A monthly reading and conversation with the New Yorker fiction editor Deborah Treisman.
Rachel Kushner Reads Edna O’Brien
Rachel Kushner joins Deborah Treisman to read and discuss “Come Into the Drawing Room, Doris,” by Edna O’Brien, which was published in The New Yorker in 1962. Kushner is the author of three novels and most recently the essay collection “The Hard Crowd,” which was published last year.
Camille Bordas Reads Saul Bellow
Camille Bordas joins Deborah Treisman to read and discuss “A Father-to-Be,” by Saul Bellow, which was published in The New Yorker in 1955. Bordas’s novel “How to Behave in a Crowd,” was published in 2017
Sherman Alexie Reads Raymond Carver
Sherman Alexie joins Deborah Treisman to read and discuss “Where I’m Calling From,” by Raymond Carver, which was published in The New Yorker in 1982. Alexie is the author of nineteen books of fiction and poetry, including “Blasphemy: New and Selected Stories” and the novel “Flight.”
Gish Jen Reads Grace Paley
Gish Jen joins Deborah Treisman to read and discuss “Friends,” by Grace Paley, which was published in The New Yorker in 1979. Jen is the author of nine books, including the novel “The Resisters” and the story collection “Thank you, Mr. Nixon,” which was published in February.
Alejandro Zambra Reads Bruno Schulz
Alejandro Zambra joins Deborah Treisman to read and discuss “Loneliness,” by Bruno Schulz, translated from the Polish by Celina Wieniewska, which was published in The New Yorker in 1977. Zambra is a Chilean poet, novelist, and story writer whose most recent novel, “Chilean Poet,” will be published in English this month.
Kevin Barry Reads V. S. Pritchett
Kevin Barry joins Deborah Treisman to read and discuss “A Family Man,” by V. S. Pritchett, which was published in The New Yorker in 1977. Barry is a winner of the International Dublin Literary Award and the author of six books of fiction, most recently the story collection “That Old Country Music,” which came out in 2020.
Adds texture to already great stories
The choice of story can be as interesting as the story itself. Hearing a published writer and an experienced editor interact takes each narrative to another level. This is an exceptional podcast.
Sometimes you have to listen to a story
I have tried reading Carver any number of times. The fault (for not finding the work engaging) is mine: Between my own two ears the stories fall flat. After listening to this—that is, having the story read to me—I said, and nearly out loud, ‘Wow. I get it now. This is amazing.’
The commentary afterwards made it all the more enjoyable. I’ll go back to Carver now, see if I can read him properly.
I’ve discovered more writers to love (Stuart Dybek!). The post-reading discussions can be incredibly insightful and add much to my sense of the story. And you’ve gotta love Deborah’s voice. Please don’t stop.