On this episode of Writers at Work, I'm joined by Alex Lin, playwright and screenwriter, whose métier per Forbes magazine is the lives of, "complex women in power while also working to bridge the gap between scientific discovery and pop culture." I quote Forbes because its editors recently placed Alex on its 30 Under 30 list, naming her one of America's brightest young talents.

Alex's achievements thus far include two plays premiering at major New York theaters in the same season, Lao Wang: A Chinatown King Lear at Primary Stages, and Chinese Republicans at the Roundabout Theater. Alex also wrote for the AMC series The Audacity, which premiered this past Sunday. A graduate of Juilliard, Alex is the winner of a Stavis Award presented by the National Theatre Conference, and two Kennedy Center awards.

Her plays have been developed by countless regional theaters and workshops, and she's worked as an actor. As I understand it, she's now at work on a play about the first Cantonese language translator working at Angel Island in San Francisco, the primary immigration station on the West Coast in the early part of the 20th century.

With me on this episode of Writers at Work is Mark Braude, author of THE TYPEWRITER AND THE GUILLOTINE: AN AMERICAN JOURNALIST, A GERMAN SERIAL KILLER, AND PARIS ON THE EVE OF WWII. The American journalist is Janet Flanner, best known for her work for The New Yorker. The German serial killer is a wormy, self-deluded, lifelong criminal, and the setting is, as stated, Paris during the build-up to the Second World War.

THE TYPEWRITER AND THE GUILLOTINE is the third non-fiction work by Mark Brodie, whose previous KIKI MAN RAY: ART, LOVE, AND RIVALRY IN 1920s PARIS was named a notable book of 2022 by the New York Times, and a New Yorker Best Book of the Year. In 2018, he published THE INVISIBLE EMPEROR: NAPOLEON ON ELBA FROM EXILE TO ESCAPE, and two years earlier, MAKING MONTE CARLO: A HISTORY OF SPECULATION AND SPECTACLE.

Mark holds a PhD in History from the University of Southern California, and a Master's in French Studies from New York University.

An aside: I just returned from a writer's conference where I think I may have spoken more about THE TYPEWRITER AND THE GUILLOTINE than I did my own novels. I'm eager to find out how this book I admire so came to be.

I'm pleased to be joined today on Writers at Work by Ron Charles, the book critic best known for his reviews published in the Washington Post, his former employer. If you know Ron's work, it goes without saying that his unceremonious exit from the Post represents another blow to the relevance of books and literature in American mainstream media.

On his Substack, Ron discussed his situation with characteristic self-deprecation. "I didn't start off as a journalist," he wrote. "Some might say I didn't end up one either. 30 years ago, I gave up a perfectly respectable job teaching English to write book reviews for the Christian Science Monitor." His aunt's huffy reaction? "'Surely, they're not gonna pay you to do that?' They did." Ron said he had some of the best years of his life at the Monitor, even if he toiled in relative obscurity. After a series of interviews, he was hired as a critic by the Washington Post. In time, he became editor of its Book World section.

After two decades and having received a National Book Critics Circle Award and served as a Pulitzer Prize judge, Ron was let go by the Post and Book World was shut down. As the New Yorker's Becca Rothfeld summarized, "No one who has anything to do with books remains employed at the Post."

Among US mainstream media, only the New York Times has a section dedicated to book reviews, though my former employer, the Wall Street Journal, regularly publishes book reviews. We can find publications and blogs dedicated to books, but as Becca points out, "They are produced for an audience that already knows or cares about literature. The books section of a newspaper plays an altogether different role. It does not cater to aficionados. It seeks new recruits."

It's been reported that at Ernst Lubitsch's funeral in 1947, Billy Wilder said, "No more Lubitsch" and William Wyler replied, "Worse than that, no more Lubitsch films." We can find online book reviews Ron Charles wrote for the Post and his reviews for CBS Sunday Morning on YouTube, but are we at the point of no more new Ron Charles book reviews?

My guest on this episode of Writers at Work is Don Winslow. His latest, THE FINAL SCORE, marks his return following his announced retirement in 2022. It's a six-story crime collection Stephen King called, "The best crime fiction I've read in 20 years." Having read them as if I were starving for Don's style of storytelling, I will tell you that the collection will make you very glad he's back.

Prior to his retirement to focus on his political activism, Don was at the peak of his popularity in a career that began in 1991 with his Neil Carey PI series. Next came several memorable stand-alones, THE WINTER OF FRANKIE MACHINE, SAVAGES, and if I may, a personal favorite, CALIFORNIA FIRE AND LIFE.

THE POWER OF THE DOG, which explored America's war on drugs through the experiences of a range of characters, kicked off his Cartel Trilogy. Its third novel, THE BORDER, now considered a classic of its kind, was cited as the best book of 2019 by the Washington Post, National Public Radio, The Guardian, The Irish Times, Book List, and many others.

Beginning in 2022, Don published in succession, CITY ON FIRE, CITY OF DREAMS, and CITY OF RUINS, his Organized Crime Trilogy. Several of his works have been made into feature films, including Crime 101, based on Don's novella of the same name. The film stars Chris Hemsworth, Mark Ruffalo, and Halle Berry. It arrives in theaters on February 13th.

Like many readers, I was disheartened when Don announced his retirement, though I was well aware that he was deeply troubled by the actions of the Trump administration. I want to start our conversation with that decision.

Elizabeth Chamblee Birch joins me today on Writers at Work. She is the author of THE PAIN BROKERS: HOW CON MEN, CALL CENTERS, AND ROGUE DOCTORS FUEL AMERICA'S LAWSUIT FACTORY. It's Elizabeth's first book, but not the first time she's written on legal matters in such a way that can fascinate laymen.

Her thoughts on mass tort lawsuits have appeared in the New York Times, the Wall Street Journal, Forbes, and on National Public Radio. She is the Fuller E. Callaway Chair of Law at the University of Georgia School of Law. For the uninitiated, such as myself, a mass tort is a civil action involving numerous plaintiffs against one or a few defendants in a state or federal court.

In THE PAIN BROKERS, Elizabeth writes of a scheme by the medical and legal industrial complex that exploits a view that women's bodies are commodities, and their pain not a major concern. She does so by telling us about Geri Plummer, Barb Shepherd, and Sharon Gore, who are among the thousands of women tempted by deceitful telemarketers, who flew to Florida to undergo surgical procedures, setting off a flood of millions of insurance dollars to white-shoe lawyers, doctors, and unscrupulous con artists.

What became of Geri, Barb, and Sharon? Elizabeth tells us that and more.

Joining me on Writers at Work is Janice Page, author of YEAR OF THE WATER HORSE, a wise and often amusing memoir about her melting pot family, in particular its girls and women, for most of which are Janice's mom, Janice herself, her mother-in-law, and her adopted daughter, Zoe.

Amazing how a well-told story about someone else's family can remind us of our own. With YEAR OF THE WATER HORSE, Janice continues a fruitful career in books and journalism. She's a cultural and arts editor at The Washington Post. She was a deputy managing editor at The Boston Globe, charged with publications of books that bore the Globe's brand, including several bestsellers.

She was on the staff of the L.A. Times, the Providence Journal, and freelanced for The New York Times. Janice tells us much about herself in YEAR OF THE WATER HORSE. Let's see if there's more to discover.

With me on Writers at Work is Matthew Pearl, author of the novel THE AWARD. And I will say upfront that if you are a writer or want to be a writer or are curious at all about writers, this is a book for you.

Matthew Pearl is the author of many highly regarded and best-selling novels, including the historical fiction works THE DANTE CLUB and THE POE SHADOW, the latter about the death of Edgar Allan Poe. His THE TECHNOLOGISTS is an alternative history about the early days of MIT. In 2021, he published his first work of non-fiction, THE TAKING OF JEMIMA BOONE: COLONIAL SETTLERS, TRIBAL NATIONS, AND THE KIDNAP THAT SHAPED AMERICA – A TRUE STORY OF RESCUE AND REVENGE IN REVOLUTIONARY 1776. His journalism has appeared in The New York Times, The Boston Globe, and Slate.

Which brings us to THE AWARD. The New Yorker said it "revels in its wickedness," and Tom Perrotta called it "addictive" and "propulsive" in comparing it to a Patricia Highsmith thriller. Without giving too much away, in THE AWARD, struggling novelist David Trent moves into a building in Cambridge, Massachusetts. On the floor below lived Silas Hale, a very famous author who, despite his acclaim, is disdainful to many, David perhaps most of all.

But then David wins a major award for his novel. Or does he? And chaos ensues. Who knew writing was such a fraught and deadly occupation. I found THE AWARD to be a lot of fun, its characters all too familiar, yet surprising in their actions.

With me on this first episode of Writers at Work of the new year is Lauren Rothery, author of TELEVISION, her debut novel.

If you visit laurenrothery.net, you'll find links to a number of short films she wrote and directed. As for TELEVISION, it's an intriguing, cleverly told novel about Verity, a famous actor who, after appearing in a hit film he detests, announces he will hold a lottery to give away the $80 million he stands to make from the picture.

Another primary character is Helen, an insightful, often cynical woman on the periphery of the entertainment business, and who Verity wishes were his wife. Then comes Phoebe, an aspiring screenwriter who can't seem to stop fantasizing about writing in order to actually write. The novel has a lived-in feel, in which we, the readers, swim in the characters' thoughts that are often mundane, occasionally astute, and always revealing.