Deborah Treisman

Just for the record, we're reading everything.

Just for the record, we're reading everything.

Just for the record, we're reading everything.

And you and the great Hannah Eisenman, who you work with, how many poems come in each week?

And you and the great Hannah Eisenman, who you work with, how many poems come in each week?

And you and the great Hannah Eisenman, who you work with, how many poems come in each week?

And we publish about a hundred.

And we publish about a hundred.

And we publish about a hundred.

We have people in a given year, Jory Graham is... Wie funktioniert das alles?

We have people in a given year, Jory Graham is... Wie funktioniert das alles?

We have people in a given year, Jory Graham is... Wie funktioniert das alles?

Can you remember a time where you've open an envelope and it's somebody that you hadn't heard of and you just, by the end of, you know, half an hour later, you're singing, oh, happy day? Well, can I remember a time when I opened an envelope? Touché and fair enough. Or a PDF and enclosure, fair enough.

Can you remember a time where you've open an envelope and it's somebody that you hadn't heard of and you just, by the end of, you know, half an hour later, you're singing, oh, happy day? Well, can I remember a time when I opened an envelope? Touché and fair enough. Or a PDF and enclosure, fair enough.

Can you remember a time where you've open an envelope and it's somebody that you hadn't heard of and you just, by the end of, you know, half an hour later, you're singing, oh, happy day? Well, can I remember a time when I opened an envelope? Touché and fair enough. Or a PDF and enclosure, fair enough.

But once Ross made the crucial hire of Catherine White, an editor who insisted on bringing the best of fiction and poetry to the magazine, Things changed. And over a century's worth of issues, we've published an immense body of short fiction and poems.

But once Ross made the crucial hire of Catherine White, an editor who insisted on bringing the best of fiction and poetry to the magazine, Things changed. And over a century's worth of issues, we've published an immense body of short fiction and poems.

But once Ross made the crucial hire of Catherine White, an editor who insisted on bringing the best of fiction and poetry to the magazine, Things changed. And over a century's worth of issues, we've published an immense body of short fiction and poems.

Kevin Young, and I want a little shout out here to Debra Garrison, who was so wonderful at Knopfen, helping us all out. Thank you so much. Happy anniversary.

Kevin Young, and I want a little shout out here to Debra Garrison, who was so wonderful at Knopfen, helping us all out. Thank you so much. Happy anniversary.

Kevin Young, and I want a little shout out here to Debra Garrison, who was so wonderful at Knopfen, helping us all out. Thank you so much. Happy anniversary.

That's The New Yorker's fiction editor, Debra Triesman, along with our poetry editor, Kevin Young. A century of fiction and a century of poetry come out this month, and of course you can always subscribe at newyorker.com. I'm David Remnick, this is The New Yorker Radio Hour. Thanks for joining us, and see you next time.

That's The New Yorker's fiction editor, Debra Triesman, along with our poetry editor, Kevin Young. A century of fiction and a century of poetry come out this month, and of course you can always subscribe at newyorker.com. I'm David Remnick, this is The New Yorker Radio Hour. Thanks for joining us, and see you next time.

That's The New Yorker's fiction editor, Debra Triesman, along with our poetry editor, Kevin Young. A century of fiction and a century of poetry come out this month, and of course you can always subscribe at newyorker.com. I'm David Remnick, this is The New Yorker Radio Hour. Thanks for joining us, and see you next time.

And so you went back and read every single one. And how many poems do we have? Any idea, Kevin?

And so you went back and read every single one. And how many poems do we have? Any idea, Kevin?

And so you went back and read every single one. And how many poems do we have? Any idea, Kevin?

Deborah Triesman and Kevin Young have just put together two anthologies to celebrate the New Yorker Centennial. Deborah has been the magazine's fiction editor and my colleague since 2003, and she's just edited A Century of Fiction at the New Yorker. Kevin joined us as poetry editor in 2017.

Deborah Triesman and Kevin Young have just put together two anthologies to celebrate the New Yorker Centennial. Deborah has been the magazine's fiction editor and my colleague since 2003, and she's just edited A Century of Fiction at the New Yorker. Kevin joined us as poetry editor in 2017.

Deborah Triesman and Kevin Young have just put together two anthologies to celebrate the New Yorker Centennial. Deborah has been the magazine's fiction editor and my colleague since 2003, and she's just edited A Century of Fiction at the New Yorker. Kevin joined us as poetry editor in 2017.

He's an amazing poet and the director of the Smithsonian's National Museum of African American History and Culture. And in his spare time, he's edited the new book, A Century of Poetry at the New Yorker. Kevin, du hast gesagt, als du erwachsen bist, hast du eine Kopie des New Yorker Buches von Poems Anthology gekauft, das 1969 veröffentlicht wurde.

He's an amazing poet and the director of the Smithsonian's National Museum of African American History and Culture. And in his spare time, he's edited the new book, A Century of Poetry at the New Yorker. Kevin, du hast gesagt, als du erwachsen bist, hast du eine Kopie des New Yorker Buches von Poems Anthology gekauft, das 1969 veröffentlicht wurde.

He's an amazing poet and the director of the Smithsonian's National Museum of African American History and Culture. And in his spare time, he's edited the new book, A Century of Poetry at the New Yorker. Kevin, du hast gesagt, als du erwachsen bist, hast du eine Kopie des New Yorker Buches von Poems Anthology gekauft, das 1969 veröffentlicht wurde.

Was erinnerst du dich an, als du das Buch gelesen hast, wer dabei war und vielleicht zumindest zu dem Punkt, wer es nicht war?

Was erinnerst du dich an, als du das Buch gelesen hast, wer dabei war und vielleicht zumindest zu dem Punkt, wer es nicht war?

Was erinnerst du dich an, als du das Buch gelesen hast, wer dabei war und vielleicht zumindest zu dem Punkt, wer es nicht war?

And then you who come along so many years later were only the sixth black poet in our pages.

And then you who come along so many years later were only the sixth black poet in our pages.

And then you who come along so many years later were only the sixth black poet in our pages.

What accounts for that?

What accounts for that?

What accounts for that?

For the big poets in the 50s, I think they would have found the New Yorker anathema somehow.

For the big poets in the 50s, I think they would have found the New Yorker anathema somehow.

For the big poets in the 50s, I think they would have found the New Yorker anathema somehow.

Und die erste Note ist ein sehr kurzes Nein, danke. Und plötzlich wird es viel wärmer. Als Fiktionseditor, auch heute, lebst du in Angst vor dem Verlangen eines potenziellen Geniuses? Wenn Dinge kommen, was denkst du immer?

Und die erste Note ist ein sehr kurzes Nein, danke. Und plötzlich wird es viel wärmer. Als Fiktionseditor, auch heute, lebst du in Angst vor dem Verlangen eines potenziellen Geniuses? Wenn Dinge kommen, was denkst du immer?

Und die erste Note ist ein sehr kurzes Nein, danke. Und plötzlich wird es viel wärmer. Als Fiktionseditor, auch heute, lebst du in Angst vor dem Verlangen eines potenziellen Geniuses? Wenn Dinge kommen, was denkst du immer?

Ann Beattie, 44 rejections before Roger Angel.

Ann Beattie, 44 rejections before Roger Angel.

Ann Beattie, 44 rejections before Roger Angel.

Deborah, there was a period, a long period, where people would refer to The New Yorker Story, that there was this thing called The New Yorker Short Story. What was it and how did that reputation develop, fairly or not?

Deborah, there was a period, a long period, where people would refer to The New Yorker Story, that there was this thing called The New Yorker Short Story. What was it and how did that reputation develop, fairly or not?

Deborah, there was a period, a long period, where people would refer to The New Yorker Story, that there was this thing called The New Yorker Short Story. What was it and how did that reputation develop, fairly or not?

Und als du zurückgingst und ein paar dieser Sachen gelesen hast, wie hast du sie reagiert? Hast du sie mehr begeistert, als du dachtest, oder warst du mit ihnen müde?

Und als du zurückgingst und ein paar dieser Sachen gelesen hast, wie hast du sie reagiert? Hast du sie mehr begeistert, als du dachtest, oder warst du mit ihnen müde?

Und als du zurückgingst und ein paar dieser Sachen gelesen hast, wie hast du sie reagiert? Hast du sie mehr begeistert, als du dachtest, oder warst du mit ihnen müde?

What choice did you make?

What choice did you make?

What choice did you make?

I hope, yeah. For the most part.

I hope, yeah. For the most part.

I hope, yeah. For the most part.

The New Yorker's fiction editor Deborah Treisman will continue in a moment.

The New Yorker's fiction editor Deborah Treisman will continue in a moment.

The New Yorker's fiction editor Deborah Treisman will continue in a moment.

And wound up killing 20, 30,000 people or so before it was over with.

And wound up killing 20, 30,000 people or so before it was over with.

And wound up killing 20, 30,000 people or so before it was over with.

The thing that seems to date maybe fastest, when I look back at old New Yorkers, is humor. I'll read the supposedly hilarious Alexander Wolcott, and I don't know what the hell he's talking about, three quarters of the time.

The thing that seems to date maybe fastest, when I look back at old New Yorkers, is humor. I'll read the supposedly hilarious Alexander Wolcott, and I don't know what the hell he's talking about, three quarters of the time.

The thing that seems to date maybe fastest, when I look back at old New Yorkers, is humor. I'll read the supposedly hilarious Alexander Wolcott, and I don't know what the hell he's talking about, three quarters of the time.

As it was a New Yorker story?

As it was a New Yorker story?

As it was a New Yorker story?

Aber einige davon sind so großartig.

Aber einige davon sind so großartig.

Aber einige davon sind so großartig.

Also, wenn du das heute hattest, du dachtest, es wäre erfolgreich, dann würde es gehen. I would hope. Do people write it?

Also, wenn du das heute hattest, du dachtest, es wäre erfolgreich, dann würde es gehen. I would hope. Do people write it?

Also, wenn du das heute hattest, du dachtest, es wäre erfolgreich, dann würde es gehen. I would hope. Do people write it?

Kevin, you went with a different choice on how you organized this book. Maybe you should explain it.

Kevin, you went with a different choice on how you organized this book. Maybe you should explain it.

Kevin, you went with a different choice on how you organized this book. Maybe you should explain it.

So you intersperse the time, the progression of the day and it's ingenious and it really works. You begin the anthology, Kevin, with a poem by a Polish poet. Erzähl mir die Geschichte dieses Poems, wann es erscheint. Und vielleicht könntest du es für uns lesen.

So you intersperse the time, the progression of the day and it's ingenious and it really works. You begin the anthology, Kevin, with a poem by a Polish poet. Erzähl mir die Geschichte dieses Poems, wann es erscheint. Und vielleicht könntest du es für uns lesen.

So you intersperse the time, the progression of the day and it's ingenious and it really works. You begin the anthology, Kevin, with a poem by a Polish poet. Erzähl mir die Geschichte dieses Poems, wann es erscheint. Und vielleicht könntest du es für uns lesen.

It was the issue right after 9-11. Which I remember getting. Yeah, with the black cover by Art Spiegelman and Francoise Mouly and a long narrative by a lot of reporters about what had happened.

It was the issue right after 9-11. Which I remember getting. Yeah, with the black cover by Art Spiegelman and Francoise Mouly and a long narrative by a lot of reporters about what had happened.

It was the issue right after 9-11. Which I remember getting. Yeah, with the black cover by Art Spiegelman and Francoise Mouly and a long narrative by a lot of reporters about what had happened.

Ich erinnere mich daran, dass Alice Quinn mir dieses Lied gegeben hat. Ich war wie alle anderen ein Verrückter. Ich habe eine halbe Woche im Büro geblieben. Ich war wie ein Puddel. Ich war wie ein Puddel und ich habe dieses Lied bekommen. Wir haben es einfach auf die Rückseite gelegt, was wir nicht normalerweise machen.

Ich erinnere mich daran, dass Alice Quinn mir dieses Lied gegeben hat. Ich war wie alle anderen ein Verrückter. Ich habe eine halbe Woche im Büro geblieben. Ich war wie ein Puddel. Ich war wie ein Puddel und ich habe dieses Lied bekommen. Wir haben es einfach auf die Rückseite gelegt, was wir nicht normalerweise machen.

Ich erinnere mich daran, dass Alice Quinn mir dieses Lied gegeben hat. Ich war wie alle anderen ein Verrückter. Ich habe eine halbe Woche im Büro geblieben. Ich war wie ein Puddel. Ich war wie ein Puddel und ich habe dieses Lied bekommen. Wir haben es einfach auf die Rückseite gelegt, was wir nicht normalerweise machen.

This is the New Yorker Radio Hour. I'm David Remnick. In February, just a couple of weeks from now, the New Yorker will mark its centenary, a hundred years of publishing. And yet, when we began, the New Yorker's founding editor, Harold Ross, saw the magazine almost purely as what he called a comic paper. Those first issues were light as air.

This is the New Yorker Radio Hour. I'm David Remnick. In February, just a couple of weeks from now, the New Yorker will mark its centenary, a hundred years of publishing. And yet, when we began, the New Yorker's founding editor, Harold Ross, saw the magazine almost purely as what he called a comic paper. Those first issues were light as air.

This is the New Yorker Radio Hour. I'm David Remnick. In February, just a couple of weeks from now, the New Yorker will mark its centenary, a hundred years of publishing. And yet, when we began, the New Yorker's founding editor, Harold Ross, saw the magazine almost purely as what he called a comic paper. Those first issues were light as air.

Deborah, how do you see politics filtering or not filtering into the short stories that you read week after week?

Deborah, how do you see politics filtering or not filtering into the short stories that you read week after week?

Deborah, how do you see politics filtering or not filtering into the short stories that you read week after week?

Deborah, I want to ask you about your day-to-day work as a fiction editor. How many stories does The New Yorker get a week?

Deborah, I want to ask you about your day-to-day work as a fiction editor. How many stories does The New Yorker get a week?

Deborah, I want to ask you about your day-to-day work as a fiction editor. How many stories does The New Yorker get a week?

Das sind viele Geschichten.

Das sind viele Geschichten.

Das sind viele Geschichten.