Liza Libes is defending literature like it's under siege, and after this conversation, you will understand why. Liza went to Columbia wanting to study Tolstoy and came out having read more Edward Said and Sartre she signed up for. We got into how her English degree turned into a theory degree overnight, why Anna Karenina isn't the feminist manifesto her professors taught it as, and why so much of what gets published now has had the backstory and the beauty edited right out of it by agents chasing a formula. Liza's family fled the Soviet Union, and her grandfather was imprisoned for being Jewish. Watching that same ideology resurface in new packaging on American campuses is terrifying. Find Liza at PensandPoison.org She also runs Advictus Prep and is shopping her first novel, which is basically a love letter to beauty written in spite of a literary world that's decided beauty is suspect. If you've been meaning to finally pick up that classic on your shelf, this is your sign! Memorable Quotes: "I don't think I met anyone in the English department who had the same reaction... A lot of people I think were actively trying to push this agenda because it had been sold to them." — Liza "Good fiction is inherently moral. That's not to say moral in one specific restricted sense, but good fiction should teach us something about the way to live our lives." — Liza "A lot of our art today is ironic, nihilistic, cynical, and just downright amoral." — Liza "If your response to [boredom in a marriage] is I'm just going to abandon this whole thing that gives everyone meaning, then that is going to lead you to a dark place." — Liza, on Anna Karenina "People will hold onto their identity more than the truth." — Polina, paraphrasing Chase Hughes "My family kind of went through horrific examples of antisemitism twice, just in our personal lives... and it's horrific that it's happening again." — Liza "If you're going to make one change in your life to lead a more full and fulfilling life, read classic literature." — Liza Follow us on Instagram @thecuriousmiddlepod Our Website: https://curiousmiddlepod.com Email us: thecuriousmiddlepod@gmail.com Substack: https://curiousmiddle.substack.com Episode Time Stamps 04:32 — Arriving at Columbia expecting to study literature, getting Edward Said and postcolonial theory on Jane Austen instead 06:36 — Same pattern outside the English department — a philosophy class teaching Hegel through the lens of BLM, and why she eventually stepped back from academia 08:46 — How Pens and Poison started, and the slow, stuck-at-20K-followers climb before it took off 11:05 — The daily messages from silenced students and aspiring writers — and how the same ideological capture spread into publishing 13:15 — Columbia's Core Curriculum as a partial exception, and why STEM friends noticed the politicization more than English majors did 15:29 — Pausing to unpack just how deep this runs — you can't study literature today without studying Marx 17:39 — Edward Said and the "settler colonist" framing; Sartre's introduction to The Wretched of the Earth 19:57 — More on Sartre's radicalization, Simone de Beauvoir, and the ideas of theirs still taught as fact 22:10 — Derrida, deconstruction, and the postmodern claim that literature has no objective meaning 24:21 — Paulo Freire and how "social justice as the point of education" filtered into every subject, not just humanities 28:55 — Why you don't need to be a humanities major to benefit from literature — it as a stand-in for religious meaning 31:19 — Anna Karenina as a case study: Tolstoy's actual argument vs. balancing tradition with modern life 33:37 — T.S. Eliot's The Waste Land, the cost of losing ritual, and the case for reading fiction (not just nonfiction) 38:12 — My Year of Rest and Relaxation as an example of fiction that critiques without offering anything — the retreat from beauty and sincerity in "serious" art 40:14 — Does bleak fiction reflect a bleak culture or create one? Introducing her novel-in-progress, inspired by Mann's Doctor Faustus 44:44 — The same pattern in music, art, and publishing; does fiction need a moral lesson, or is beauty enough? 47:06 — Noticing beauty as the theme of her novel, and the one contemporary book she's excited to read — Theo of Golden, rejected by publishers, self-published, then sold millions 49:12 — Why contemporary fiction gets rejected or forced into a formula: word counts, no backstory, action on page one 51:37 — What's lost without backstory or physical description — fiction that never lets you rest with an idea 53:39 — Her own reading habits: rereading Dostoevsky in the original Russian, and why she's wary of new bestsellers 55:44 — Life-changing book #1: Mann's The Magic Mountain and how it reshaped her sense of time 58:06 — Life-changing book #2: Zweig's The World of Yesterday and the loss of creative freedom 1:00:29 — Why so many young people can't name their own values 1:02:41 — How literature classrooms swap out "morality" for ideology without saying so (Anna Karenina as "anti-feminism") 1:04:58 — Othello and The Merchant of Venice taught through one narrow lens instead of the whole picture 1:07:08 — Social justice as a stand-in religion, and the Columbia encampments 1:09:25 — Her family's history: fleeing the USSR on political asylum, her father imprisoned and her great-grandfather killed for being Jewish, and where to find her — Pens and Poison (pensandpoison.org)