The esteemed translator of Elena Ferrante and Pier Paolo Pasolini says of her work, “It is an impossible task, but nevertheless, it has to be done.” And she does it wonderfully.  Presented with Rizzoli Bookstore, Europa Editions. and Words Without Borders. Music: Beppe Gambetta.

When Europeans take one of his tours, do they seek the Harlem of today or of the Harlem Renaissance? “They’ve got a kind of fable of Harlem,” says this preservationist, and then he goes to work and reconciles the present with the past. Produced with Open House New York. Music: Hubby Jenkins

“I had dreams of playing basketball then going to law school and doing what Perry Mason did.” Those dreams came true. The Knicks. Harvard Law. The Brooklyn DA’s office. And now he teaches at Columbia’s School of Professional Studies, a co-producer of this episode. (I had dreams that I could fly. I can’t.)

The gender balance in her profession is disheartening, she says, “It has one of the smallest percentages of women. I mean the ratio is astounding.” U.S. Senator? Catholic priest? Not quite that bad. She is a magician. But things are improving. Produced with KGB Bar’s Red Room. Music: Teddy Horangic with Leonid Morozov

They spent much of their professional lives as public defenders in the Bronx, working in an unjust system, and its flaws persist. Discouraged? Nah. “If you’re trying to solve a problem you can solve in your lifetime, you’re thinking too small.”

Poet, theologian, host of the On Being Studios podcast Poetry Unbound, he has a favorite pencil but is not a fanatic: “I use anything to get the idea down. I have written with pens and pencils; I have written on the back of sick bags on airplanes.” Computers. Cellphones. No crayon, but he’s not above it. Produced with Columbia University’s School of Nursing. Music: Jefferson Hamer.

The president of the Brooklyn Botanic Garden is proud that it is a treasure for the entire city and maybe even prouder of its ties to its local community: “The neighborhood is deep into us, and we’re deep into the neighborhood.” Like roots. Or vines. Or some other sort of metaphoric floral something. Music: Craig Harris

Music offers more than aesthetic pleasure, asserts this conductor: “Music has the power to transport its audiences to a time that no longer exists.” A gentler time, without covid or attack drones or Elon Musk. He’s founded a chamber orchestra, Parlando, on that belief.

Writer of “The Morning” newsletter for The New York Times and author of Ours Was the Shining Future, he admires A. Philip Randolph, who championed this idea: “Collective action around labor and workers is the most powerful vehicle for changing this country.” The echoes and implications of social class.

I’m against nose jobs for ordinary noses (like mine), but this journalist, who’s covered cosmetic surgery for decades, is less judgmental: “I believe everybody is free to do what they want with their body.” Incidentally, she’s just turned 96 and looks fabulous.

This former Manhattan borough historian admires the enormously accomplished, nearly forgotten, 19th-century New Yorker Andrew H. Green: “He is often compared to Robert Moses. In a favorable way.” To be fair, so is my cat, who’s destroyed only my sofa but no entire neighborhood.

As a young actor (Local Hero, Crossing Delancey, Animal House) he played Goldberg in The Birthday Party, overseen by Harold Pinter himself. One speech was particularly opaque. “I had no idea what it meant, but to say these words was to be Isaac Stern on the violin.” Learning to trust the writer. Produced with the Museum of Jewish Heritage.

This interior designer is celebrated for her work on low-income housing projects, but not universally celebrated. Sometimes a client resists: “You’re making it too nice for these people; these people will tear it up.” Bringing good design to “these people.” Music: Mireya Ramos, Sinhue Padilla. Presented with the Van Alen Institute.

This Israeli-American architect likes buildings, of course, but it’s the spaces between buildings that he loves. “It’s a blur between public and private, it’s a stage, it’s sort of an in-between territory, a threshold to the city, a place of in-between.” Produced with the Center for Architecture. Music: Liz Hanley

Some architects want their buildings to endure unchanged for all eternity, but these partners embrace transformation: “We hope our La Brea Museum, 100 years from now, will be appropriated by somebody else.” (By a mammoth with a sense of irony?) Produced with the National Academy of Design. Music: Mamie Minch.

As a kid, this mezzo soprano sang in a church choir with this implicit purpose: “To bring joy to people, and bring comfort to people, and help people feel what they need to feel.” Not a bad approach to art or, for that matter, life.

Although utopia has not arrived, racial segregation has diminished since the reopening of the Apollo Theater in 1934, so is the place still needed? Absolutely, declares its Director of New Works: “The Apollo will always be necessary as long as we have stories to tell.” Presented with the Ford Foundation and the Municipal Art Society. Music: Rashad Brown

The International Declaration of Human Rights is a blueprint for compassionate, egalitarian, democratic societies, says the president and CEO of American Jewish World Service, including this: “Article 24 is the right to a vacation. There are some amazing things in here.” Sure, but where’s its Second Amendment? Produced with the Marlene Meyerson JCC Manhattan. Music: Kevin Nathaniel Hylton, Salieu Suso

This New York Times book critic has many off-the-job accomplishments: “Learning how to eat chicken feet and love them is one thing I’m really proud of.” The author of The Upstairs Deli expands our capacity for joy—in reading, in eating, in life. Produced with Rizzoli bookstore. Music: Stephanie Jenkins.

This magician had mixed feelings when he figured out how a colleague performed an illusion. “It was no less amazing to me when I knew how it was done, but it was disappointing.” The austere joy of knowledge or the sensuous pleasure of mystery: a magician’s dilemma. Produced with Lori Schwarz for KGB Bar’s Red Room. Music: Reed Miller.

Her father, Walter, was the grand master of cat photography. “Growing up,” she says, “when you told somebody what your parents did, it was just like: what?” Presented with Fotografiska, where his work can be seen through January in the exhibition Best in Show, Pets in Contemporary Photography. Music: Jordan McLean, Jose Escobar

In addition to his work for corporations (Nike, Apple) and non-profits, this graphic designer documents everything, not just as a way to record an event but as an act of meditation: “Documenting allows me to slow it down and to sit in that space a little longer.” Produced with the Type Directors Club, part of The One Club for Creativity.  Music: Rashad Brown

Speaking at—and of—Gansevoort Plaza, a public space he designed, landscape architect Ken Smith considers the implications of the past as well as the needs of the present: “Land has memory. It’s really a crime to erase the memory of a place.” Produced with Meatpacking-District BID. Music: Rob Duncan and Mayumi Miyaoka.

This composer, mastermind of “Piano Puzzlers,” feared premature death: “Schubert died at 31, Mozart died at 35, Gershwin died at 39. I thought because my father died when he was 55, that I would, too.” A conversation at Steinway Hall on fathers, sons, and the neuroscience of creativity.

As young actor—he’s now 97— he studied with Stella Adler along with Marlon Brando, (“He was a great actor but an impossible person.”) a saga he recounts in The Star Dressing Room. One of them became the head of Warner Brothers Television, the other became Marlon Brando.