By: Heidi MacDonald,
on 10/19/2015
by Alex Dueben Jessica Abel has produced a unique body of work in comics that ranges from two collections of her award winning comic series Artbabe (Soundtrack and Mirror, Window), the acclaimed graphic novel La Perdita, to co-writing the graphic novel Life Sucks and producing two textbooks with her husband Matt Madden which build on […]
By: Debbie Reese,
on 11/29/2012
On November 23, 2012, This American Life devoted an entire show to a single topic. Titled Little War on the Prairie it is a well-executed look at the ways that people tell a state's history, leaving out things they find inconvenient, or troubling in some way.
The segment opens with John Biewen, a guy who grew up in Mankato, and, who because of the liberal leanings of his parents, knew about racial injustice in the south. He had no idea, however, of the racial injustice in Mankato's history. "Why don't we talk about it?" he asks.
To the credit of Ira Glass, Little War on the Prairie gives us a chance to talk about it. The "it" is the largest mass execution in U.S. history. And like The Little House on the Prairie, a lot is left out of the way the U.S. Dakota War is presented in most histories.
 |
| Image from the June 30, 2012 edition of the Twin Cities Pioneer Press |
We just talked about, like a conflict is a disagreement. And we talked how the Dakota Indians didn't know how to solve their conflicts. And the only way they knew how to solve their disagreements was to fight, which we know we don't fight when we solve conflicts, we use our words.
But that was their only way that they knew how to solve a conflict, they fought. And so then the white settlers needed to fight back to protect themselves. And we talked about people were killed. And then we talked about how the Dakota Indians were-- [FADES OUT]
By: Jason Boog,
on 10/10/2012
Many writers dream of landing a spot on This American Life, the public radio show that features some of the best journalists and storytellers working today.
In a revealing “Ask Me Anything” interview on Reddit, This American Life host Ira Glass outlined how stories get selected on the show. In his long answer, he actually included a list of stories that were considered for a single episode–a daunting, but inspiring list. Check it out:
What we’re looking for: someone to relate to, a plot that’s surprising that leads to some idea about the world that’s also new or interesting or surprising. Those are the basic elements. Extra points for humor, charm or memorable details that you can’t get out of your head. A great story is like a great melody: it announces its inevitable greatness and you recognize it the first time you hear it. Most stories aren’t that. They do not announce their obvious greatness. 60% are in the limbo region where they might GET great or they might flop, and the only way to figure it out is to start making the story. So you launch in, hoping for that winning combination of great moments, charm, funny, and X factor. As a result, we go through tons of stories on our way to the few that end up on the air. It’s like harnessing luck as an industrial product. You want to get hit by lightning, so you have to wander around for a long time in the rain.
New Career Opportunities Daily: The best jobs in media.
Add a Comment
There are authors who cut their milk teeth on short stories, and there are authors who dedicate themselves to the form with Buddha-like focus. Israeli writer Etgar Keret—nerds of a certain ilk will recognize his name from This American Life and The New Yorker—falls firmly into the latter camp, as his newly translated sixth collection makes clear.
The quirky, thought-provoking, often hilarious pieces in Suddenly, a Knock on the Door lend themselves to being read out loud, on your coffee break, or between subway stops. Keret doesn’t bother with a coat of sugar or even Splenda: His characters question themselves and screw up with such regularity that it’s easy for us to plant ourselves in the middle of their lives.
The tension in these stories comes from the sort of decision anyone might make on any given day, like what to stash in your pockets, where to go to lunch, and if you feel like getting a drink with that guy you fooled around with a year ago who didn’t call afterward. In Keret’s world, he’ll be flawed and you’ll be flawed, and whether or not it works out isn’t really the point. The point is to go along for the ride, however brief, and lose yourself inside other people’s moments.
To celebrate the English-language publication of Suddenly, a Knock on the Door, we’re thrilled to share two excerpts with Omnivoracious readers: an exclusive audio version of the title story, read by none other than Ira Glass (squee!); and, after the jump, the full text of “What Animal Are You?”
"Suddenly, a Knock..." - read by Ira Glass
What Animal Are You?(This story originally appeared in the June 2011 issue of Harper's Magazine.)
The sentences I’m writing now are for the benefit of German Public Television viewers. A reporter who came to my home today asked me to write something on the computer because it always makes for great visuals: an author writing. It’s a cliché, she realizes that, but clichés are nothing but an unsexy version of the truth, and her role, as a reporter, is to turn that truth into something sexy, to break the cliché with lighting and unusual angles. And the light in my house falls perfectly, without her having to turn on even a single spot, so all that’s left is for me to write.
At first, I just made believe I was writing, but she said it wouldn’t work. People would be able to tell right away that I was just pretending. “Write something for real,” she demanded, and then, to be sure: “A story, not just a bunch of words. Write naturally, the way you always do.” I told her it wasn’t natural for me to be writing while I was having my picture taken for German Public Television, but she insisted. “So use it,” she said. “Write a story about just that—about how unnatural it seems and how the unnaturalness suddenly produces something real, filled with passion. Something that permeates you, from your brain to your loins. Or the other way around. I don’t know how it works with you, what part of your body gets the creative juices flowing. Each person is different.” She told me how she’d once interviewed a Belgian author who, every time he wrote, had an erection. Something about th
Add a Comment
By: John,
on 11/15/2010
Toxie’s Dead (by Enkhtulga)
Here’s a cartoon we made for NPR’s show, Planet Money. It’s about Toxie, a personified toxic asset that helped burst the housing bubble. Enjoy!
This is featured as a supplement to a recent episode of This American Life. And let me tell ya, NO ONE explains finances better than the kids at Planet Money.
Directed and animated by Stephen Neary. Assistant animation and backgrounds by Connie Li Chan. Sound design by Robin Arnott.
By: John,
on 5/5/2009
Yes! Every time I see one of these animated shorts designed by Chris Ware, I can’t help but note how faithful they are to not just his artwork, but also his pacing and nuanced way of telling stories with pictures. Here’s the latest, produced for the recent This American Life–Live! event. Music by Andrew Bird, animation by John Kuramoto.
Can we have a while series of Quimby animations now? Please?
Previously:
Chris Ware: This American Life
More Chris Ware animation for This American Life
By: Jennifer Thermes,
on 8/1/2008
These videos have been all over the place recently, and I didn't want to lose track of them. If you've never heard Ira Glass's program This American Life on NPR I highly recommend it. I've spent many a Saturday afternoon working or cooking a meal and listening.
I especially like the third piece, where he talks about how important it is to create lots of work, in order to develop good work. In other words, don't quit when you're frustrated-- everybody goes through it. So get yourself a cup of tea (hot or iced, depending on your climate), sit back, and enjoy. And then get creating!
uh, beat editors, might want to check the photos…that’s not Jessica Alba…