"I don't understand why people talk to Isaac Chotiner when his reputation precedes him. He's the best interview-assassin at work today, maybe the best ever. I suspect that each guest thinks they'll be the one to finally best Isaac—and Isaac makes good work of that hubris. He calmly and respectfully dismantles arguments that people make about everything from the wars in Ukraine and the Middle east to gerrymandering, genocide denial, and deportation. But he also has an obvious appreciation for deep knowledge, and for each 'gotcha' interview he conducts, there's an expert interview, one where he lets someone who knows their trade inside and out explain it to his large and growing leadership."

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"The philosopher Agnes Callard is one of the most genuinely curious thinkers I have ever met. Whether she’s writing about unrequited love, parenting, politics in the classroom, or the moral failures of people who like to travel, I get a thrill hearing her examine ordinary life from unexpected angles. And I love to disagree with her, which I often do.

Callard teaches at the University of Chicago and is the author of several books, including, most recently Open Socrates: The Case for a Philosophical Life, which came out last year. She joined me to talk about perhaps the oldest form of the interview, the Socratic dialogue, and what we might learn about asking questions and seeking the truth from Socrates and other gadflies. " — Merve Emre

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"Rachel Syme has interviewed all the grand dames of New York and Los Angeles: she's had Cosmos with Carol Burnett, she's accompanied Sarah Jessica Parker to the ballet, she's shopped with Parker Posey at Rachel Comey, she's Skyped with Patti LuPone and gabbed with Barbra Streisand on her landline. At a time when the glossy profile feels hopelessly compromised, Rachel uses her deep knowledge of musicals, fashion, and old Hollywood to put meat on the bones of fame and fortune—and Rachel loves a good yarn. Our conversation was full of behind-the-scenes stories, showing how an interview can transform a mere celebrity into an icon." — Merve Emre

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"Couples therapy. The words alone are enough to send many people running for the hills, but Orna Guralnik—star of Showtime's documentary series Couples Therapy—has people running to her office. Orna, a clinical psychologist and psychoanalyst, has become a household name: she's a watchful guide for couples as they navigate intimate and sometimes agonizing discussions, and for viewers, as they watch these couples bare their souls or refuse to do so. With her beloved dog Nico on her lap, Orna explained to me how she practices listening for the unconscious, the limits and possibilities of televised therapy, and whether the psychoanalytic interview can teach even the most adversarial pairs (like warring nations) how to make peace."

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"Sarah Stillman is a staff writer at The New Yorker and one of the most decorated investigative reporters of her generation. She's won several National Magazine Awards, the Pulitzer Prize, and a MacArthur 'Genius' Grant. Her articles draw attention to the men and women forced to do the bidding of the American security state; the third-country nationals tricked into working on military bases in Iraq; the addicts coerced into serving as informants; the victims of civil asset forfeiture. Our conversation touched on every stage of Sarah's career, from her days as a student journalist to her current directorship of Yale's investigative reporting lab. As a teacher, she helps students cultivate the relentlessness and the compassion that makes her a uniquely effective reporter."

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"In the fall of 2022, I saw the novelist Shelia Heti give a presentation on her conversations with early AI chatbots. Their names were Eliza, Alice, and George, and they had wild, undisciplined opinions about art, selfhood, and God. Talking to them seemed to come naturally to Sheila: for several years, she had been the interviews editors at The Believer and her novels Motherhood and Pure Colour featured narrators who ask difficult questions of non-human entities like the I Ching or a leaf on a tree. A few months after OpenAI released ChatGPT-5, Sheila and I spoke about the role of the interview at a time when human thought and feeling are impinged by artificial intelligence and whether machines can help us to unlock the mysteries of consciousness." — Merve Emre

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The new season of The Critic and Her Publics—The Art of the Interview—begins!

"Chana Joffe-Walt is a Peabody Award-winning journalist and a producer at This American Life. Her series on school segregation, Nice White Parents, examined how progressive Brooklyn families undermined racial integration. She regularly takes over from Ira Glass to host special episodes on race, labor, and education. But it was her series of conversations with men, women, and children in Gaza that made me want to begin the season with her, to explore how the interview can preserve the dignity and complexity of ordinary people in a time of genocide." — Merve Emre

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In this final episode of Hawthornden's Como Conversazione series for 2025, we’ll confront a subject that the literary world likes to keep subtextual: money. The translators and publishers, who usually meet over contract negotiations, open up their books and compare bottom lines, to see who feels like they’re being short-changed, and why. Is there—or could there be—a pay structure that works for everyone? And how should the translator be compensated, when their role is still so unresolved? 

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How do we decide which translations are better than others? 

In this episode of Hawthornden's Como Conversazione, Jacques Testard of Fitzcarraldo Editions and Adam Levy of Transit Books reveal how they evaluate books for acquisition. And, because so many of the guests on this show have served on prize juries, we compare our experiences making judgments that can seem at once arbitrary and hugely consequential. 

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In this episode of Hawthornden's Como Conversazione, another session of practical translation: the reading and comparing of many renditions of one passage, to see how translators make their choices. 

But the text we’ll be examining, 1001 Nights, presents an unusual challenge. Unlike with the Proust that we discussed in the first episode, there is not one fixed source text to work with. There were many retellings of Scheherazade’s tales over the centuries, which were then written down as many different manuscripts. What, then, does it mean for a translator to “take liberties,” or to be “faithful to the text”?

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