On this episode of the n+1 podcast, Jenny Zhang reads her short story “Why Were They Throwing Bricks?” featured in Issue 28. The story is excerpted from her forthcoming collection Sour Heart.

On this episode of the n+1 podcast, Nausicaa Renner interviews Meghan O’Gieblyn author of the essay “Ghost in the Cloud” from Issue 28 to discuss her spiritual history in relationship with Transhumanism.

On this episode of the n+1 podcast, an interview with n+1 cofounder Mark Greif about his book Against Everything.

On this episode of the n+1 podcast, Nausicaa Renner and Dan Piepenbring sit down with Paul Grimstad to talk about his essay “Never a Hippie, Always a Freak” on the life of musician Frank Zappa and the new biographical documentary Eat That Question.

This month on the n+1 podcast, Aaron Braun interviews regular contributor and Columbia University professor Bruce Robbins about his piece in Issue 24 “The Logic of the Beneficiary” on Boycott, Divestment, and Sanctions.

On this episode of the n+1 podcast, Moira Weigel joins us to talk about her essay “Slow Wars” about the slow cinema movement in foreign art films, the impact changes in filmmaking and film viewing technology have on the art form, and the nebulous terms of debate in slow cinema’s film criticism.

On this episode of the n+1 podcast, we feature Jonathan Griffin, author of the book On Fire, in conversation with Paper Monument editor Dushko Petrovich. On Fire explores the phenomenon of studio fires and how artists recover in the aftermath.

Anna Wiener speaks with editor Dayna Tortorici about her essay “Uncanny Valley,” a fictionalized account of her time working in the Silicon Valley tech industry. Anna and Dayna discuss the background of the story and how this became one of the magazine’s most popular pieces.

I always dislike hearing the national anthem. It has always struck me as a horrible tick of US chauvinism, that the national anthem gets played every time there’s a game played.

Most film critics that write today regularly are essentially publicists for Hollywood films. Their criticism is intermingled with this form of entertainment journalism that really has nothing to do with criticism. So a lot of times when you read a film review now, in addition to getting a lot of plot description—which I don’t think is really necessary in film criticism anymore, because everybody knows everything about films before they come out now because of the internet—you get a lot of histories of the people who are in the films or made the films.