Episode 11 of LikeWise Fiction features "Evangelina Concepcion," by Ani Sison Cooney. A young Latina woman growing up in Los Angeles struggles with grief after her mother is killed in a car accident.

Listen to the story at:

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This week on Keep the Channel Open I'm talking with poet Jon Sands. I first became acquainted with Jon as one of the co-hosts of the podcast The Poetry Gods, one of my all-time favorites, and the poems in his latest collection, It’s Not Magic,  are both exuberant and profound. In our conversation we talked about  being braver on the page, about balancing self-love and accountability,  and about writing toward growth. Then in the second segment we talked  about how having kids changes how you see other people, and we talked  about the work of Aracelis Girmay and how she uses personification in  her poems.

Here are some links to where you can listen to the episode:

• Apple Podcasts 
• Google Podcasts 
• RadioPublic 
• Spotify 
• Stitcher 
• TuneIn 

You can also listen to the full episode and find show notes and a transcript on the episode page at the KTCO website.

It occurred to me this morning that in the near future—or perhaps already—some people may find themselves stuck at home for an extended period of time, looking for something to do. And that, if that were the case, some podcast recommendations might be welcome. If that sounds useful to you, well, here you go: 36 podcasts that I find bingeable or otherwise suitable for long listens, organized roughly by genre. I'll try to include content notes where appropriate.

Audio Dramas/Audio Fiction:

Most of these are either limited run shows or have defined seasons/arcs that make them very bingeable. A couple are ongoing shows that I still find good for back-to-back listening. In alphabetical order:

1. I have been a humongous fan of The Adventure Zone for years now. It's an actual-play RPG show by the McElroy family, and it is both funny and engaging, with delightful characters and excellent storytelling. So far there have been two complete arcs (each arc is a complete and independent story) and a third is ongoing, and there have been several mini-arcs and one-offs. I recommend starting from the beginning. (Content notes: strong language, comic violence)
2. Mermaid Palace's audio drama Asking For It is an adaptation of the Goldilocks tale, a story about a young queer woman, music, and the cycle of abuse. Excellent writing and voice acting. (Content notes: intimate partner abuse, drugs, strong language, explicit sexual content)
3. The Big Loop is an audio drama anthology, with almost all of the stories told in the first person. Includes both speculative and realist fiction, and really well done. So far, my favorite ep is the SF story "You." (Content notes: some episodes include strong language and mature themes)
4. George the Poet's show Have You Heard George's Podcast? combines hip hop, spoken word, and audio drama to deliver both insightful musings about creativity and incisive social commentary. Sounds unlike any other show I know of.
5. Ross Sutherland's show Imaginary Advice includes experimental audio fiction, poetry, and occasional audio-blog-style episodes. There's a playfulness to the writing and sound design that I love, and it's consistently surprising in the best way.
6. LeVar Burton Reads is just what the title says: in every episode, host LeVar Burton reads a hand-picked and excellent short story. There's a heavy emphasis on speculative fiction, and Burton is a master storyteller. (Content notes: some episodes include strong language and mature themes. See individual episode descriptions for specific notes.)
7. In Mija, a young Latina woman from NYC tells her family's story of immigration. It's well done and very immersive, often feeling more like a docuseries than fiction.
8. James Kim's MOONFACE is about a young, closeted Korean American man who struggles to communicate with his immigrant mother, because they literally don't speak the same language. It's a beautiful and moving story about identity, queer relationships, friendship, family, and podcasting. (Content notes: strong language, explicit sexual content)
9. Murmurs, by BBC Sounds, is a Twilight-Zone-esque anthology show. Each episode is a different horror/SF story about worlds bleeding into each other. The sound design uses glitching and distortion to delightfully eerie effect.
10. Kaitlin Prest's audio drama The Shadows is about the arc of a relationship, beginning, middle, and end. I was completely drawn in by the performances, which are viscerally real. Amazing show. (Content notes: strong language, explicit sexual content)
11. Tin Can Audio's audio drama The Tower imagines a world in which a seemingly endlessly tall tower exists, and follows one woman's haunting journey as she climbs it. Reminded me of Borges or Ted Chiang. The way that the story is told through a series of phone calls works really well—it's eerie at times, but the conversations between characters are also quite intimate.
12. Finally, I'm very proud of my own audio fiction anthology show, LikeWise Fiction, in which I read excellent short stories from many genres, all written by women, nonbinary authors, authors of color, and LGBTQIA+ authors. In the first season I've featured stories by writers including Chaya Bhuvaneswar, Kat Howard, Rachel Lyon, Celeste Ng, JY Yang, and more. I'd love if you had a listen. (Content notes: some episodes include strong language and mature themes, see individual episode descriptions for specific notes)

History/Social Topics:

These are all either limited-run shows or they have discrete seasons that can be listened to like a miniseries. All are strong narrative nonfiction.

1. Closer Than They Appear is a 2017 show by Carvell Wallace about race in America, with a mixture of interviews and personal narrative that I found quite compelling.
2. Another show by Carvell Wallace is Finding Fred, which is all about Mr. Rogers, both looking at the work he did and asking what we lessons we can take from him to help us live in the often scary world of today.
3. The Washington Post's Lillian Cunningham has done three excellent series on American history. The first, from 2016, was Presidential, which looked at each US president from the beginning through today.
4. The next of Cunningham's shows was 2018's Constitutional, which is all about the US Constitution and how it came to be what it is.
5. And then most recently, Cunningham did Moonrise, an excellent narrative documentary about the space race and moon landing, showing a lot of the darker parts of the story that most of us don't learn about in school.
6. Another excellent show about the US Constitution is Radiolab's special series More Perfect, in which each episode is a breakdown and history of one of the amendments.
7. For me, the granddaddy of history podcasts is Mike Duncan's The History of Rome, which, over the course of 179 episodes, charts the history of Rome from its pre-republican era through the fall of the Western Empire.
8. I also very much enjoy Duncan's current show, Revolutions, which is all about different revolutions throughout history. Each of the show's 10 seasons covers a different revolution, including the English Revolution, the American Revolution, the French Revolution, the Mexican Revolution, and more. The current (and final) season is covering the Russian Revolution, and it's excellent.
9. Finally, Scene On Radio is, in my opinion, a must-listen. Season 2 is about the history of race and racism in the US, season 3 is about the roots of misogyny and toxic masculinity in our society, and the current season is about inequality in America. Informative, engaging, and excellent.

Literary Interviews:

These are all ongoing shows, so they're not necessarily great for bingeing, but they all have great, long-form conversations about books and literature, and are excellent for a long listen. In alphabetical order:

1. David Naimon's Between the Covers has long-form interviews with authors across many genres, including literary fiction, SF and fantasy, and poetry. David is an excellent reader and has some of the best questions of any interview I know.
2. Rachel Zucker's show Commonplace features "conversations with poets (and other people)." Rachel gets to deep and intimate places with her guests, and I'm always impressed by what a close rapport she establishes in her conversations. (Content notes: some episodes include strong language.)
3. Maris Kreizman's The Maris Review always feels like two pals having the most interesting conversation, it's great. This one includes a lot of excellent memoir and creative nonfiction, much more than other lit shows I listen to.
4. The Poet Salon is interviews with poets, and what I love about it is that it manages to have insightful and profound conversations while also showing how fun poetry can be.
5. KUT's This Is Just to Say is another excellent poetry show. The host, Carrie Fountain, is herself one of my favorite poets, and I love how she gets her guests to talk not just about their own work, but also about other poems that they love. (Content notes: some episodes include strong language.)
6. VS is hosted by Danez Smith and Franny Choi, two of my favorite poets. Their interviews are top notch, and I also just love the way their friendship is so evident when they talk to each other in the intros and outros. (Content notes: some episodes include strong language.)
7. Courtney Balestier's show WMFA is another favorite of mine. She's talked to a wide variety of writers but with a heavy focus on fiction, and I like how she focuses on craft. I also quite like the minisodes she posts during off weeks, which are short personal monologues on creativity.
8. Finally, I wanted to mention my own show, Keep the Channel Open, which is a series of conversations about art and creativity with people working in all different creative fields, including writers, visual artists, podcasters, curators, and more. (Content notes: some episodes include strong language.)

Other Shows:

Last, but not least, here are some shows that didn't fit into the other categories but which I love and which I think are great for extended listening. In alphabetical order:

1. Helen Zaltzman's podcast The Allusionist is all about language, and what makes it so great is that it is fun. A lot of the episodes are humorous, many are deeply empathetic, all of them are entertaining and informative.
2. Maggie Tokuda-Hall's show Drunk Safari is, sadly, no longer in production, but it is still available to listen to! Essential animal facts as brought to you by dilettantes. This show is the very definition of "delightful." (Content notes: strong language)
3. Ear Hustle is about daily life inside prison, and what makes it unique is that it's told by and made by residents and former residents of San Quentin prison. It's a really well-made show, and it shares stories that many of us don't hear often enough. (Content notes: some strong language, references to violence.)
4. The McElroy Brothers Will Be In Trolls World Tour is a hilarious faux-documentary series that the McElroys made as a way to sort of scam their way into getting cast in the movie. Honestly, it is the reason I am excited to see that movie. (Content notes: strong language [I think?])
5. Of course, the McElroys' flagship show is My Brother, My Brother, and Me, "an advice show for the modren [sic] era." (Each episode opens with the disclaimer: "The McElroy Brothers are not experts, and their advice should never be followed.) I reckon many of you already know this one but it consistently makes my day better when I listen to it, so I couldn't not mention it. (Content notes: strong language, crude humor)
6. My Friend Chuck, is by comedian McKenzie Goodwin and erotica author Chuck Tingle, and it's one of my new favorite shows. Each week McKenzie reviews one of Chuck's books, they talk about movies and local news, and they prove love is real. It's very funny and deeply decent. (Content notes: sexual content, some strong language)
7. Only Here is a show by the San Diego NPR station, KPBS, and it is all about the unique culture of the San Diego-Tijuana border region, the things that happen only here.

Obviously, I do hope that, wherever you are, you and the people you love are staying safe and healthy, and that this crisis passes quickly. In the meantime, I hope this list is useful to you.

Episode 10 of LikeWise Fiction features "Acknowledgments," by Maggie Shipstead. On the eve of the publication of his self-referential debut novel, The Canon According to D. M. Murphy, Daniel M. Murphy narrowly avoids a moment of self-awareness.

A more nimble writer than I would find a subtle way to mark this moment as formative, even primal, the ur-accomplishment that would forever lie beyond the green light at the end of the dock. But I will say only this, openly and bluntly: The sound of my own words issuing from the mouth of a pretty woman brought me ecstasy such as I had not known life might contain.

Listen to the story at:

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This week on Keep the Channel Open, I'm pleased to welcome writer Brandon Taylor back to the show. Brandon’s debut novel, Real Life, is one of the best books I’ve read in years. Real Life is the story of Wallace, an introverted, black, gay graduate student studying biochemistry. Over the course of a summer weekend, a series of confrontations with his friends and labmates and a confusing encounter with a straight classmate bring all of the unspoken tensions in the group to the surface. In our conversation, Brandon and I talked about the craft of writing a novel, the question of what real life is, the banality of racism, and the hidden selfishness inside altruism. Then in the second segment, we talked about digital communities and how our interactions in those communities have changed over time.

Here are some links to where you can listen to the episode:

• Apple Podcasts
• Google Podcasts
• RadioPublic
• Spotify
• Stitcher
• TuneIn

You can also listen to the full episode and find show notes and a transcript on the episode page at the KTCO website.

This morning on the drive to work I picked an old and relatively long playlist, and set it to shuffle. Just before I got to the office, "The Outer Banks," by the Album Leaf came on.

Back in the mid-2000s, my brother started making mix CDs for me. He's always been a lot more in the know about music than I have, and while I can't remember if he just started making them or if I asked him to help me find new music, those CDs formed the foundations of my music tastes for a decade. That song, "The Outer Banks," was on one of the first CDs he made me, and for several years that's what it made me think of. The CD, the other songs on the CD, and him.

A few years later, my son was born. On his first birthday, I made a slideshow of photographs and video clips from his year—a practice that has become a birthday tradition for each of my children. They look forward to it, and I enjoy it.

I've used a lot of different music for my kids' birthday slideshows, and I honestly can't really remember most of them, or which one I used for which year. Especially because after the first few, I started using music that I could pay to license, instead of just ripping CD tracks. The music I use now fits its purpose and, most importantly, it's legal, but it's fairly generic-sounding and forgettable. I do remember that first one, though. I remember many of the images, most of the video clips, and how I cut it together with the music. I used "The Outer Banks" for that one. And now that's what I associate that song with.

The funny thing is, I remember the process of making that slideshow. I remember listening to the music over and over, looking at these images and videos, all of which depicted scenes from the very recent past. My son wasn't quite a year old yet, but I was already nostalgic. I remember looking at these pictures and listening to this song—which, admittedly, builds in a pretty dramatic and emotive way, something that would be completely appropriate for a montage or climactic scene in an early 2000's indie movie. And I remember feeling the time slipping away already. I remember feeling how fast it was all going. How it was objectively silly for these moments to feel far away already, but that they did feel that way, and some day they actually would be distant in a real way. I remember feeling the weight of that, of being in between my current memory and the memory that I knew I'd have in the future. How it felt poignant, but I knew it would be even more so later, and how I could already feel the echoes of those future feelings.

Listening to that song this morning, yes, I did think of the pictures. I did think of my son as a baby, my son who is already as tall as his mom now. And that was poignant, in a way that I both expected back then and that I didn't understand and couldn't have been ready for. But perhaps just as acute, maybe even more so, was the feeling of distance from myself at that age. Of being a person who'd never made a birthday slideshow for his kids yet. A person who didn't know what it was like to have two kids, or three. Listening to this song, that self felt very far away, and it also felt very close, like I could lay the feeling of today right on top of the feeling from then, overlapping so closely that I couldn't tell the difference.

Looking back, life seemed simpler then—though, it only looks that way from here. Then, nothing seemed simple. Maybe it seemed simpler because so much in my life was new. Last weekend, J and I went out for dinner and stopped for coffee afterwards. I remarked how different it tasted from the coffee I usually drink, and how all coffee tastes mostly like coffee, how your first cup of coffee when you're young just tastes like that, like coffee, but how after decades now, you're used to it, all you notice is the small differences, the nuances. Life is like that, too.

There are times when I wish I could go back. Or maybe I just wish I could be as young and energetic and resilient and sure as I didn't know I was then. Maybe what I wish is for this, now, not to end, because I know, always, that it will—I knew it then, too. Mostly what I want is just more time. Things are nuanced and complicated now, but they are new and simple, too. Things are always newer and older than they seem.

Life is strange, and short, and long. It's beautiful, too. I hope you're well.

Episode 9 of LikeWise Fiction features "Auspicium Melioris Aevi," by JY Yang. In a future where famous historical leaders are cloned and trained in a mysterious Academy to become advisors to the world’s nations, the fiftieth copy of Harry Lee Kuan Yew tries to buck the system.

Listen to the story at:

• Apple Podcasts  
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You can also listen to the full episode and read the story text at the episode page on the LikeWise Fiction website.

This week on Keep the Channel Open, I'm talking with YA author Lilliam Rivera. In her young adult novels The Education of Margot Sanchez and Dealing In Dreams,  Lilliam tells familiar stories in new ways—instead of a typical teen  drama or dystopian science fiction, she centers Latina characters in  stories that take on topics like colorism and gentrification. In our  conversation, we talked about why she’s drawn to write stories about  young people, what it means to buy into the American Dream, and whether  violence is actually empowering. Then for the second segment, we  discussed Jeanine Cummins’ recent novel American Dirt and the controversy around it.

Here are some links to where you can listen to the episode:

• Apple Podcasts 
• Google Podcasts 
• RadioPublic 
• Spotify 
• Stitcher 
• TuneIn 

You can also listen to the full episode and find show notes and a transcript on the episode page at the KTCO website.

Episode 8 of LikeWise Fiction features "The Story of the Woman Who Fell in Love with Death," by Chaya Bhuvaneswar. A young boy immerses himself in story, trying to find meaning and wholeness after his sister goes missing.

(Content note: contains references to child abuse and gendered violence.)

Listen to the story at:

• Apple Podcasts  
• Google Podcasts 
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You can also listen to the full episode and read the story text at the episode page on the LikeWise Fiction website.

Before I say anything else, let me make something clear: if you like Joe Biden and are happy to be voting for him, I’m not trying to talk you out of it. In fact, I’m not trying to talk you out of voting for him even if you’re not happy to be doing so. I don’t know what you value or how you arrive at your decisions, but I do think those decisions are yours to make. What I am going to do here, though, is talk about why I’m not going to vote for him. If that sounds like something you’d rather not read, for any reason or no reason, that’s fine and there are no hard feelings.

Because the people in my life know that I am politically active, there is a thing that’s been happening to me for the past six months or so, which is that basically any time I go to a family gathering or large social event, people will approach me and ask me who I’m voting for. And, more often than not, those same people then talk to me about Joe Biden.

“You know,” they’ll say, “I don’t really like him that much. In any other election, I’d probably vote for somebody more like who you probably want to vote for, Mike. But we can’t mess around this time. We have to beat Trump, and I really think the only person who can do that is Biden.”

I’m not really sure exactly what kind of a response people are looking for from me when they have this talk with me. Maybe they want to be confirmed in that choice. Maybe they want me to talk them out of it. Maybe they know that I disagree and are trying to convince me. So far, I don’t think any of these conversations have wound up satisfactory for anyone involved.

But I want to talk about this particular form of tactical voting for a little bit, because I honestly do believe that if Joe Biden gets the Democratic nomination, then Trump will be re-elected.

As I understand it, the argument for Biden goes like this (and I’m going to do my best not to misrepresent this perspective): Progressive candidates like Warren and Sanders are too far to the left for most American voters, and they will scare off too many centrists. On the other hand, a centrist candidate like Biden will bring in those centrists, and progressive voters will still show up for him because they know how awful Trump is. Also, Biden has the best chance of bringing back those swing voters who voted for Obama in 2008 and then voted for Trump in 2016.

To understand why I disagree with this reasoning, we have to look at the 2018 midterm elections and the so-called “blue wave.” If there is one lesson we should take away from 2018 it is this: turnout wins elections.

In 2018, the Democratic Party had a net gain of 41 seats in the House of Representatives. That coincided with the highest midterm voter turnout in the previous 104 years. Moreover, even in elections they didn’t win, Democrats made incredible showings in elections in 2017 and 2018 in a number of deeply red districts. These wins and near-wins did not happen because Trump voters in those districts decided in large numbers to change their minds. As far as we can tell, most people who voted for Trump in 2016 are pretty satisfied with him and will likely vote for him again in 2020. No, what drove the blue wave was convincing people who stayed home in 2016 to show up in 2018. That’s an entirely different proposition.

In 2016, about 69 million people voted for Hillary Clinton and about 66 million people voted for Donald Trump. But about 95 million voting-age citizens—about 40%—didn’t vote at all. Of course, when we look at those numbers it might be tempting to lay the blame on the two candidates’ unpopularity—and, according to polling data, Clinton and Trump were the two most unpopular candidates ever recorded. But it must also be noted that voter suppression, disenfranchisement, alienation, and general apathy also played a role in turnout. And we also have to note that turnout rates were about the same in 2004, 2008, and 2012, and were even lower for the previous 30 years’ worth of presidential elections.

Still, the path to a Democratic victory in 2020 is mainly going to come down to not winning back moderate Republicans but at how effective both the Party and the grassroots are at getting people to the polls. Turnout is key in any election, but in order to surmount the Electoral College, voter suppression laws, and active foreign interference, it’s going to take a rise in participation that the United States hasn’t seen in over a century, since the period we now call “the Progressive Era.” Getting that many people to vote is going to be difficult under any circumstances, but I think it’s reasonable to say that it’s going to be more difficult without a candidate that actually excites people.

And here’s the thing: I don’t know anybody who is actually excited about voting for Joe Biden. As you’d expect, given my own political leanings and the activist circles I move in, I know a lot of people who are excited about Sanders and Warren. But I also know a lot of people who are excited about other candidates. I have talked to people who are thrilled about Bloomberg. I know people who talk about how much they like Buttigieg. I know people who are all-in for Yang. I know people who love Klobuchar. And before they dropped out, I heard from a lot of people who were excited for Harris or Booker or Castro or Gillibrand or Inslee. But, so far, every person who has talked to me about why they’re voting for Biden has made a point of talking about how they don’t actually like him, but that they feel they have to vote for him. I don’t think that a candidate that people feel not excitement for but only obligation can drive new voter registrations and get people to show up on Election Day in the numbers that we need. I don’t think that Joe Biden can win.

I could be wrong, of course. One person’s anecdotes about the conversations he’s had is not the same thing as reliable data. I live in one of the most reliably Democratic-voting states in the country, and I work with an openly progressive activist organization. So, yes, my experiences may not be representative.

Moreover, it’s also quite possible to look at the 2018 blue wave and come away with the conclusion that centrism works—certainly the majority of the freshman House Democrats are moderates. We can argue about how progressive candidates would have done in any of those districts, but in most cases it would just be speculation. And it may be that beating Trump is enough of an incentive to get historical turnout numbers in 2020, even without a Democratic nominee that people actually like.

Ultimately, each of us is going to do what we think is best. We’re going to make our decisions for our own reasons and on our own terms. I’m certainly not going to tell you who to vote for in the primaries, and if Joe Biden wins the nomination, I will do my best to get out there and get people to vote for him in November.

But what I would like is for each of us to try to look past what we fear and try to figure out what we really want, what we think will actually make this country and the world better. Because I really do believe that voting for what we actually want is not just the idealistic thing to do, it makes good tactical sense, too.