Speaking Out of Place: JENNIFER JACQUET discusses The Playbook: How to Deny Science, Sell Lies, and Make a Killing in the Corporate World

Speaking Out of Place: JENNIFER JACQUET discusses The Playbook: How to Deny Science, Sell Lies, and Make a Killing in the Corporate World

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Author of The Playbook: How to Deny Science, Sell Lies, and Make a Killing in the Corporate World

They weren't able to employ scientists to not find a fingerprint of anthropogenic climate change. They weren't able to pull that off, and when they're not able to do that, what they do instead is create an arsenal of expertise who just create the illusion of disagreement, and they were so successful at doing that with climate change that it's remarkable because there actually was scientific consensus. There wasn't this giant rift in the scientific community, and for decades, they created an illusion of disagreement that we all bought. And they're able to do that using Stanford University, Rockefeller University, these names of institutions as well as individuals, but they're not actually publishing science. And so I think it deserves a kind of special carve out of all of the tactics because it really says: actually these systems are working pretty well. You're just not getting the right information. And they do that again through the media and PR firms and controlling the dialogues and press releases and journals, and especially their relationship with the media, is very, very privileged.

Highlights - JERICHO BROWN - Pulitzer Prize-winning Poet - Editor of How We Do It: Black Writers on Craft, Practice, and Skill

Highlights - JERICHO BROWN - Pulitzer Prize-winning Poet - Editor of How We Do It: Black Writers on Craft, Practice, and Skill

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Pulitzer Prize-winning Poet · Director of Creative Writing Program · Emory University
Editor of How We Do It: Black Writers on Craft, Practice, and Skill

As writers, it's our job to write what will become clichés. Not to write clichés, but to be original enough that we make something that people are still saying for hundreds of years to come. And if that's what you're doing, that's pretty powerful. When I'm writing a poem I'm making a world. And if I can stick to that, then I have to believe that once a poem is out in the world, another world has been made, another way of living, another way of thinking, another way of seeing things.

JERICHO BROWN - Pulitzer Prize-winning Poet - Editor of “How We Do It: Black Writers on Craft, Practice, and Skill”

JERICHO BROWN - Pulitzer Prize-winning Poet - Editor of “How We Do It: Black Writers on Craft, Practice, and Skill”

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Pulitzer Prize-winning Poet · Director of Creative Writing Program · Emory University
Editor of How We Do It: Black Writers on Craft, Practice, and Skill

As writers, it's our job to write what will become clichés. Not to write clichés, but to be original enough that we make something that people are still saying for hundreds of years to come. And if that's what you're doing, that's pretty powerful. When I'm writing a poem I'm making a world. And if I can stick to that, then I have to believe that once a poem is out in the world, another world has been made, another way of living, another way of thinking, another way of seeing things.

Speaking Out of Place: CYNTHIA G. FRANKLIN discusses “Narrating Humanity: Life Writing and Movement Politics from Palestine to Mauna Kea”

Speaking Out of Place: CYNTHIA G. FRANKLIN discusses “Narrating Humanity: Life Writing and Movement Politics from Palestine to Mauna Kea”

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Author of Narrating Humanity: Life Writing and Movement Politics from Palestine to Mauna Kea
Professor of English at University of Hawai'i · Coeditor of the journal Biography

I posit narrated humanity as a lens through which to study how narratives participate in struggles to conceive human being beyond juridical and narrative humanity. What I was thinking about was just the kind of narrative codes and conventions and genres that help us to understand who counts as human in ways that people who are fighting for human rights as a thing that you have to do, even as there are all kinds of critiques that can and have been made rightly so of human rights, but that you have to do it.

ANTHONY JOSEPH - T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band

ANTHONY JOSEPH - T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band

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T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band
Author of Sonnets for Albert

The life of Caribbean people is not really documented. So this idea of Caribbean life being fragmented is something that I've had in my mind for a long time. So when I came to write this collection for my father, I realized that it was the same process and what I had were fragments, especially with him, because he wasn't around in a physical sense all the time. So all I had were little photographs, scattered memories, and remembrances. They're little parts of his life and parts of my experience with him... I never disliked my father. I always loved him and always was fascinated and captivated by him.

Highlights - ANDRI SNÆR MAGNASON - Writer & Documentary Filmmaker - On Time and Water, The Casket of Time, LoveStar, Not Ok

Highlights - ANDRI SNÆR MAGNASON - Writer & Documentary Filmmaker - On Time and Water, The Casket of Time, LoveStar, Not Ok

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Icelandic Writer & Documentary Filmmaker
On Time and Water · The Casket of Time · LoveStar · Not Ok · The Story of the Blue Planet

A letter to the future
Ok is the first Icelandic glacier to lose its status as a glacier.
In the next 200 years all our glaciers are expected to follow the same path.
This monument is to acknowledge that we know
what is happening and what needs to be done.
Only you know if we did it.

If you look at the Himalayas, the frozen glaciers are feeding 1 billion people with milky white water. The real tragedy is if the Himalayan glaciers go the same way as Iceland. In many places in the world, glaciers are very important for agriculture and the basic water supply of people.

ANDRI SNÆR MAGNASON - Icelandic Writer & Documentary Filmmaker - On Time and Water, The Casket of Time, LoveStar, Not Ok

ANDRI SNÆR MAGNASON - Icelandic Writer & Documentary Filmmaker - On Time and Water, The Casket of Time, LoveStar, Not Ok

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Icelandic Writer & Documentary Filmmaker
On Time and Water · The Casket of Time · LoveStar · Not Ok · The Story of the Blue Planet

A letter to the future
Ok is the first Icelandic glacier to lose its status as a glacier.
In the next 200 years all our glaciers are expected to follow the same path.
This monument is to acknowledge that we know
what is happening and what needs to be done.
Only you know if we did it.

If you look at the Himalayas, the frozen glaciers are feeding 1 billion people with milky white water. The real tragedy is if the Himalayan glaciers go the same way as Iceland. In many places in the world, glaciers are very important for agriculture and the basic water supply of people.

Highlights - MADELEINE WATTS - Author of The Inland Sea

Highlights - MADELEINE WATTS - Author of The Inland Sea

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Author of The Inland Sea
Professor of Creative Writing at Columbia University

I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as "a woman" and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia.

MADELEINE WATTS - Author of The Inland Sea - Creative Writing Professor, Columbia University

MADELEINE WATTS - Author of The Inland Sea - Creative Writing Professor, Columbia University

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Author of The Inland Sea
Professor of Creative Writing at Columbia University

I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as "a woman" and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia.

Highlights - Amanda E. Machado - Writer, Public Speaker - Founder of Reclaiming Nature Writing

Highlights - Amanda E. Machado - Writer, Public Speaker - Founder of Reclaiming Nature Writing

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Writer, Public Speaker, Facilitator · Founder of Reclaiming Nature Writing

So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, I think looking at that, really deeply thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.

AMANDA E. MACHADO - Writer, Public Speaker, Facilitator - Founder of Reclaiming Nature Writing

AMANDA E. MACHADO - Writer, Public Speaker, Facilitator - Founder of Reclaiming Nature Writing

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Writer, Public Speaker, Facilitator · Founder of Reclaiming Nature Writing

So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, I think looking at that, really deeply thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.

Highlights - BRUCE EVAN BARNHART - Author of “Jazz in the Time of the Novel”, “Temporal Experiments”

Highlights - BRUCE EVAN BARNHART - Author of “Jazz in the Time of the Novel”, “Temporal Experiments”

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Author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture
Temporal Experiments: Seven Ways of Configuring Time in Art and Literature
Co-director of University of Oslo’s Literature, Rights & Imagined Communities

I really admire how James Baldwin always talks about jazz as a kind of model for his writing style. But music has certainly had a profound influence on the way I see the world, especially in terms of the social world. One of the big problems we have in all sorts of different places around the world is the question of how to coordinate difference. All sorts of people have different modes of living, different cultural rhythms, and different ideas about the future. Jazz is brilliant at a lot of things, but it notably brings together different people and allows them to retain their own sense of time and rhythm while playing together. It's a really profound model of social coordination. Now, of course, it says something particularly pressing about the United States, but I think as a model for how differences go together, jazz is perhaps unparalleled.

BRUCE EVAN BARNHART - Author of “Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture”

BRUCE EVAN BARNHART - Author of “Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture”

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Author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture
Temporal Experiments: Seven Ways of Configuring Time in Art and Literature
Co-director of University of Oslo’s Literature, Rights & Imagined Communities

I really admire how James Baldwin always talks about jazz as a kind of model for his writing style. But music has certainly had a profound influence on the way I see the world, especially in terms of the social world. One of the big problems we have in all sorts of different places around the world is the question of how to coordinate difference. All sorts of people have different modes of living, different cultural rhythms, and different ideas about the future. Jazz is brilliant at a lot of things, but it notably brings together different people and allows them to retain their own sense of time and rhythm while playing together. It's a really profound model of social coordination. Now, of course, it says something particularly pressing about the United States, but I think as a model for how differences go together, jazz is perhaps unparalleled.

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

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Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

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Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.

Highlights - Debra Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Highlights - Debra Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

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Showrunner of Netflix’s Ginny & Georgia
Writer · Exec. Producer · Director · Alias · Criminal Minds · The OC · Charmed

I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.

Debra J. Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Debra J. Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

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Showrunner of Netflix’s Ginny & Georgia
Writer · Exec. Producer · Director · Alias · Criminal Minds · The OC · Charmed

I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.

Highlights - Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “The Seven Good Years”

Highlights - Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “The Seven Good Years”

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Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “Suddenly a Knock on the Door”

Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “Suddenly a Knock on the Door”

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Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

Highlights - Abby Ajayi - Creator of “Riches” - Writer/Producer “Inventing Anna” “The First Lady”

Highlights - Abby Ajayi - Creator of “Riches” - Writer/Producer “Inventing Anna” “The First Lady”

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Creator of the Amazon series Riches
Writer/Producer on Inventing Anna · The First Lady · How to Get Away with Murder

I do feel that if one has the desire and the ability to be a much more big-picture showrunner, I think that's to the best. That benefits the show because there's a creative voice running all the way through. This isn't a movie, where it's a director's medium. It is the writer's medium, so I think the writer should be across producing and also empowering the director, but there is a clear vision. I think Riches has all the hallmarks of the things I've worked on before in terms of complex, slightly subversive women. At the heart of it, it is negotiating power dynamics. And at the heart of it, there are two very complex and yet vulnerable black women, but I've always loved family drama shows and particularly family businesses, whether it's fictional ones or in real life.