The New Yorker Radio Hour

As the Attorney General of Oklahoma, Scott Pruitt sued the Environmental Protection Agency fourteen times, claiming that the Obama Administration had overreached with policies intended to curtail climate change—a phenomenon which Pruitt views skeptically. Then Donald Trump appointed him to run it. The New Yorker’s Margaret Talbot, who wrote about Pruitt’s first year at the E.P.A., notes that Pruitt has cast his hostility to environmental protection as a form of populist resistance, even as it has gained him close allies in the fossil-fuel industry. Pruitt calls his approach at the E.P.A. “originalism”: he’s directed the agency to focus on dirty pollution, as it did back in the nineteen-seventies. Yet, as Talbot tells David Remnick, Pruitt is still quick to overrule regulation if it inconveniences polluting industries. Plus, The New Yorker’s critic of pop music, Carrie Battan, plays three tracks that have grabbed her attention lately. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Tens of thousands of refugees from the civil war in Yemen have fled across the narrow Mandeb Strait to Djibouti, on the Horn of Africa. Nicolas Niarchos reported for The New Yorker from Djibouti, where Yemeni refugees cross paths with Ethiopians escaping a devastating drought. In one camp, he met a man whom aid workers described as a kind of Peter Pan. Abdillahi Bashraheel was once a road surveyor in Yemen, and lost everything in the war. From the camp, he walks miles in the desert each day to pick up broken toys, electronics, wood, stone, and other bits and bobs. He arranges these objects in his tent to create what he calls his museum—a place of beauty and respite under desperate circumstances. Plus, Tracy K. Smith, the poet laureate says that “green space has fed the inner silence that I think most writers are seeking.” New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

As the fourth season of “Veep” came to an end, director Armando Iannucci turned from chronicling the foibles of cynical western democracy to something darker still: life under dictatorship.  He found his source material in the French graphic novel “The Death of Stalin.” David Remnick compares Iannucci’s new film to “Get Out”—a real horror story that is also a comedy of terror. “I wanted to take myself out of my comfort zone by taking on these themes that involved death, destruction, and paranoia,” Iannucci tells him. As the brutal dictatorships of the twentieth century fade into history, Iannucci wants to remind people—especially those frustrated with democracy—just how horrific totalitarianism really is. Plus, Svetlana Alexievich, who won the 2015 Nobel Prize in Literature for her oral histories about life in the U.S.S.R. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Bandi is the pen name of a North Korean writer. He is believed to be a propaganda writer for the government who began to write, secretly, fiction and poems critical of the regime. (Details of his biography cannot be verified, because identifying him publically would put his life in jeopardy.) His work was smuggled out of the country in circumstances that resemble a spy novel, and has recently been published in the West. The New Yorker Radio Hour’s Mythili Rao has written about Bandi’s fiction and poetry. She spoke with the translator of the poems, a scholar of Korean culture named Heinz Insu Fenkl. Fenkl says the poems reflect a sophisticated approach that turns literary devices familiar to North Korean readers to subversive purposes. Plus, Curtis Sittenfeld talks with Joshua Rothman on why men should read romance novels. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

The dossier—a secret report alleging various corrupt dealings between Donald Trump, his campaign, and the government of Russia, made public after the 2016 election—is one of the most hotly debated documents in Washington. The dossier’s author, Christopher Steele, is a former British spy working on contract, and went into hiding after its publication. “The Man Behind the Dossier,” Jane Mayer’s report on Steele, was just published in The New Yorker. She reports that Steele is in the "unenviable predicament" of being hated by both Donald Trump and Vladimir Putin—and that he documented more evidence than he put in the dossier. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Henry Worsley was a husband, father, and an officer of an élite British commando unit; also a tapestry weaver, amateur boxer, photographer, and collector of rare books, maps, and fossils. But his true obsession was exploration. Worsley revered the Antarctic explorer Ernest Shackleton and he had led a 2009 expedition to the South Pole. But Worsley planned an even greater challenge. At fifty-five, he set out to trek alone to ski from one side of the Antarctic continent to the other, hauling more than three hundred pounds of gear and posting an audio diary by satellite phone. The New Yorker staff writer David Grann wrote about Worsley’s quest, and spoke with his widow, Joanna Worsley, about the painful choice she made to support her husband in a mortally dangerous endeavor. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Jennifer Lawrence was nominated for her first Oscar at twenty, and since then she has balanced the biggest of big-budget franchises, like the “Hunger Games” and the “X-Men” series, with smaller, prestige films, including “Silver Linings Playbook” and “mother!” That has made her perhaps the most famous and the most celebrated actor of her generation. Lawrence has tended to shy away from nudity and sex on film, but in the new “Red Sparrow,” directed by Francis Lawrence, she tackles a role that combines two of today’s most critical issues: Russian espionage and sexual coercion at work. As a frequent target of tabloid journalists, trolls, and hackers, Lawrence is frustrated that so many people still want to punish successful women, but, she tells David Remnick, Hollywood itself is changing; and, despite the likely cost to her career, she intends to spend the next year off the set and working as an activist, speaking to young people about the importance of political engagement.Plus, a look at the lobbyist who helped make Florida one of the most gun-friendly states in America. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Richard Brody hosts an alternative Oscars show — “The Brodies” —  and recommends some of his favorite films from the past year, and the writer Chang-rae Lee takes us to a sprawling international supermarket in Honolulu, Hawaii. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Masha Gessen was born in the Soviet Union and has written extensively about Russian politics. She talks with David Remnick about the similarities between Putin’s Russia and Trump’s America. The New Yorker’s Sarah Stillman talks with a former Border Patrol officer, whose years on the job left him emotionally and physically depleted. And in a Shouts and Murmurs piece by Seth Reiss, the comedian Bill Hader plays a disgruntled server who’s got some strong feelings about the house-made ketchup. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

No film adaptation of “A Wrinkle In Time,” Madeleine L’Engle’s beloved, and often banned, children’s book, published in 1962, has ever made it to American movie theaters. It finally comes to the screen next month, with a cast that includes Oprah Winfrey and Reese Witherspoon,. The director is Ava DuVernay, who wasn’t the obvious choice for a metaphysical fantasy epic. Best known for “Selma,” about the 1965 civil-rights march, DuVernay also made the documentary “13,” about the prison system, and the TV series “Queen Sugar.” But DuVernay tells the staff writer Jelani Cobb that she relished the opportunity to create a fantasy film. “You’re seeing worlds built through the point of view of a black woman from Compton,” she says. “So when I’m told, ‘Create a planet,’ my planet’s going to look different from my white male counterpart’s planet”—which is what Hollywood shows us “ninety-seven per cent of the time.” DuVernay and Cobb spoke at The New Yorker Festival in October, 2017. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.