Ep. 4.3. A [PREVIEW] of our exclusive MADNESS episode on NCFOM for paid subscribers ONLY. We go in-depth on the history of Moss's unit in Vietnam, the metaphysical and poetic implications of the title, and try to figure out just what the hell genre this book is anyway.

Part 2 of our in-depth series on Cormac McCarthy’s NO COUNTRY FOR OLD MEN. We talk about what makes NO COUNTRY FOR OLD MEN so effective, the subtleties of its structure, McCarthy’s masterclass in visual storytelling, how this book plays at the edges of genre, and much more.

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Part 1 of our in-depth series on Cormac McCarthy’s NO COUNTRY FOR OLD MEN. We’re joined by Ben Avery of the legendary Lemonparty podcast.

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In part 3 of our in-depth episode on William Gibson's NEUROMANCER. In the MADNESS portion of this series, we talk hacking in the ‘80s, what this book has in common with Djuna Barnes’ strange 1930s arthouse novel NIGHTWOOD, Rastafarianism, and where AI might be headed.

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In part 2 of our in-depth episode on William Gibson's NEUROMANCER, Aaron and Brad go METHOD talking about what makes this book tick, how to write something ‘timeless’, and living in alternate realities.

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We talk Aaron’s recent Tolkien “controversy,” where the Borges meets the road, the importance of plot, the looming and forgotten catastrophes of human history, Nathanael West, and what C.G. Jung thought about UFOs.

We discuss the mysterious mastery of Karl Ove Knausgaard’s “My Struggle,” go on a crash tour of the history of the memoir/autobiography, and examine the other book from which Knausgaard borrowed his title. Finally, the great Jarvis Best joins us to talk about just how powerful this book is in a world where so many of us find it much easier to hide.
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In our first episode of method and Madness, we leave a white and turbid wake: the focus is MOBY-DICK. In our Method segment, we discuss Melville’s techniques and how you can deploy them in your own writing. And then Brad goes Mad, finding astrological correspondences and falling through the yawning abyss of H.P. Lovecraft.