c_limit/230710_r42615_rd.jpg 320w" sizes="100vw"/><img alt="The Kitchen God" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_480%2Cc_limit/230710_r42615_rd.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Fiction</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-1" data-component-type="recirc-river" data-recirc-id="item-hed-1" data-recirc-pattern="summary-item" href="/magazine/2023/07/10/the-kitchen-god-fiction-hiromi-kawakami" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Kitchen God</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="/magazine/2023/07/10/the-kitchen-god-fiction-hiromi-kawakami" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_120,c_limit/230710_r42615_rd.jpg 120w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_240,c_limit/230710_r42615_rd.jpg 240w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_320,c_limit/230710_r42615_rd.jpg 320w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_640,c_limit/230710_r42615_rd.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_120,c_limit/230710_r42615_rd.jpg 120w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_240,c_limit/230710_r42615_rd.jpg 240w, https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_320,c_limit/230710_r42615_rd.jpg 320w" sizes="100vw"/><img alt="The Kitchen God" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/649b58b703ba9998f5c1dfec/4:3/w_480%2Cc_limit/230710_r42615_rd.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">“Stucco tastes great, but it doesn’t fill me up.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Hiromi Kawakami</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Bryan Washington on Writing Toward Optimism","index":1,"contentType":"venue","hotelLink":"https://www.newyorker.com/books/this-week-in-fiction/bryan-washington-03-31-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/bryan-washington-03-31-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bryan Washington on Writing Toward Optimism" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">This Week in Fiction</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/books/this-week-in-fiction/bryan-washington-03-31-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Bryan Washington on Writing Toward Optimism</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/bryan-washington-03-31-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bryan Washington on Writing Toward Optimism" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ddb79b4ae25e3820c0d95d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author discusses his story “Hatagaya Lore.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Willing Davidson</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Joyce Carol Oates on a New Jersey Adventure","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/books/this-week-in-fiction/joyce-carol-oates-03-24-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/joyce-carol-oates-03-24-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Joyce Carol Oates on a New Jersey Adventure" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">This Week in Fiction</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/books/this-week-in-fiction/joyce-carol-oates-03-24-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Joyce Carol Oates on a New Jersey Adventure</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/joyce-carol-oates-03-24-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Joyce Carol Oates on a New Jersey Adventure" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d45f9604e3d161a0f44f55/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author discusses her story “The Frenzy.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Deborah Treisman</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Yiyun Li on Fiction with Little Space for Illusion","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/books/this-week-in-fiction/yiyun-li-03-17-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/yiyun-li-03-17-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Yiyun Li on Fiction with Little Space for Illusion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">This Week in Fiction</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/books/this-week-in-fiction/yiyun-li-03-17-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Yiyun Li on Fiction with Little Space for Illusion</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/yiyun-li-03-17-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Yiyun Li on Fiction with Little Space for Illusion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ca0f3399cb94326e2b97a7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author discusses her story “Techniques and Idiosyncrasies.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Cressida Leyshon</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="73xkrk"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Colm Tóibín on the Undocumented Irish and Writing in Real Time","index":4,"contentType":"venue","hotelLink":"https://www.newyorker.com/books/this-week-in-fiction/colm-toibin-03-10-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/colm-toibin-03-10-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Colm Tóibín on the Undocumented Irish and Writing in Real Time" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">This Week in Fiction</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/books/this-week-in-fiction/colm-toibin-03-10-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Colm Tóibín on the Undocumented Irish and Writing in Real Time</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/this-week-in-fiction/colm-toibin-03-10-25#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Colm Tóibín on the Undocumented Irish and Writing in Real Time" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c0c3733974afc41a3ce647/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author discusses his story “Five Bridges.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Deborah Treisman</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Paul Theroux Reads V. S. Pritchett","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/fiction/paul-theroux-reads-v-s-pritchett#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/fiction/paul-theroux-reads-v-s-pritchett#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Paul Theroux Reads V. S. Pritchett" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Fiction Podcast</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/fiction/paul-theroux-reads-v-s-pritchett#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Paul Theroux Reads V. S. Pritchett</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/fiction/paul-theroux-reads-v-s-pritchett#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Paul Theroux Reads V. S. Pritchett" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf4472c2d869a5b2fcc860/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author joins Deborah Treisman to read and discuss “The Necklace,” which was published in <em>The New Yorker</em> in 1958.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Joyce Carol Oates Reads “The Frenzy”","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-writers-voice/joyce-carol-oates-reads-the-frenzy#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/joyce-carol-oates-reads-the-frenzy#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Joyce Carol Oates Reads “The Frenzy”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Writer’s Voice</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-writers-voice/joyce-carol-oates-reads-the-frenzy#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Joyce Carol Oates Reads “The Frenzy”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/joyce-carol-oates-reads-the-frenzy#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Joyce Carol Oates Reads “The Frenzy”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d446bc7e9e68ffcdfaf59e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author reads her story from the March 24, 2025, issue of the magazine.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Colm Tóibín Reads “Five Bridges”","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-writers-voice/colm-toibin-reads-five-bridges#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/colm-toibin-reads-five-bridges#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Colm Tóibín Reads “Five Bridges”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Writer’s Voice</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-writers-voice/colm-toibin-reads-five-bridges#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Colm Tóibín Reads “Five Bridges”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/colm-toibin-reads-five-bridges#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Colm Tóibín Reads “Five Bridges”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf77e3cfbc5d2540830148/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author reads his story from the March 10, 2025, issue of the magazine.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Bryan Washington Reads “Hatagaya Lore”","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-writers-voice/bryan-washington-reads-hatagaya-lore#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/bryan-washington-reads-hatagaya-lore#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bryan Washington Reads “Hatagaya Lore”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Writer’s Voice</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-writers-voice/bryan-washington-reads-hatagaya-lore#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Bryan Washington Reads “Hatagaya Lore”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/bryan-washington-reads-hatagaya-lore#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bryan Washington Reads “Hatagaya Lore”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dc5ee7d95cec21ce1c7377/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author reads his story from the March 31, 2025, issue of the magazine.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Yiyun Li Reads “Techniques and Idiosyncrasies”","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-writers-voice/yiyun-li-reads-techniques-and-idiosyncrasies#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/yiyun-li-reads-techniques-and-idiosyncrasies#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Yiyun Li Reads “Techniques and Idiosyncrasies”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Writer’s Voice</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-writers-voice/yiyun-li-reads-techniques-and-idiosyncrasies#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Yiyun Li Reads “Techniques and Idiosyncrasies”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-writers-voice/yiyun-li-reads-techniques-and-idiosyncrasies#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Yiyun Li Reads “Techniques and Idiosyncrasies”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ca0b9c9d5c99c09fcfc4fa/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author reads her story from the March 17, 2025, issue of the magazine.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Michael Lewis on the Magic of One-Hit Wonders","index":10,"contentType":"venue","hotelLink":"https://www.newyorker.com/books/book-currents/michael-lewis-on-the-magic-of-one-hit-wonders#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/book-currents/michael-lewis-on-the-magic-of-one-hit-wonders#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Michael Lewis on the Magic of One-Hit Wonders" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Book Currents</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-11" data-component-type="recirc-river" data-recirc-id="item-hed-11" data-recirc-pattern="summary-item" href="https://www.newyorker.com/books/book-currents/michael-lewis-on-the-magic-of-one-hit-wonders#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Michael Lewis on the Magic of One-Hit Wonders</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/book-currents/michael-lewis-on-the-magic-of-one-hit-wonders#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Michael Lewis on the Magic of One-Hit Wonders" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67be332e9f6ab38c853a4299/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The best-selling author discusses books by writers who didn’t publish much, and how they helped shape his career.</div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Celebrating 100 Years: Michael Cunningham on “Brokeback Mountain”","index":11,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-michael-cunningham-on-brokeback-mountain#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-michael-cunningham-on-brokeback-mountain#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Celebrating 100 Years: Michael Cunningham on “Brokeback Mountain”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Radio Hour</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-12" data-component-type="recirc-river" data-recirc-id="item-hed-12" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-michael-cunningham-on-brokeback-mountain#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Celebrating 100 Years: Michael Cunningham on “Brokeback Mountain”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-michael-cunningham-on-brokeback-mountain#intcid=_the-new-yorker-article-bottom-recirc_5b1681c7-6920-4f7d-849b-3cb87c8ddea4_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Celebrating 100 Years: Michael Cunningham on “Brokeback Mountain”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/663cd3037d83171cd086b2ee/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The novelist talks about Annie Proulx’s 1997 story about two young men who fall in love. “I didn’t want to just read it. I wanted to absorb this story in a more lasting way.”</div></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="TaboolaWrapper-hMVdpE iYfBhy"><div class="TaboolaWidgetWrapper-egPIjc hkSrgt TaboolaWidget-eUSdED hQCCRa" data-testid="TaboolaWidgetWrapper"><div class="TaboolaWidgetContent-iBEQTO eXroXG TABOOLA" id="taboola-below-article-thumbnails---f" data-testid="TaboolaWidgetContent"></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="AdWrapper-dQtivb fZrssQ ad ad--footer should-hold-space"><div class="ad__slot ad__slot--footer" data-node-id="8qyg4"></div></div></div></div></div></main><div class="BasePageMainFooterFiller-hTlZph jSriYf page__main-footer-filler"></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg jfKMyp 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story from the latest issue of the magazine.","head.social.opinion":"false","head.jsonld":[{"@context":"http:\u002F\u002Fschema.org","@type":"NewsArticle","articleBody":"My grandmother often told me that there was a god in our kitchen, and that I should pray to him. Kitchen gods preside over the preparation and cooking of food—the basis of our daily lives—which is why they deserve our thanks. The kitchen god my grandmother spoke of comes from the Shinto tradition, but the three-faced god in my story also derives from the god who protects the “three jewels” of Buddhism: namely, the Buddha, his teachings, and the Buddhist clergy. So the kitchen god, in both Japanese culture and in my story, is a combination of one of the countless gods in Shinto folk belief and the mystical side of Buddhism, represented by the mountain ascetics of the Yamabushi tradition.\nIzumi, who narrates the story, seems to be at the mercy of strange appetites: peeling and eating stucco off the walls, shoplifting foods from the convenience store, subsisting off sweets like preserves and madeleines from the Shoppers’ Co-op. Is there a source for these appetites?\nWe may be led to think that Izumi suffers from what doctors call parorexia, and that her munching on stucco, as well as her shoplifting and binge eating, are symptoms of psychological stress. As an author, however, my purpose was most definitely not to make that kind of causal connection, which is why I am choosing a vague phrase like “may be led to think” here. Since I hope readers will use their imaginations to form their own understanding, I will refrain from saying anything further.\nThe story mostly takes place in a “company apartment” building, where Izumi has responsibilities such as looking after the staircases and circulating information, and where the female residents all call one another okusan (a word for “housewife”). Will you describe this living arrangement for readers who might not be familiar with it? How did you decide to set the story in one of these buildings?\nA common pattern marks those locations where communalism is still practiced in Japan, such as apartment buildings for families whose breadwinners all work for the same company, places where members of a similar age group cluster, localities with a long tradition of collective living, etc. People customarily share chores in these places without outside help, including cutting the grass and cleaning the buildings, caring for the elderly and the very young, and managing the local festival; in other words, they jointly shoulder the labor and the financial responsibilities of their community.\nThe plus side of this custom is that it helps foster closer personal ties among members, but the downside is that those who fail to follow the unwritten rules of the collective become outcasts. In this story, which I wrote twenty years ago, the housewives are all subsumed by the group; they call each other okusan or so-and-so’s mother and avoid the use of individual names. This pattern remains basically unchanged, though more and more young women and men reject such communalism as outmoded today, and refuse to participate.\n“The Kitchen God” is part of your forthcoming collection, “Dragon Palace,” which will be released in the U.S. in September. Many of the stories in the collection include animals (such as foxes, moles, and octopuses), some of which may or may not be gods, spirits, and other shapeshifters, but all of which have their own air of mystery; in “The Kitchen God,” for example, there appears to be a weasel infestation in the building, though we never catch sight of the animals and only hear reports about them rifling through the trash disposal or squeezing into residents’ apartments. Is there something specific about animals that attracts you to including them in your stories?\nWhat the stories of “Dragon Palace” have in common is a focus on the enigmatic nature of humans and human relationships. All the relationships in the stories are warped and twisted, outlandish even, yet they were intensely real to me as I wrote them. Talking foxes, moles, and octopuses may not be a part of modern Japanese urban life, but I found it easier and more natural to write about those mysterious spirits than about regular people.\nWhy was that? In retrospect, I think choosing a human vehicle would have locked me within the conventional boundaries of the “human,” whereas creating characters who were not human on the surface but had underlying humanlike aspects freed me to think outside the box, separate from those conventions. Which also made the stories fun to write.\nBy the way, the spirits that we encounter in “Dragon Palace” and early collections like “To Tread on a Snake” (“Hebi wo Fumu,” translated by Lucy North as “Record of a Night Too Brief”) seldom appear in my later writing. Once I had broken through some of those “human” conventions in “Dragon Palace,” my characters in later works became people in both body and spirit; though deep down they may well still be octopuses, moles, and foxes. How mysterious people are!\nWhat is the connection, if any, between the weasels and Izumi’s “kitchen god”?\nIs there a connection between the weasel that is rumored to be living in the building and the kitchen god? I would prefer to leave this question to my readers. Why deprive them of the fun of coming up with their own answers, one of literature’s great pleasures? Still, the author of a work is also one of its readers, and I can conjecture that the “connection” between the weasel and the kitchen god may lie in the fact that both are “threatening” to the narrator. She herself doesn’t know why she is so stressed, but we can see that she is somehow trapped within the cage of her own unconscious mind. Therefore, anything that arises outside that cage is disquieting.\nYou describe the various potted plants—philodendrons, cyclamens, spider plants—that commonly decorate what you call an “aunt’s living room,” and that Izumi also has throughout her apartment. Why do you think that Izumi and these “aunts” are so attracted to these potted plants? Do you collect these plants yourself?\nI think that sense of threat or disquiet also lurks in the plants overflowing Izumi’s apartment. And, by the way, I don’t keep potted plants in my home! I do have a small garden, but the only things growing there are plants that require no looking after.\nIzumi strikes up a relationship with a man named Mr. Sanobe, who at first pays her for sex, before believing that they’ve become lovers and ultimately assaulting her. How did you decide to pair the story of her affair with Mr. Sanobe with the story of the kitchen god?\nI think I may have a better understanding today of why I came up with Mr. Sanobe than I did at the time I composed the story. I do recall how painful it was to write the character, yet, at the same time, what a relief it was to purge the feelings he called up in me.\nRereading the story twenty years later, I can see how upset I was at the clearly exploitative nature of relationships between men and women. I am referring not only to the obviously vile case of Izumi and Mr. Sanobe but to a similar pattern that can characterize even normal, outwardly happy couples. Men are not solely to blame in this, either: women participate by either affirming or resigning themselves to this system of exploitation, which underpins the workings of Japanese society. This situation infuriated me—I wanted to oppose it wherever possible—yet I came to realize that I myself was part of it, which led me to a kind of despair. It was painful to incorporate that despair into my fiction, but putting it into words turned out to be of great help in my own emancipation. ♦\nHiromi Kawakami’s responses were translated, from the Japanese, by Ted Goossen.","isBasedOn":"https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fthis-week-in-fiction\u002Fhiromi-kawakami-07-10-23","articleSection":"this week in fiction","author":[{"@type":"Person","name":"Dennis Zhou","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fdennis-zhou"}],"dateModified":"2023-07-03T06:00:00.000-04:00","datePublished":"2023-07-03T06:00:00.000-04:00","headline":"Hiromi Kawakami on Communalism in Japan","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F16:9\u002Fw_2800,h_1575,c_limit\u002FTWIF_Template-Kawakami.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F4:3\u002Fw_2100,h_1575,c_limit\u002FTWIF_Template-Kawakami.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F1:1\u002Fw_1575,h_1575,c_limit\u002FTWIF_Template-Kawakami.jpg"],"keywords":["this week in fiction","fiction","_sensitivecontent","disable inline signup unit","japan","textaboveleftsmallwithrule","web"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F3:4\u002Fw_929,h_1239,c_limit\u002FTWIF_Template-Kawakami.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fthis-week-in-fiction\u002Fhiromi-kawakami-07-10-23","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Dennis Zhou interviews the author Hiromi Kawakami about “The Kitchen God,” her story from the July 10 & 17, 2023, issue of The New Yorker.","description":"Dennis Zhou interviews the author Hiromi Kawakami about “The Kitchen God,” her story from the July 10 & 17, 2023, issue of The New Yorker.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fthis-week-in-fiction\u002Fhiromi-kawakami-07-10-23"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Books","item":"https:\u002F\u002Fwww.newyorker.com\u002Fbooks"},{"@type":"ListItem","position":2,"name":"Fiction","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Ffiction"},{"@type":"ListItem","position":3,"name":"Hiromi Kawakami on Communalism in Japan"}]}],"head.contentID":"649b56dbada160419b41d14a","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F16:9\u002Fw_1000,c_limit\u002FTWIF_Template-Kawakami.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649dd5827ac8745598303f21\u002F1:1\u002Fw_1000,c_limit\u002FTWIF_Template-Kawakami.jpg"},"head.firstPublishDate":"2023-07-03T10:00:00.000Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2023-07-03T10:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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Conversations","dangerousDek":"","__typename":"CuratedList","id":"61bb3d2253b851953aa12de7","uri":"link-stack\u002Fmore-conversations","publishInfo":{"version":36},"metadata":{"contentType":"curatedlist"},"curationSubType":"LinkList","body":["div",["p","Support ",["em","The New Yorker’s"]," award-winning journalism. ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fv2\u002Foffers\u002Ftny340?source=Site_0_HCL_NYR_ARTICLE_0_LINKLIST_2024_ZZ","isExternal":false},"Subscribe today"],"."]],"textItems":[{"content":"Jonathan Haidt wants you to ![#article: \u002Farticles\u002F661ea66e5659fbee76bf5e0a]|||take away your kid’s phone|||.","embeds":[{"__typename":"Article","id":"661ea66e5659fbee76bf5e0a","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a02f72179605b11ad9967","url":"contributors\u002Fdavid-remnick","name":"David Remnick","title":"David Remnick has been the editor of The New Yorker since 1998 and a staff writer since 1992. He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. He lives in New York with his wife, Esther Fein; they have three children, Alex, Noah, and Natasha.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","dek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","promoHed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","promoDek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","url":"news\u002Fthe-new-yorker-interview\u002Fjonathan-haidt-wants-you-to-take-away-your-kids-phone","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66203a325ab830e0d854d073\u002Fmaster\u002Fpass\u002FRemnick_Haidt2.jpg","altText":"Illustration of Jonathan Haidt create out of iphones","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F04\u002F17\u002F66203a325ab830e0d854d072_Remnick_Haidt2.jpg","width":1598,"height":1598,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":969,"height":485,"format":null,"modifications":{"crop":{"height":485,"width":969,"x":290,"y":344}}},{"name":"16:9","url":null,"width":918,"height":516,"format":null,"modifications":{"crop":{"height":516,"width":918,"x":316,"y":311}}},{"name":"4:3","url":null,"width":899,"height":674,"format":null,"modifications":{"crop":{"height":674,"width":899,"x":352,"y":196}}},{"name":"1:1","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"2:2","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"3:4","url":null,"width":1197,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1197,"x":200.5,"y":0}}},{"name":"2:3","url":null,"width":1064,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1064,"x":267,"y":0}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Nicholas Konrad \u002F The New Yorker; 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Before joining *The New Yorker*, Chotiner was a staff writer at Slate and the host of the podcast “I Have to Ask.” He has written for *The New Yorker*, the *Times*, *The Atlantic*, the *Times Literary Supplement*, the Washington *Post*, and the *Wall Street Journal*. After graduating from the University of California, Davis, Chotiner worked at *The Washington Monthly* before joining *The New Republic*, in 2006, as a reporter-researcher. He went on to run the magazine’s online books section and later became a senior editor. 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Syme","title":"Rachel Syme is a staff writer at *The New Yorker*. She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. 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She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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Silvers Prize for Literary Criticism, for work including her [2023 essay on “The Brothers Karamazov.”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F07\u002F31\u002Fthe-cacophonous-miracle-of-the-brothers-karamazov) She holds a Ph.D. in Slavic languages and literatures from Princeton University and has written extensively about Russian and Eastern European culture. 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He has written about [virtual-reality narratives](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2016\u002F04\u002F25\u002Fmaking-movies-with-virtual-reality), [hip-hop purism](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2014\u002F04\u002F07\u002Fold-school-2), and [the “Truman Show” delusion](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F09\u002F16\u002Funreality-star), plus dozens of Talk of the Town pieces. 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She has written extensively about literature as both a [critic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F05\u002F08\u002Fthe-art-and-activism-of-grace-paley) and a reporter, profiling writers such as [Jennifer Egan](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F10\u002F16\u002Fjennifer-egans-travels-through-time), [Miriam Toews](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F03\u002F25\u002Fa-beloved-canadian-novelist-reckons-with-her-mennonite-past), [Vivian Gornick](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F02\u002F10\u002Fvivian-gornick-is-rereading-everyone-including-herself), and [Ayad Akhtar](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F21\u002Fan-american-writer-for-an-age-of-division). In 2014, she was awarded the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing. Schwartz, who has written frequently on [France](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fculture-desk\u002Fparis-reborn-and-destroyed), covered the November, 2015, [terror attacks](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2015\u002F11\u002F30\u002Fthe-long-night) in Paris. She has also written pieces about New York City’s newest [neighborhood](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Fhudson-yards-is-the-hotel-california-of-new-york), the pitfalls of [self-help](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fimproving-ourselves-to-death), and the world’s largest [coöperative grocery store](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F11\u002F25\u002Fthe-grocery-store-where-produce-meets-politics). Since 2019, Schwartz has served as a theatre critic for the magazine, and she is currently a co-host of the [Critics at Large](https:\u002F\u002Fwww.newyorker.com\u002Fpodcast\u002Fcritics-at-large) podcast.","socialMedia":[{"handle":"Alex_Lily","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Rachel Bloom Has a Funny Song About Death","dek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet heaven.","promoHed":"Rachel Bloom Has a Funny Song About Death","promoDek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet 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He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. He lives in New York with his wife, Esther Fein; they have three children, Alex, Noah, and Natasha.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","dek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","promoHed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","promoDek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","url":"news\u002Fthe-new-yorker-interview\u002Fjonathan-haidt-wants-you-to-take-away-your-kids-phone","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66203a325ab830e0d854d073\u002Fmaster\u002Fpass\u002FRemnick_Haidt2.jpg","altText":"Illustration of Jonathan Haidt create out of iphones","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F04\u002F17\u002F66203a325ab830e0d854d072_Remnick_Haidt2.jpg","width":1598,"height":1598,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":969,"height":485,"format":null,"modifications":{"crop":{"height":485,"width":969,"x":290,"y":344}}},{"name":"16:9","url":null,"width":918,"height":516,"format":null,"modifications":{"crop":{"height":516,"width":918,"x":316,"y":311}}},{"name":"4:3","url":null,"width":899,"height":674,"format":null,"modifications":{"crop":{"height":674,"width":899,"x":352,"y":196}}},{"name":"1:1","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"2:2","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"3:4","url":null,"width":1197,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1197,"x":200.5,"y":0}}},{"name":"2:3","url":null,"width":1064,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1064,"x":267,"y":0}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Nicholas Konrad \u002F The New Yorker; 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She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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Silvers Prize for Literary Criticism, for work including her [2023 essay on “The Brothers Karamazov.”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F07\u002F31\u002Fthe-cacophonous-miracle-of-the-brothers-karamazov) She holds a Ph.D. in Slavic languages and literatures from Princeton University and has written extensively about Russian and Eastern European culture. 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He has written about [virtual-reality narratives](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2016\u002F04\u002F25\u002Fmaking-movies-with-virtual-reality), [hip-hop purism](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2014\u002F04\u002F07\u002Fold-school-2), and [the “Truman Show” delusion](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F09\u002F16\u002Funreality-star), plus dozens of Talk of the Town pieces. He is the author of “[Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0525522263\u002F?ots=1&tag=thneyo0f-20).”","socialMedia":[{"handle":"andrewmarantz","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Jon Ronson’s Guide to the Culture Wars","dek":"In his BBC show “Things Fell Apart,” the British-born journalist continues to examine our most heated public arguments with empathy.","promoHed":"Jon Ronson’s Guide to the Culture Wars","promoDek":"In his BBC show “Things Fell Apart,” the British-born journalist continues to examine our most heated public arguments with 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She has written extensively about literature as both a [critic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F05\u002F08\u002Fthe-art-and-activism-of-grace-paley) and a reporter, profiling writers such as [Jennifer Egan](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F10\u002F16\u002Fjennifer-egans-travels-through-time), [Miriam Toews](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F03\u002F25\u002Fa-beloved-canadian-novelist-reckons-with-her-mennonite-past), [Vivian Gornick](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F02\u002F10\u002Fvivian-gornick-is-rereading-everyone-including-herself), and [Ayad Akhtar](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F21\u002Fan-american-writer-for-an-age-of-division). In 2014, she was awarded the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing. Schwartz, who has written frequently on [France](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fculture-desk\u002Fparis-reborn-and-destroyed), covered the November, 2015, [terror attacks](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2015\u002F11\u002F30\u002Fthe-long-night) in Paris. She has also written pieces about New York City’s newest [neighborhood](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Fhudson-yards-is-the-hotel-california-of-new-york), the pitfalls of [self-help](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fimproving-ourselves-to-death), and the world’s largest [coöperative grocery store](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F11\u002F25\u002Fthe-grocery-store-where-produce-meets-politics). Since 2019, Schwartz has served as a theatre critic for the magazine, and she is currently a co-host of the [Critics at Large](https:\u002F\u002Fwww.newyorker.com\u002Fpodcast\u002Fcritics-at-large) podcast.","socialMedia":[{"handle":"Alex_Lily","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Rachel Bloom Has a Funny Song About Death","dek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet heaven.","promoHed":"Rachel Bloom Has a Funny Song About Death","promoDek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet 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He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. He lives in New York with his wife, Esther Fein; they have three children, Alex, Noah, and Natasha.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","dek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","promoHed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","promoDek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","url":"news\u002Fthe-new-yorker-interview\u002Fjonathan-haidt-wants-you-to-take-away-your-kids-phone","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66203a325ab830e0d854d073\u002Fmaster\u002Fpass\u002FRemnick_Haidt2.jpg","altText":"Illustration of Jonathan Haidt create out of iphones","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F04\u002F17\u002F66203a325ab830e0d854d072_Remnick_Haidt2.jpg","width":1598,"height":1598,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":969,"height":485,"format":null,"modifications":{"crop":{"height":485,"width":969,"x":290,"y":344}}},{"name":"16:9","url":null,"width":918,"height":516,"format":null,"modifications":{"crop":{"height":516,"width":918,"x":316,"y":311}}},{"name":"4:3","url":null,"width":899,"height":674,"format":null,"modifications":{"crop":{"height":674,"width":899,"x":352,"y":196}}},{"name":"1:1","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"2:2","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"3:4","url":null,"width":1197,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1197,"x":200.5,"y":0}}},{"name":"2:3","url":null,"width":1064,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1064,"x":267,"y":0}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Nicholas Konrad \u002F The New Yorker; 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Before joining *The New Yorker*, Chotiner was a staff writer at Slate and the host of the podcast “I Have to Ask.” He has written for *The New Yorker*, the *Times*, *The Atlantic*, the *Times Literary Supplement*, the Washington *Post*, and the *Wall Street Journal*. After graduating from the University of California, Davis, Chotiner worked at *The Washington Monthly* before joining *The New Republic*, in 2006, as a reporter-researcher. He went on to run the magazine’s online books section and later became a senior editor. 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Syme","title":"Rachel Syme is a staff writer at *The New Yorker*. She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. 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She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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Silvers Prize for Literary Criticism, for work including her [2023 essay on “The Brothers Karamazov.”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F07\u002F31\u002Fthe-cacophonous-miracle-of-the-brothers-karamazov) She holds a Ph.D. in Slavic languages and literatures from Princeton University and has written extensively about Russian and Eastern European culture. 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He has written about [virtual-reality narratives](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2016\u002F04\u002F25\u002Fmaking-movies-with-virtual-reality), [hip-hop purism](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2014\u002F04\u002F07\u002Fold-school-2), and [the “Truman Show” delusion](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F09\u002F16\u002Funreality-star), plus dozens of Talk of the Town pieces. 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She has written extensively about literature as both a [critic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F05\u002F08\u002Fthe-art-and-activism-of-grace-paley) and a reporter, profiling writers such as [Jennifer Egan](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F10\u002F16\u002Fjennifer-egans-travels-through-time), [Miriam Toews](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F03\u002F25\u002Fa-beloved-canadian-novelist-reckons-with-her-mennonite-past), [Vivian Gornick](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F02\u002F10\u002Fvivian-gornick-is-rereading-everyone-including-herself), and [Ayad Akhtar](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F21\u002Fan-american-writer-for-an-age-of-division). In 2014, she was awarded the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing. Schwartz, who has written frequently on [France](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fculture-desk\u002Fparis-reborn-and-destroyed), covered the November, 2015, [terror attacks](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2015\u002F11\u002F30\u002Fthe-long-night) in Paris. She has also written pieces about New York City’s newest [neighborhood](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Fhudson-yards-is-the-hotel-california-of-new-york), the pitfalls of [self-help](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fimproving-ourselves-to-death), and the world’s largest [coöperative grocery store](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2019\u002F11\u002F25\u002Fthe-grocery-store-where-produce-meets-politics). Since 2019, Schwartz has served as a theatre critic for the magazine, and she is currently a co-host of the [Critics at Large](https:\u002F\u002Fwww.newyorker.com\u002Fpodcast\u002Fcritics-at-large) podcast.","socialMedia":[{"handle":"Alex_Lily","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Rachel Bloom Has a Funny Song About Death","dek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet heaven.","promoHed":"Rachel Bloom Has a Funny Song About Death","promoDek":"In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet 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He is the author of seven books; the most recent is “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611\u002F),” a collection of his profiles of musicians. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b70ebe912338a37864e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b70ebe912338a37864d_remnick-david.png"}],"metadata":{"contentType":"photo"}},"bio":"David Remnick has been the editor of *The New Yorker* since 1998 and a staff writer since 1992. He has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen, Ralph Ellison, Philip Roth, Benjamin Netanyahu, Leonard Cohen, and Mavis Staples. He also serves as the host of the magazine’s national radio program and podcast, “[The New Yorker Radio Hour](https:\u002F\u002Fswap.fm\u002Fl\u002Ftny-radiohour){: target=\"_blank\"}.”\n\nRemnick began his reporting career in 1982, as a staff writer at the Washington *Post*, where he covered stories for the Metro, Sports, and Style sections. In 1988, he started a four-year assignment as a Washington *Post* Moscow correspondent, an experience that formed the basis of his 1993 book, “[Lenin’s Tomb: The Last Days of the Soviet Empire](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"}.” In 1994, “Lenin’s Tomb” received both the Pulitzer Prize for nonfiction and a George Polk Award for excellence in journalism.\n\nUnder Remnick’s leadership, *The New Yorker* has become the country’s most honored magazine. It has won more than fifty National Magazine Awards during his tenure, including multiple citations for general excellence. In 2016, *The New Yorker* became the first magazine to receive a Pulitzer Prize for its writing, and now has won eight Pulitzers, including the gold medal for public service. Remnick was elected to the American Academy of Arts and Letters in 2016.\n\nRemnick has written seven books: “[Lenin’s Tomb](https:\u002F\u002Fwww.amazon.com\u002FLenins-Tomb-Last-Soviet-Empire\u002Fdp\u002F0679751254){: target=\"_blank\"},” “[Resurrection: The Struggle for a New Russia](https:\u002F\u002Fwww.amazon.com\u002FResurrection-Struggle-Russia-David-Remnick\u002Fdp\u002F0375750231){: target=\"_blank\"},” “[King of the World](https:\u002F\u002Fwww.amazon.com\u002FKing-World-Muhammad-Rise-American\u002Fdp\u002F0375702296){: target=\"_blank\"}” (a biography of Muhammad Ali), and “[The Bridge](https:\u002F\u002Fwww.amazon.com\u002FBridge-Life-Rise-Barack-Obama\u002Fdp\u002F037570230X){: target=\"_blank\"}” (a biography of Barack Obama), along with “[The Devil Problem](https:\u002F\u002Fwww.amazon.com\u002FDevil-Problem-Other-True-Stories\u002Fdp\u002F0679777520){: target=\"_blank\"},” “[Reporting](https:\u002F\u002Fwww.amazon.com\u002FReporting-Writings-Yorker-David-Remnick\u002Fdp\u002F0307275752){: target=\"_blank\"},” and “[Holding the Note](https:\u002F\u002Fwww.amazon.com\u002FHolding-Note-Writing-David-Remnick\u002Fdp\u002F1400043611){: target=\"_blank\"},” which are collections of some of his pieces from the magazine. He has also edited or co-edited many anthologies of *New Yorker* articles, including “[The Matter of Black Lives](https:\u002F\u002Fwww.amazon.com\u002FMatter-Black-Lives-Writing-Yorker\u002Fdp\u002F0063017598){: target=\"_blank\"},” “[The Fragile Earth](https:\u002F\u002Fwww.amazon.com\u002FFragile-Earth-Writing-Yorker-Climate\u002Fdp\u002F0063017547){: target=\"_blank\"},” “[Life Stories](https:\u002F\u002Fwww.amazon.com\u002FLife-Stories-Profiles-Library-Paperbacks\u002Fdp\u002F0375757511){: target=\"_blank\"},” “[Wonderful Town](https:\u002F\u002Fwww.amazon.com\u002FWonderful-Town-Stories-Library-Paperbacks\u002Fdp\u002F037575752X){: target=\"_blank\"},” “[The New Gilded Age](https:\u002F\u002Fwww.amazon.com\u002FNew-Gilded-Age-Affluence-Paperbacks\u002Fdp\u002F0375757155){: target=\"_blank\"},” “[Fierce Pajamas](https:\u002F\u002Fwww.amazon.com\u002FFierce-Pajamas-Anthology-Writing-Paperbacks\u002Fdp\u002F0375761276){: target=\"_blank\"},” “[Disquiet, Please\\!](https:\u002F\u002Fwww.amazon.com\u002FDisquiet-Please-Writing-Library-Paperbacks\u002Fdp\u002F0812979974){: target=\"_blank\"},” and “[Secret Ingredients](https:\u002F\u002Fwww.amazon.com\u002FSecret-Ingredients-Yorker-Library-Paperbacks\u002Fdp\u002F081297641X){: target=\"_blank\"}.”\n\nRemnick has taught at Princeton University, where he received his B.A. in 1981, and at Columbia University. He lives in New York with his wife, Esther Fein; they have three children, Alex, Noah, and Natasha.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","dek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","promoHed":"Jonathan Haidt Wants You to Take Away Your Kid’s Phone","promoDek":"The social psychologist discusses the “great rewiring” of children’s brains, why social-media companies are to blame, and how to reverse course.","url":"news\u002Fthe-new-yorker-interview\u002Fjonathan-haidt-wants-you-to-take-away-your-kids-phone","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66203a325ab830e0d854d073\u002Fmaster\u002Fpass\u002FRemnick_Haidt2.jpg","altText":"Illustration of Jonathan Haidt create out of iphones","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F04\u002F17\u002F66203a325ab830e0d854d072_Remnick_Haidt2.jpg","width":1598,"height":1598,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":969,"height":485,"format":null,"modifications":{"crop":{"height":485,"width":969,"x":290,"y":344}}},{"name":"16:9","url":null,"width":918,"height":516,"format":null,"modifications":{"crop":{"height":516,"width":918,"x":316,"y":311}}},{"name":"4:3","url":null,"width":899,"height":674,"format":null,"modifications":{"crop":{"height":674,"width":899,"x":352,"y":196}}},{"name":"1:1","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"2:2","url":null,"width":1598,"height":1598,"format":null,"modifications":{"crop":{"height":1598,"width":1598,"x":0,"y":0}}},{"name":"3:4","url":null,"width":1197,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1197,"x":200.5,"y":0}}},{"name":"2:3","url":null,"width":1064,"height":1596,"format":null,"modifications":{"crop":{"height":1596,"width":1064,"x":267,"y":0}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Nicholas Konrad \u002F The New Yorker; 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Before joining *The New Yorker*, Chotiner was a staff writer at Slate and the host of the podcast “I Have to Ask.” He has written for *The New Yorker*, the *Times*, *The Atlantic*, the *Times Literary Supplement*, the Washington *Post*, and the *Wall Street Journal*. After graduating from the University of California, Davis, Chotiner worked at *The Washington Monthly* before joining *The New Republic*, in 2006, as a reporter-researcher. He went on to run the magazine’s online books section and later became a senior editor. 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She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “[Syme’s Letter Writer](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X),” about the joys of handwritten correspondence. ","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"5e7bc3aeba0e6f0009421c5b","aspectRatios":[{"url":null},{"url":null},{"url":null},{"url":null},{"url":null},{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2020\u002F03\u002F25\u002F5e7bc3aece97b85da38b2206_RachelSyme.png"}],"metadata":{"contentType":"photo"}},"bio":"Rachel Syme, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for *The New Yorker* since 2012. Her recent work includes profiles of the actors [Natasha Lyonne](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past) and [Sarah Jessica Parker](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile), the director [Sofia Coppola](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile), the Netflix television executive [Bela Bajaria](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria), the theatre director [Rachel Chavkin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Fbehind-the-scenes-of-a-short-lived-broadway-musical), the [creators of “PEN15,”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F12\u002F06\u002Fthe-women-behind-the-thirteen-year-olds-of-pen15) and the [makeup artist Mario Dedivanovic](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2020\u002F09\u002F07\u002Fback-to-school-with-mario-dedivanovic); an homage to the food writer [Laurie Colwin](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2021\u002F10\u002F18\u002Flaurie-colwins-recipe-for-being-yourself-in-the-kitchen); a look into [Nora Ephron](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F08\u002F22\u002Fthe-nora-ephron-we-forget)’s verbal prowess; an essay on the rise of [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F11\u002F27\u002Fmy-name-is-barbra-streisand-memoir-review); an exploration of “[bathfluencers](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-and-off-the-avenue\u002Fthe-age-of-bathfluence)”; an interactive feature on [the art of the Hollywood memoir](https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fcelebrity-memoirs-book-reviews); conversations with [Lena Dunham](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Flena-dunhams-change-of-pace), [Jamie Lee Curtis](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fjamie-lee-curtis-has-never-worked-hard-a-day-in-her-life), [Rick Steves](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Frick-steves-says-hold-on-to-your-travel-dreams), [Kate Berlant](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fkate-berlant-has-nothing-to-confess), [Parker Posey](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fparker-posey-is-dead-serious), [Patti LuPone](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fpatti-lupone-live-from-her-basement), [Mandy Patinkin](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fmandy-patinkin-is-still-singing), and [Barbra Streisand](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-new-yorker-interview\u002Fbarbra-streisand-can-hear-herself-again); and short profiles of [Kirsten Dunst](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fkirsten-dunsts-feminine-urges), [Cynthia Nixon](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fcynthia-nixons-emily-thing), and [Anna Deavere Smith](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fpersons-of-interest\u002Fanna-deavere-smith-contains-multitudes).\n\nHer cultural criticism and reported features—which focus primarily on the intersections of women’s lives, artistic production, history, and fame—have also appeared in the *Times Magazine*, *New York*, *Vogue*, *Rolling Stone*, and *Vanity Fair*, among other publications. She is the author of “[Syme’s Letter Writer,](https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X)” about the joys of handwritten correspondence, and the narrative-nonfiction work “Magpie.” She grew up in Albuquerque and resides in Brooklyn.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-new-yorker-interview","name":"The New Yorker Interview"},"channels":[{"name":"The New Yorker Interview"}],"hed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","dek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","promoHed":"Susan Seidelman Knows What It’s Like to Be in “Movie Jail”","promoDek":"The groundbreaking director of “Desperately Seeking Susan” on proving people wrong, learning from Nora Ephron, and the upshot of making a movie without realizing you’re pregnant.","url":"culture\u002Fthe-new-yorker-interview\u002Fsusan-seidelman-knows-what-its-like-to-be-in-movie-jail","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F666c90abd180db8c584c3708\u002Fmaster\u002Fpass\u002FIMG_3085%20(1).jpg","altText":"Illustrated portrait of Susan Seidelman","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2024\u002F06\u002F14\u002F666c90abd180db8c584c3707_IMG_3085%20(1).jpg","width":2800,"height":1600,"format":"JPEG","modifications":null},{"name":"2:1","url":null,"width":2800,"height":1400,"format":null,"modifications":{"crop":{"height":1400,"width":2800,"x":0,"y":72}}},{"name":"16:9","url":null,"width":2800,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":2800,"x":0,"y":25}}},{"name":"4:3","url":null,"width":2132,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":2132,"x":334,"y":0}}},{"name":"1:1","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"2:2","url":null,"width":1600,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1600,"x":600,"y":0}}},{"name":"3:4","url":null,"width":1200,"height":1600,"format":null,"modifications":{"crop":{"height":1600,"width":1200,"x":812,"y":0}}},{"name":"2:3","url":null,"width":1066,"height":1599,"format":null,"modifications":{"crop":{"height":1599,"width":1066,"x":867,"y":1}}}],"caption":null,"contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Illustration by Laura Lannes; 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Silvers Prize for Literary Criticism, for work including her [2023 essay on “The Brothers Karamazov.”](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F07\u002F31\u002Fthe-cacophonous-miracle-of-the-brothers-karamazov) She holds a Ph.D. in Slavic languages and literatures from Princeton University and has written extensively about Russian and Eastern European culture. 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What was your inspiration in creating the figure of the kitchen god?"]]],["p",{"class":"paywall"},"My grandmother often told me that there was a god in our kitchen, and that I should pray to him. Kitchen gods preside over the preparation and cooking of food—the basis of our daily lives—which is why they deserve our thanks. The kitchen god my grandmother spoke of comes from the Shinto tradition, but the three-faced god in my story also derives from the god who protects the “three jewels” of Buddhism: namely, the Buddha, his teachings, and the Buddhist clergy. So the kitchen god, in both Japanese culture and in my story, is a combination of one of the countless gods in Shinto folk belief and the mystical side of Buddhism, represented by the mountain ascetics of the ",["em","Yamabushi"]," tradition."],["p",{"class":"paywall"},["strong","Izumi, who narrates the story, seems to be at the mercy of strange appetites: peeling and eating stucco off the walls, shoplifting foods from the convenience store, subsisting off sweets like preserves and madeleines from the Shoppers’ Co-op. Is there a source for these appetites?"]],["p",{"class":"paywall"},"We may be led to think that Izumi suffers from what doctors call parorexia, and that her munching on stucco, as well as her shoplifting and binge eating, are symptoms of psychological stress. As an author, however, my purpose was most definitely ",["em","not"]," to make that kind of causal connection, which is why I am choosing a vague phrase like “may be led to think” here. Since I hope readers will use their imaginations to form their own understanding, I will refrain from saying anything further."],["cm-unit"],["p",{"class":"paywall"},["strong","The story mostly takes place in a “company apartment” building, where Izumi has responsibilities such as looking after the staircases and circulating information, and where the female residents all call one another ",["em","okusan"]," (a word for “housewife”). Will you describe this living arrangement for readers who might not be familiar with it? How did you decide to set the story in one of these buildings?"]],["p",{"class":"paywall"},"A common pattern marks those locations where communalism is still practiced in Japan, such as apartment buildings for families whose breadwinners all work for the same company, places where members of a similar age group cluster, localities with a long tradition of collective living, etc. People customarily share chores in these places without outside help, including cutting the grass and cleaning the buildings, caring for the elderly and the very young, and managing the local festival; in other words, they jointly shoulder the labor and the financial responsibilities of their community."],["p",{"class":"paywall"},"The plus side of this custom is that it helps foster closer personal ties among members, but the downside is that those who fail to follow the unwritten rules of the collective become outcasts. In this story, which I wrote twenty years ago, the housewives are all subsumed by the group; they call each other ",["em","okusan"]," or so-and-so’s mother and avoid the use of individual names. This pattern remains basically unchanged, though more and more young women and men reject such communalism as outmoded today, and refuse to participate."],["p",{"class":"paywall"},["strong","“The Kitchen God” is part of your forthcoming collection, “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FDragon-Palace-Hiromi-Kawakami\u002Fdp\u002F1737625350","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FDragon-Palace-Hiromi-Kawakami\u002Fdp\u002F1737625350"},"isExternal":true},"Dragon Palace"],",” which will be released in the U.S. in September. Many of the stories in the collection include animals (such as foxes, moles, and octopuses), some of which may or may not be gods, spirits, and other shapeshifters, but all of which have their own air of mystery; in “The Kitchen God,” for example, there appears to be a weasel infestation in the building, though we never catch sight of the animals and only hear reports about them rifling through the trash disposal or squeezing into residents’ apartments. Is there something specific about animals that attracts you to including them in your stories?"]],["p",{"class":"paywall"},"What the stories of “Dragon Palace” have in common is a focus on the enigmatic nature of humans and human relationships. All the relationships in the stories are warped and twisted, outlandish even, yet they were intensely real to me as I wrote them. Talking foxes, moles, and octopuses may not be a part of modern Japanese urban life, but I found it easier and more natural to write about those mysterious spirits than about regular people."],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":{"dek":"“Stucco tastes great, but it doesn’t fill me up.”","hed":"The Kitchen God","id":"649afeaa03ba9998f5c1df35","inlineEmbeds":[],"metadata":{"contentType":"article"},"promoDek":"“Stucco tastes great, but it doesn’t fill me up.”","locationRubric":{},"channelRubric":{},"toutMedia":{"node":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F649b58b703ba9998f5c1dfec\u002Fmaster\u002Fpass\u002F230710_r42615_rd.jpg","altText":"A person peers through a hole in a wall, looking into a doll-sized 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kitchen.","aspectRatios":{"master":{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2023\u002F06\u002F27\u002F649b58b703ba9998f5c1dfeb_230710_r42615_rd.jpg","width":1829,"height":2560,"format":"JPEG"},"2:1":{"url":null,"width":1828,"height":914,"format":null},"16:9":{"url":null,"width":1824,"height":1026,"format":null},"4:3":{"url":null,"width":1828,"height":1371,"format":null},"1:1":{"url":null,"width":1829,"height":1829,"format":null},"2:2":{"url":null,"width":1829,"height":1829,"format":null},"3:4":{"url":null,"width":1827,"height":2436,"format":null}},"cropMode":"TOP","credit":"Photo illustration by Ni Ouyang for The New Yorker","filename":"230710_r42615_rd.jpg","id":"649b58b703ba9998f5c1dfec","metadata":{"contentType":"photo"},"contentWarnings":[],"__typename":"Photo","collection":"photos","modelName":"photo","meta":{"modelName":"photo"}}]},"categories":{"channels":[{"name":"Fiction"}]},"cnCoupons":[],"url":"magazine\u002F2023\u002F07\u002F10\u002Fthe-kitchen-god-fiction-hiromi-kawakami","modelName":"article","meta":{"modelName":"article"}},"pageSize":12}}}],["p",{"class":"paywall"},"Why was that? In retrospect, I think choosing a human vehicle would have locked me within the conventional boundaries of the “human,” whereas creating characters who were not human on the surface but had underlying humanlike aspects freed me to think outside the box, separate from those conventions. Which also made the stories fun to write."],["p",{"class":"paywall"},"By the way, the spirits that we encounter in “Dragon Palace” and early collections like “To Tread on a Snake” (“Hebi wo Fumu,” translated by Lucy North as “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FRecord-Night-Brief-Japanese-Novellas\u002Fdp\u002F1782272712","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FRecord-Night-Brief-Japanese-Novellas\u002Fdp\u002F1782272712"},"isExternal":true},"Record of a Night Too Brief"],"”) seldom appear in my later writing. Once I had broken through some of those “human” conventions in “Dragon Palace,” my characters in later works became people in both body and spirit; though deep down they may well still be octopuses, moles, and foxes. How mysterious people are!"],["p",{"class":"paywall"},["strong","What is the connection, if any, between the weasels and Izumi’s “kitchen god”?"]],["p",{"class":"paywall"},"Is there a connection between the weasel that is rumored to be living in the building and the kitchen god? I would prefer to leave this question to my readers. Why deprive them of the fun of coming up with their own answers, one of literature’s great pleasures? Still, the author of a work is also one of its readers, and I can conjecture that the “connection” between the weasel and the kitchen god may lie in the fact that both are “threatening” to the narrator. She herself doesn’t know why she is so stressed, but we can see that she is somehow trapped within the cage of her own unconscious mind. Therefore, anything that arises outside that cage is disquieting."],["p",{"class":"paywall"},["strong","You describe the various potted plants—philodendrons, cyclamens, spider plants—that commonly decorate what you call an “aunt’s living room,” and that Izumi also has throughout her apartment. Why do you think that Izumi and these “aunts” are so attracted to these potted plants? Do you collect these plants yourself?"]],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"I think that sense of threat or disquiet also lurks in the plants overflowing Izumi’s apartment. And, by the way, I don’t keep potted plants in my home! I do have a small garden, but the only things growing there are plants that require no looking after."],["p",{"class":"paywall"},["strong","Izumi strikes up a relationship with a man named Mr. Sanobe, who at first pays her for sex, before believing that they’ve become lovers and ultimately assaulting her. How did you decide to pair the story of her affair with Mr. Sanobe with the story of the kitchen god?"]],["p",{"class":"paywall"},"I think I may have a better understanding today of why I came up with Mr. Sanobe than I did at the time I composed the story. I do recall how painful it was to write the character, yet, at the same time, what a relief it was to purge the feelings he called up in me."],["p",{"class":"paywall"},"Rereading the story twenty years later, I can see how upset I was at the clearly exploitative nature of relationships between men and women. I am referring not only to the obviously vile case of Izumi and Mr. Sanobe but to a similar pattern that can characterize even normal, outwardly happy couples. Men are not solely to blame in this, either: women participate by either affirming or resigning themselves to this system of exploitation, which underpins the workings of Japanese society. This situation infuriated me—I wanted to oppose it wherever possible—yet I came to realize that I myself was part of it, which led me to a kind of despair. It was painful to incorporate that despair into my fiction, but putting it into words turned out to be of great help in my own emancipation. ♦"],["p",{"class":"paywall"},["em","Hiromi Kawakami’s responses were translated, from the Japanese, by Ted Goossen."]]],"pageStructure":[["inline-embed",74,"callout"],["p",123],["p",45],["p",88],["cm-unit",0],["p",67],["p",91],["p",91],["p",115],["p",77],["inline-embed",0,"cneinterlude"],["p",56],["p",83],["p",13],["p",121],["p",48],["ad",0],["p",47],["p",49],["p",57],["p",136],["p",11]],"hasAffiliateLinks":false,"affiliateLinksCount":0,"isCommerceContent":false,"contributorSpotLightProps":{"header":{"name":"Dennis Zhou","title":"Dennis Zhou is a member of The New Yorker’s editorial 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