Podcasts about ancient mariner

Our guest reveals pioneer leaders’ differing views on Singapore’s Aug 9, 1965 split from Malaysia. Synopsis: The Straits Times’ chief columnist Sumiko Tan speaks to Janadas Devan, senior adviser at the Ministry of Digital Development and Information, on how the The Albatross File: Inside Separation sheds fresh light on the decisions that led to Singapore’s independence. Edited by Susan Sim, the 488-page volume is co-published by Straits Times Press and the National Archives of Singapore, and was launched by Senior Minister Lee Hsien Loong on Dec 7 alongside an exhibition at the National Library. Mr Janadas, who coordinated the book, explains that Singapore’s 1963 merger with Malaysia was fraught from the outset, with the 1964 race riots further straining ties. Finance Minister Dr Goh Keng Swee kept a private file he code-named “Albatross”, a reference to the bird in Samuel Taylor Coleridge’s famous 1798 poem, The Rime of the Ancient Mariner, symbolising the burden of the troubled merger. Documents inside the file range from an early Cabinet memo by Prime Minister Lee Kuan Yew to the final Separation Agreement, and includes Dr Goh’s handwritten notes of his meetings with Malaysian leaders. Mr Janadas highlights how merger with Malaysia was a fundamental aim of Mr Lee’s People’s Action Party. It is something young Singaporeans today might find hard to understand, he acknowledges. But the merger was problematic, and proposals for a looser federation eventually collapsed, derailed by unclear terms and British anxieties as Indonesia’s Confrontation was then raging. Dr Goh led the talks for Singapore, navigating sensitive issues and political tensions. Within the Singapore leadership, views differed on whether Singapore should — or could — make it alone. Dr Goh pushed for going separate ways as the best option, while ministers Toh Chin Chye and S. Rajaratnam opposed separation once they learnt of it. Mr Lee was deeply torn, but ultimately authorised the move. Within a few years, Singapore's leaders concluded that Separation was the best outcome for Singapore. Mr Janadas also reflects on his father, Mr Devan Nair, who was the only PAP MP voted into the Malaysian Parliament at the time. When the two sides separated, his father decided to stay on in Malaysia, only returning to Singapore in 1969. Highlights (click/tap above): 5:11 The political climate of the 1960s 7:59 Why young Singaporeans may struggle to understand why the PAP pushed for merger with Malaysia 9:32 Early trouble after merger in 1963; Umno lost 3 seats it contested in Singapore GE to PAP’s Malay candidates 13:13 Was a looser federation ever an option? 17:23 The role of the British as Singapore and Malaysia leaders tried to work through their disagreements 18:35 What did Lee Kuan Yew mean by making life intolerable for the Malaysian leadership? 27:35 Diverging views: Lee always wanted a looser federation but Dr Goh felt separation was the answer 32:45 How Mrs Lee says that the closest her husband came to a nervous breakdown was August 9th, 1965 39:03 Janadas on how his father, Devan Nair, refused to accept Separation at first, before being convinced by Lee to eventually return 44:32 Do Singaporeans today underestimate how fragile the nation’s early years were? Buy the book: The Albatross File: Inside Separation (Standard/Collector’s Editions) https://www.stbooks.sg/products/the-albatross-file-inside-separation-collectors-edition Book tickets to the exhibition opening Dec 8 at the National Library Building: https://thealbatrossfile.nlb.gov.sg Host: Sumiko Tan (sumiko@sph.com.sg) Read Sumiko’s articles: https://str.sg/Jbhe Sign up for ST’s weekly Asian Insider newsletter: https://str.sg/sfpz Produced and edited by: Fa’izah Sani Executive producer: Ernest Luis Follow Asian Insider Podcast on Fridays here: Channel: https://str.sg/JWa7 Apple Podcasts: https://str.sg/JWa8 Spotify: https://str.sg/JWaX Feedback to: podcast@sph.com.sg SPH Awedio app: https://www.awedio.sg --- Follow more ST podcast channels: All-in-one ST Podcasts channel: https://str.sg/wvz7 Get more updates: http://str.sg/stpodcasts The Usual Place Podcast YouTube: https://str.sg/theusualplacepodcast --- Get The Straits Times app, which has a dedicated podcast player section: The App Store: https://str.sg/icyB Google Play: https://str.sg/icyX --- #STAsianInsiderSee omnystudio.com/listener for privacy information.

Our guest reveals pioneer leaders’ differing views on Singapore’s Aug 9, 1965 split from Malaysia. Synopsis: The Straits Times’ chief columnist Sumiko Tan speaks to Janadas Devan, senior adviser at the Ministry of Digital Development and Information, on how the The Albatross File: Inside Separation sheds fresh light on the decisions that led to Singapore’s independence. Edited by Susan Sim, the 488-page volume is co-published by Straits Times Press and the National Archives of Singapore, and was launched by Senior Minister Lee Hsien Loong on Dec 7 alongside an exhibition at the National Library. Mr Janadas, who coordinated the book, explains that Singapore’s 1963 merger with Malaysia was fraught from the outset, with the 1964 race riots further straining ties. Finance Minister Dr Goh Keng Swee kept a private file he code-named “Albatross”, a reference to the bird in Samuel Taylor Coleridge’s famous 1798 poem, The Rime of the Ancient Mariner, symbolising the burden of the troubled merger. Documents inside the file range from an early Cabinet memo by Prime Minister Lee Kuan Yew to the final Separation Agreement, and includes Dr Goh’s handwritten notes of his meetings with Malaysian leaders. Mr Janadas highlights how merger with Malaysia was a fundamental aim of Mr Lee’s People’s Action Party. It is something young Singaporeans today might find hard to understand, he acknowledges. But the merger was problematic, and proposals for a looser federation eventually collapsed, derailed by unclear terms and British anxieties as Indonesia’s Confrontation was then raging. Dr Goh led the talks for Singapore, navigating sensitive issues and political tensions. Within the Singapore leadership, views differed on whether Singapore should — or could — make it alone. Dr Goh pushed for going separate ways as the best option, while ministers Toh Chin Chye and S. Rajaratnam opposed separation once they learnt of it. Mr Lee was deeply torn, but ultimately authorised the move. Within a few years, Singapore's leaders concluded that Separation was the best outcome for Singapore. Mr Janadas also reflects on his father, Mr Devan Nair, who was the only PAP MP voted into the Malaysian Parliament at the time. When the two sides separated, his father decided to stay on in Malaysia, only returning to Singapore in 1969. Highlights (click/tap above): 5:11 The political climate of the 1960s 7:59 Why young Singaporeans may struggle to understand why the PAP pushed for merger with Malaysia 9:32 Early trouble after merger in 1963; Umno lost 3 seats it contested in Singapore GE to PAP’s Malay candidates 13:13 Was a looser federation ever an option? 17:23 The role of the British as Singapore and Malaysia leaders tried to work through their disagreements 18:35 What did Lee Kuan Yew mean by making life intolerable for the Malaysian leadership? 27:35 Diverging views: Lee always wanted a looser federation but Dr Goh felt separation was the answer 32:45 How Mrs Lee says that the closest her husband came to a nervous breakdown was August 9th, 1965 39:03 Janadas on how his father, Devan Nair, refused to accept Separation at first, before being convinced by Lee to eventually return 44:32 Do Singaporeans today underestimate how fragile the nation’s early years were? Buy the book: The Albatross File: Inside Separation (Standard/Collector’s Editions) https://www.stbooks.sg/products/the-albatross-file-inside-separation-collectors-edition Book tickets to the exhibition opening Dec 8 at the National Library Building: https://thealbatrossfile.nlb.gov.sg Host: Sumiko Tan (sumiko@sph.com.sg) Read Sumiko’s articles: https://str.sg/Jbhe Sign up for ST’s weekly Asian Insider newsletter: https://str.sg/sfpz Produced and edited by: Fa’izah Sani Executive producer: Ernest Luis Follow Asian Insider Podcast on Fridays here: Channel: https://str.sg/JWa7 Apple Podcasts: https://str.sg/JWa8 Spotify: https://str.sg/JWaX Feedback to: podcast@sph.com.sg SPH Awedio app: https://www.awedio.sg --- Follow more ST podcast channels: All-in-one ST Podcasts channel: https://str.sg/wvz7 Get more updates: http://str.sg/stpodcasts The Usual Place Podcast YouTube: https://str.sg/theusualplacepodcast --- Get The Straits Times app, which has a dedicated podcast player section: The App Store: https://str.sg/icyB Google Play: https://str.sg/icyX --- #STAsianInsiderSee omnystudio.com/listener for privacy information.

In this episode I am once again joined by Duncan Barford, occult practitioner, counsellor, and author of “Occult Experiments in the Home”. Duncan begins with an analysis of the 2016 film, “A Dark Song”, which he believes is the most accurate depiction of occult practice in cinema. Duncan details the plot, breaks down its depictions of ritual, and shares his own emotional reaction to the film's climax. Duncan then shifts gear and gives a detailed explanation of the infamous Abramelin ritual, a multi-month ritual considered by many to be the most ambitious working a magician can attempt. Duncan gives a survey of the major written accounts of those who have attempted it including Aleister Crowley, Lionel Snell, and William Bloom; reveals why the ritual has such a high failure rate; and shares what he believes is the key to success. Duncan also analyses the esoteric structure of Coleridge's poem “Rime of the Ancient Mariner” and interprets it as a description of the spiritual path, proposes an equivalency between success in the Abramelin and Buddhist stream entry, and reveals why he believes the study of history is an obstacle to magickal success. … Video version: https://www.guruviking.com/podcast/ep336-the-magick-of-abramelin-duncan-barford-3 Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'. … Topics include: 00:00 - Intro 01:28 - The Magick of A Dark Song 02:45 - The film 04:41 - The Abramelin Ritual 07:23 - Cinematic depictions of magick 08:04 - Spoiler warnings and the plot 08:24 - Hiring the magician 10:03 - Sophia's motive for the ritual 11:36 - A deep understanding of how ritual works 14:40 - Describing the magickal working 17:04 - Meeting the Holy Guardian Angel 21:01 - The practitioner's journey 25:58 - Characer arcs 30:03 - The key of devotion 33:02 - The esoteric structure of Coleridge's “Rime of the Ancient Mariner” 33:34 - The cycle of insight 38:37 - Crisis, breakthrough, ordeal, union 43:38 - Unsettling themes 44:12 - Interventus Caninus 44:57 - What next after absolution? 45:33 - What is the point of the Abramelin Ritual? 46:46 - Reflecting on the ending of the film 49:39 - Crowley, Snell, Bloom, and Katz - those who attempted the Abramelin 49:54 - Mysterious history of the Abramelin Ritual 52:39 - Recensions of the Abramelin 53:56 - Duncan describes the Abramelin text and ritual 01:00:20 - Why does the Abramelin ritual have such a high failure rate? 01:02:12 - Meeting Lionel Snell 01:04:51 - A tarot reading and why history is an obstacle to real magick 01:06:53 - Daniel Ingram's revision of traditional fire kasina meditation 01:11:00 - Crowley's attempts at the Abramelin ritual 01:14:37 - Other accounts 01:16:40 - William Bloom's attempt 01:20:45 - Secret to success with the Abramelin Ritual 01:24:13 - How to increase the success rate of rituals 01:29:18 - Are you ready to attempt the Abramelin? 01:31:52 - Stream entry and Abramelin 01:34:35 - Duncan reflects on his past claims to attainment 01:37:16 - Questioning pragmatic dharma assumptions and the vogue of stream entry 01:41:00 - Insider vs outsider views 01:42:13 - Does magick really work? 01:43:31 - A story of powerful magickal effects 
… Watch previous episodes with Duncan Barford: - https://www.guruviking.com/search?q=barford To find our more about Duncan Barford, visit: - https://www.duncanbarford.uk/ … For more interviews, videos, and more visit: - https://www.guruviking.com Music ‘Deva Dasi' by Steve James

Send us a textLikened to a fresh Yorkshire breeze, Malachi Whitaker's year-in-the-life memoir And So Did I, published in 1939, is a quirky spirit-quest juxtaposing wry humor and contemplative observations amidst the impending threat of global conflict. Valerie Waterhouse, a PhD researcher and executor of Whitaker's literary estate, joins us to discuss the author's life and work, as well as her own quest to keep Whitaker's legacy alive, including securing a commemorative blue plaque for her birthplace and writing a forthcoming biography.Mentioned in this episode:And So Did I by Malachi WhitakerThe Journey Home and Other Stories by Malachi WhitkerThe Oxford Book of English Short Stories edited by A.S. Byatt“Landlord of the Crystal Fountain” by Malachi WhitakerA Room of One's Own by Virginia WoolfStevie SmithElizabeth BowenKathleen RaineGay Taylor“What I Believe” by E.M. Forster“Rime of the Ancient Mariner” by Samuel Taylor ColeridgeLost Ladies of Lit Episode No. 3 on E.M. DelafieldLost Ladies of Lit Episode No. 166 on Alba de CéspedesSupport the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter. Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

In this episode, I turn to the Romantics as guides for a world coming apart, viewing Mary Shelley's Frankenstein as a protest against a mechanistic worldview that devalues feeling. Some questions that emerge from this journey are:   What do we do when technology outpaces our moral framework? Just because we're able to do something, should we? What responsibilities do we incur when we create a new form of life?  Are we repeating Frankenstein's mistake when we build systems and then disclaim any obligation to the creatures we have released onto the world? Books Mentioned: Magnificent Rebels, Andrea Wulf Romantic Outlaws, Charlotte Gordon Frankenstein, Mary Shelley A Flash of Golden Fire, Thomas Elsner The Rime of the Ancient Mariner, Samuel Taylor Coleridge The Romantics and Us, Simon Schama BERGHAIN, Rosalia [Lux] Guillermo del Toro's, Frankenstein

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

Stan's guest this week is author and former This Old House host Steve Thomas, discussing the revised and expanded version of his book, The Last Navigator: A Young Man, an Ancient Mariner, the Secrets of the Sea (Abbeville Press). Steve hosted PBS's This Old House for fourteen years, from 1989 through 2003, during which the ...Continue Reading »

The post From The Rime of the Ancient Mariner by Samuel Taylor Coleridge appeared first on A Mouthful of Air.

The Rime of the Ancient Mariner by Samuel Taylor Coleridge (1798) vs The Raven by Edgar Allan Poe (1845)

Roi de l'aviation et empereur du golf, l'Albatros est surtout connu en tant que "Prince des nuées", grâce au célébrissime poème de Charles Baudelaire, qu'il a baptisé du nom de l'oiseau si majestueux dans l'air mais si maladroit sur terre, un peu comme si l'Albatros était un miroir du Poète. Au delà de l'œuvre de Baudelaire, l'Albatros est une figure majeure de la culture moderne anglo-saxonne, de Coleridge à Disney en passant par Iron Maiden...___Et pour en savoir plus sur la biologie de cet oiseau, un épisode de PPDP featuring l'ami Bill François : https://smartlink.ausha.co/ppdp/s03e37-la-philosophie-des-albatros___

What do chess clocks, jazz, and Postgres replication have in common? In Episode 32 of Talking Postgres, solution architect Boriss Mejías shares how the idea of “interconnectedness”—inspired by Douglas Adams—can help you untangle complex Postgres questions. We explore OpenAI's approach to scaling Postgres, how Postgres active-active mirrors Sparta's dual kingship, and how a holistic approach can reveal the behavior of synchronous replication. Also: Beethoven's 17 drafts, and why chasing perfection can hold you back. Listen to learn more about Boriss, Postgres, and the fundamental interconnectedness of all things.Links mentioned in this episode:Podcast Ep32 of Talking Postgres: What went wrong (& what went right) with AIO with Andres FreundPodcast Ep03 of Talking Postgres: Why give talks at Postgres conferences with Álvaro Herrera & Boriss Mejías:  Wikipedia: Dirk Gently's Holistic Detective Agency, by Douglas AdamsTalk at PGConf NYC 2025: Scaling Postgres to the Next Level at OpenAI, by Bohan ZhangVideo of PGConf.dev 2025 talk: Scaling Postgres to the Next Level at OpenAI, by Bohan ZhangTalk at PGConf NYC 2025: Improved Freezing in Postgres Vacuum: From Idea to Commit, by Melanie PlagemanTalk at PGConf NYC 2025: Database Modeling to Study the New York Jazz Scene, by Boriss MejíasJazz Club in NYC: Patrick's Place in HarlemVideo of PGConf EU 2024 talk: Sparta's Dual-Kingship and PostgreSQL Active-Active, by Boriss Mejías Video of POSETTE 2025 talk: Postgres Storytelling: Cunning Schema Design with Creative Data Modeling, by Boriss Mejías & Sarah Conway Talk at FOSDEM PGDay 2024: High Availability Configurations Are Very Common for PostgreSQL, But How Do You Investigate Performance Problems When the Standby Can't Keep Up? by Boriss Mejías and Derk van VeenConference: PGDay Lowlands 2025, the second year of this “second-best Postgres conference in Europe” Conference Schedule: upcoming PGConf EU 2025 in LatviaWikipedia: Chess clockBook: Daily Rituals, by Mason CurreyArticle: It Takes Two to Think, by Itai Yanai & Martin J. LercherPoem: The Rime of the Ancient Mariner, by Samuel ColeridgeWikipedia: City of Bruges Belgium, a good place for beer and cheeseCal invite: LIVE recording of Ep33 of Talking Postgres to happen on Wed Nov 5, 2025

In which applied animal psychiatry proves dangerous to the mind, good hygiene is maintained against all odds, and ancient bodies may not be so ancient after all.   A horror mystery in three parts (for Call of Cthulhu 7e) by Jared Twing, Lynne Hardy and Paul Fricker. Episodes released weekly.   Cast: Arabella Lockwood played by Joseph Chance Ignaz Bierbaum played by Danann McAleer Dave Kovalevskii played by Dan Wheeler …and Philip ‘Pip' Carrington played by Tom Clark* The Keeper of Arcane Lore is Dominic Allen This episode edited by Dominic Allen   *Tom Clark is host of Mystery Quest — where you can also see Dan and Danann playing Delta Green from Friday 9 August!    CW: This podcast contains mature themes, strong language and cosmic horror. Human discretion is advised.   APOCTOBERFEST! is back, and bigger than ever! Mark your calendars with the necessary occult symbols, the dates in question are: Thursday 2nd October–Sunday 5th October 2025, and the place: Bristol, UK. We will be bringing you two improvised live shows at the atmospheric Loco Klub, the return of our popular one-day convention at the Wiper & True taproom, PLUS 'Providence — The Shadow Over Lovecraft', by Dominic Allen and Simon Maeder! This year, buy a Weekend Pass for £50 and receive a ceremonial Apoctoberfest 2025 wristband which gives access to all events, at an almost 15% discount vs purchasing tickets individually. Tickets and more information: https://www.headfirstbristol.co.uk/checkout/apoctoberfest-2025   The Apocalypse Players is an actual play (or live play) TTRPG podcast focused on horror tabletop roleplaying games. Think Dimension 20 or Critical Role, but fewer dragons, more eldritch horrors, and more British actors taking their roleplaying very seriously (most of the time). We primarily play the Chaosium RPG Call of Cthulhu, but have also been known to dabble with other systems, most of which can be found on our Patreon: www.patreon.com/apocalypseplayers   We now have a free Discord server where you can come worship at the altar of the Apocalypse, play Call of Cthulhu online, and meet like-minded cultists who will only be too eager to welcome you into the fold. New sacrifices oops we mean players are always welcome. Join here: discord.com/invite/kRQ62t6SjH   For more information and to get in touch, visit www.apocalypseplayers.com The Apocalypse Players are: Dominic Allen @domjallen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   Music and SFX in this episode:   From Epidemic Sound:   Down to the Chicken Shop - Nicky Dowling Merry on the Moor - Bonnie Grace Hypnoria - Christoffer Moe Ditlevsen La Marseillaise - Traditional Merry on the Moor - Bonnie Grace Treasure Hunt - Helmut Schenker El Chaman - Alcones Negros The Board Is Set - Dream Cave Remorse of a Murderer - Anna Dager Eine Kleine Nachtmusic - W. A. Mozart Tales From The Vienna Woods - Johann Strauss II Without Words - Lalo Brickman The Pieces Are Moving - Dream Cave Ciao Ciao - Trabant 33 Tvivel - Hanna Ekstrom (1) A Gal I Know - Martin Landstrom Se Fue, Se Fue (Instrumental Version) - Alcones Negros Distressed - Hanna Ekstrom Lost in Desire - John Barzetti Glacier - Anna Dager Gradual Collapse - Jon Bjork Strangled by Piano Strings Part 2 - Ludvig Moulin Lovely Dinner - Franz Gordon Dark Space - Ave Air Past Deeds - Dream Cave The Calling Card - Martin Landstrom Ethelda's Last Breath - Sage Oursler Oro - Hanna Ekstrom The Search - Hanna Ekstrom Deepwater Creatures - Experia The Answer Lies - Christoffer Moe Ditlevsen Toxic Water - Jon Bjork Final Days of Captivity - Christian Andersen Path to the Abyss - Christoffer Moe Ditlevsen     From Artlist: Southside Aces - Whole Tony   In the public domain: Victor Military Band - Hornpipe Swiss Yodeling Song – Ernst Ruckstahl-Hasler   By Kevin MacLeod: Music: Cool Vibes by Kevin MacLeod Free download: https://filmmusic.io/song/3553-cool-vibes License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com

In this episode of the Project Narrative Podcast, Jim Phelan and Kent Puckett discuss the 1817 edition of Samuel Taylor Coleridge's “The Rime of the Ancient Mariner.” Kent Puckett is Professor and Ida May and William J. Eggers Jr. Chair in the Department of English at the University of California at Berkeley. Puckett's areas of… Continue reading Episode 45: Jim Phelan & Kent Puckett — Samuel Taylor Coleridge's “The Rime of the Ancient Mariner”

Water, water everywhere, nor any drop to drink. The line from “The Rime of the Ancient Mariner” is true not only on Earth, but across the solar system. Water is everywhere. But it’s not in a form you could drink. It’s in the clouds of the giant outer planets, frozen in the surfaces and ice caps of planets and moons, or buried far below their surfaces. One example is Pluto. The dwarf planet is billions of miles from the Sun, so its surface is frozen. But there’s evidence that liquid water lurks far below. In fact, there could be a global ocean up to a hundred miles deep. One bit of evidence is a feature called Sputnik Planitia – a fairly smooth plain about 600 miles across. It’s almost pure white. And there are no impact craters, suggesting that the surface is young. Among its features are floating blocks of frozen gases. They resemble slabs of ice in the polar regions of Earth. That suggests they could be floating atop liquid water. Plumes of water flow upward, freezing and pushing older ice outward. In fact, the feature might have formed when a big asteroid slammed into Pluto. It vaporized the surface, exposing the ocean below. The water quickly froze, forming the plain we see today. Pluto lines up opposite the Sun this week. It’s in view all night, and shines brightest for the whole year. Script by Damond Benningfield

When Iron Maiden announced they'd be doing the Run For Your Lives Tour in 2025-26, The Wolf & Action Jackson knew they would have to go see a couple of shows. And when there were only European dates announced for 2025, they knew they needed to dust off their passports because there was no way they would be able to wait 2 years to see the boys on what could be their biggest and best (perhaps last?) greatest hits tour ever. So they chose Stockholm as their European venue because 1) They'd never been to Sweden and 2) Iron Maiden played 2 nights there. Plus the Wolf Cub had been promised by her father that he'd take her to see Maiden in Europe once she was old enough (but was she? Swedish authorities didn't think so but we came up with a work-around). Stockholm was an enchanting land full of beautiful people and a packed house full of Iron Maiden fans for 2 nights of heavy metal classics. We were revved up by Lzzy Hale and Halestorm who held their own on the stage and then treated to the best setlist The Wolf has seen in 30 years of seeing the band live. As The Wolf marked his 9th and 10th IM shows, they were the first without Nicko McBrain on the drums as the band introduced Simon Dawson to the family (though most knew him from Steve Harris' side project British Lion). Besides the Eddies who came out to have fun with the band, the real show was the new video screen behind the stage and on the amplifiers. It set the backdrop for the song like showing the Eiffel Tower during Murders in the Rue Morgue or a creepy graveyard for Fear of the Dark. But they also created some more interactive movies for epics like Rhime of the Ancient Mariner and Hallowed Be Thy Name. While the boys played lights out, the screen enhanced the experience and understanding of the lyrics for folks from the front row to the back of the house. Two truly magic nights in Stockholm which only left us wondering when (and where) would we see our heavy metal heroes again. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When Iron Maiden announced they'd be doing the Run For Your Lives Tour in 2025-26, The Wolf & Action Jackson knew they would have to go see a couple of shows. And when there were only European dates announced for 2025, they knew they needed to dust off their passports because there was no way they would be able to wait 2 years to see the boys on what could be their biggest and best (perhaps last?) greatest hits tour ever. So they chose Stockholm as their European venue because 1) They'd never been to Sweden and 2) Iron Maiden played 2 nights there. Plus the Wolf Cub had been promised by her father that he'd take her to see Maiden in Europe once she was old enough (but was she? Swedish authorities didn't think so but we came up with a work-around). Stockholm was an enchanting land full of beautiful people and a packed house full of Iron Maiden fans for 2 nights of heavy metal classics. We were revved up by Lzzy Hale and Halestorm who held their own on the stage and then treated to the best setlist The Wolf has seen in 30 years of seeing the band live. As The Wolf marked his 9th and 10th IM shows, they were the first without Nicko McBrain on the drums as the band introduced Simon Dawson to the family (though most knew him from Steve Harris' side project British Lion). Besides the Eddies who came out to have fun with the band, the real show was the new video screen behind the stage and on the amplifiers. It set the backdrop for the song like showing the Eiffel Tower during Murders in the Rue Morgue or a creepy graveyard for Fear of the Dark. But they also created some more interactive movies for epics like Rhime of the Ancient Mariner and Hallowed Be Thy Name. While the boys played lights out, the screen enhanced the experience and understanding of the lyrics for folks from the front row to the back of the house. Two truly magic nights in Stockholm which only left us wondering when (and where) would we see our heavy metal heroes again. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem is a somber, paternal retrospective from the Ancient Mariner poet. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

You can't have a space sailor fantasy without ghost pirates! And hundred-eyed blobs! Well, you can probably get away with leaving out the blobs, if I'm being honest.  If you're enjoying the show, why not consider supporting it on Patreon? You'll get access to lots of new bonus content, including my other podcast, Patron Deities! Thanks to Ray Otus for our thumbnail image. The intro music is a clip from "Space Quest" by ROBOVALJEAN, used under a Creative Commons Attribution 4.0 International License.

Today's selections are characteristic passages from (maybe) the greatest and (certainly) strangest poem in Lyrical Ballads–Coleridge's Ancient Mariner. Happy reading.(Nota bene: If you are ready for your own copy of Lyrical Ballads, the Oxford World Classics edition is a great way to see the developments across early editions.) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Send us a textThe Spinsters discuss The Rime of the Ancient Mariner by Samuel Taylor Colerige and the Looney Tunes short Water Water Every Hare. They also discuss elephant anatomy (so, so, sorry), the logistics of self-vampirism, and the joy of physical comedy when it's not limited by physics.Check us out at @clashyspinsters on Twitter and Instagram, or send us an email at clashypodcast@gmail.com. Shout out to @robotjellyfish for our logo and Chris Marino for our jingle!

This Postmodern Realities episode is a conversation with JOURNAL author Stephen Mitchell about his article, “Love (Not Rocks) All the Way Down: Horror and Hospitality in ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge”. Coming Soon! Related articles and podcasts by this author:Episode 410: The Just Man Justices: A Review of D. C. Schindler's ‘Retrieving Freedom: The Christian Appropriation of Classical Tradition'The Just Man Justices: A Review of D. C. Schindler's ‘Retrieving Freedom: The Christian Appropriation of Classical Tradition'Episode 357 Christian Faithfulness Via the Agrarianism of Wendell Berry“How to Love a Neighbor in the Anthropocene: Christian Faithfulness Via the Unsettling Agrarianism of Wendell Berry”Episode 329: Christ or Lucretius: Nature and Nature's God in the poems of Mary OliverChrist or Lucretius: Nature and Nature's God in the poems of Mary OliverDon't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

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വർഷം 1861. അമേരിക്കയിലെ തിരക്കേറിയ കാലിഫോർണിയൻ കടൽത്തീരം. മുപ്പതോളം കപ്പുകളാണ് ചരക്കുകൾ കയറ്റുവാനായി തുറമുഖത്ത് നങ്കൂരമിട്ടു കിടക്കുന്നത്. പത്തൊൻപതാം നൂറ്റാണ്ടിലെ കച്ചവടക്കപ്പലുകളായ ക്ലിപ്പർ (Clipper) ഷിപ്പുകളാണ് അവയിൽ ഭൂരിഭാഗവും. ആ വർഷത്തെ വിളവെടുപ്പ് ഗംഭീരമായിരുന്നതിനാൽ കാലിഫോർണിയയിൽ നിന്നും ടൺ കണക്കിന് ഗോതമ്പാണ് ഇപ്രാവിശ്യം ഇത്തരം കപ്പലുകളിൽ കയറിപ്പോകുന്നത്. കാലിഫോർണിയയിൽ നിന്നും തെക്കേ അമേരിക്കയുടെ തെക്കേ അറ്റമായ കേപ് ഹോൺ ചുറ്റി ഏതാണ്ട് മൂന്നോ നാലോ മാസങ്ങൾകൊണ്ടാണ് ക്ലിപ്പർ ഷിപ്പുകൾ ചരക്കുകൾ ഇംഗ്ലണ്ടിൽ കൊണ്ടെത്തിക്കുന്നത്. അക്കാലത്തെ ഏറ്റവും വേഗതയേറിയ കപ്പലുകളാണ് ക്ലിപ്പർ ഷിപ്പുകൾ. --------- Contact me Message : https://juliusmanuel.com/chat Mail : mail@juliusmanuel.com --------------- Instagram https://instagram.com/juliusmanuel_ ------- Website https://juliusmanuel.com Blog https://blog.juliusmanuel.com ----- Buy My Books https://juliusmanuel.com/books =====

Welcome back to The Literary Life podcast and the wrap up of our series on Samuel Taylor Coleridge's Rime of the Ancient Mariner. Today Angelina and Thomas cover the second half of the poem, beginning with some more discussion about the Romantic poets and what they were trying to do through their work. They talk at some length about the importance of imagination and fantasy in response to the focus on realism and science. After this, Thomas reads aloud some of the most important passages in this section of the poem. Angelina brings up the importance of understanding Deism in relation to Romanticism. To see all the books and get the full show notes for today's episode, visit our website for the complete show notes here: https://www.theliterary.life/249/.

On today's episode of The Literary Life, Angelina and Thomas discuss the first half of Samuel Taylor Coleridge's Rime of the Ancient Mariner. They review some of the ideas covered last week, particularly Romanticism and the harkening back to the medieval tradition in contrast to the Neo-Classicism that preceded this period. Thomas sets up the plot with an explanation of the “frame tale,” then reads several of the opening stanzas, pausing frequently for commentary and discussion with Angelina. They talk about the symbolism of the albatross, plus so much more! To see all the books and get the full show notes for today's episode, visit our website for the complete show notes here: https://www.theliterary.life/248/.

On The Literary Life podcast this week, Angelina Stanford and Thomas Banks begin their newest series, this time discussing Samuel Taylor Coleridge's Rime of the Ancient Mariner. First, Thomas and Angelina speak to the question of different editions of this poem, then they dive into the background on Coleridge, William Wordsworth, and the lyrical ballads. They discuss the artistic and cultural moment in which Coleridge is writing, particularly the Romantic period in literature. Angelina talks about the Romantics and why they used so much medieval language and used allegory so heavily. She shares some examples of the writers in this vein seeking to rediscover and return to ancient tradition and stories. Thomas also considers Coleridge as a poet and a person. Finally, they give some helpful information and tips for those approaching this text for the first time. To see all the books and get the full show notes for today's episode, visit our website for the complete show notes here: https://www.theliterary.life/247/.

In this episode of the Long Live Taylor podcast, hosts Kaylan and Leanna discuss Taylor Swift's song The Albatross, delving into its depth and connections with Samuel Taylor Coleridge's 'The Rhyme of the Ancient Mariner.' They explore the song's poetic elements, symbolic connections, and how Swift may view herself as the albatross, a figure laden with burdens and misunderstood intentions. They also engage in a spirited conversation on the differences in production styles between Jack Antonoff and Aaron Dessner, and analyze how these contribute to the overarching themes in Taylor Swift's music. Along the way, they also discuss the dynamics of Taylor's past relationships and the public's perception of her, bringing in elements of mythological references and personal reflection in Swift's artistry. The episode ends with a fun game of Drop Everything Now, where the hosts test their knowledge of Taylor Swift's discography. Don't forget to subscribe so you don't miss an episode, and send all your questions, comments or recommendations to LongLiveTaylorPod@gmail.com  Follow us on TikTok ⁠@LongLiveTaylorPod⁠ Instagram ⁠@LongLiveTaylorPod⁠

Hannah and Exquisite explore this beautifully evocative song that references poems like "The Rime of the Ancient Mariner" and "The Albatross," Taylor's own "Blank Space" and "peace," and more. Join in on our conversation on Twitter/X with the new hashtag #AnthologySeminars! Enjoy the podcast? ⁠⁠Send us a tip!⁠⁠ Follow us on Twitter: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠taylorseminars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sippingaugust ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- Hannah @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠exquisitewill ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- Exquisite Art by Alef Vernon: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alefvernon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Instagram) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Alef's Patreon⁠⁠⁠⁠

This week on The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Dr. Jocelyn Chadwick interview fellow of the Royal Society of Literature and the British Academy, Prof. Richard Holmes. Prof. Holmes delves into the life and literary legacy of Samuel Taylor Coleridge, one of the most significant poets of the Romantic era. Holmes offers a comprehensive overview of Coleridge’s early education, […]

This week on The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Dr. Jocelyn Chadwick interview fellow of the Royal Society of Literature and the British Academy, Prof. Richard Holmes. Prof. Holmes delves into the life and literary legacy of Samuel Taylor Coleridge, one of the most significant poets of the Romantic era. Holmes offers a comprehensive overview of Coleridge's early education, highlighting how classical learning deeply influenced his worldview and writings. He also touches on Coleridge's passionate anti-slavery views within the turbulent political landscape of late 18th-century Britain, providing context for his masterpiece, The Rime of the Ancient Mariner. Holmes further explores Coleridge's use of symbolism, particularly the iconic albatross and the haunting ghost ship, illustrating how these elements convey the poet's themes of guilt, nature, and human destructiveness. Prof. Holmes additionally covers Coleridge's struggles with opium addiction, reflecting on how it shaped his life and creative output. Holmes also underscores Coleridge's enduring influence on British Romantic poetry and its profound impact on the American Renaissance, encouraging educators and students to continue cherishing his timeless works. In closing, Prof. Holmes reads a passage from his two-volume biography of Samuel Taylor Coleridge.

This week, we examine Samuel Taylor Coleridge's poem about a strange voyage as told by an ancient mariner to a man on the street. It starts of as amusing, but then grows darker... Nighty Night is sponsored by Progressive! Quote today at Progressive.com to try the Name Your Price® tool for yourself, and join the over 28 million drivers who trust Progressive.

John J. Miller is joined by Kirsten Hall Herlin of the University of Austin to discuss Samuel Taylor Coleridge's 'The Rime of the Ancient Mariner.'

There's an unintentional thread that runs through this quarterly books episode: apocalyptic themes. "That probably tells you what my headspace is right now,” says Russell Moore. Later, he adds, “There is a reckoning in these books.”  On this episode of The Russell Moore Show, Moore and producer Ashley Hales talk about books, authors, and storytelling. They discuss what draws readers to fateful accounts and trace such tales from the Psalms up to new releases. Their reads span from poetry to prose and sermons to songs. Tune in for an episode that is as honest about the darkness as it is certain of the light. Books and resources mentioned in this episode include: I Cheerfully Refuse by Leif Enger The Faithful Spy, Dietrich Bonhoeffer, and the Plot to Kill Hitler by John Hendricks The Crisis of Narration by Byung-Chul Han The Doors of the Sea: Where Was God in the Tsunami? by David Bentley Hart The Message in the Bottle: How Queer Man Is, How Queer Language Is, and What One Has to Do with the Other by Walker Percy Wrestling with God: The Meditations of Richard Marius edited by Nancy Grisham Anderson Praying with the Psalms: A Year of Daily Prayers and Reflections on the Words of David by Eugene Peterson The Brothers Karamazov by Fyodor Dostoevsky “The Working of the Spirit”  “God Is Always Doing 10,000 Things in Your Life”  Martin Luther: The Christian between God and Death by Richard Marius Richard Mouw “Dr. Russell Moore on the Power of Prayer” “Eugene Peterson – Answering God” The Songs of Jesus: A Year of Daily Devotions in the Psalms by Timothy Keller Mariner: A Voyage with Samuel Taylor Coleridge by Malcolm Guite The Rime of the Ancient Mariner and Other Poems by Samuel Taylor Coleridge Aegypt by John Crowley Do you have a question for Russell Moore? Send it to questions@russellmoore.com. Click here for a trial membership at Christianity Today. “The Russell Moore Show” is a production of Christianity Today Executive Producers: Erik Petrik, Russell Moore, and Mike Cosper Host: Russell Moore Producer: Ashley Hales Associate Producers: Abby Perry and McKenzie Hill Director of Operations for CT Media: Matt Stevens Audio engineering by Dan Phelps Video producer: Abby Egan Theme Song: “Dusty Delta Day” by Lennon Hutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

Xeno brought us a Mateo. Name dropping Robert Burke's Buffalo. The Cyber Bus Buffalo. Some real douche bags. The Directioner. Monkey Ranch. Extra Action Marching Band. Qualified operators. Dada Fest. Extreme Elvis. Blindspotting. Heather votes for blood. La Contessa. The Poet Answan. Formal Wear for a Messy Evening. Rime of the Ancient Mariner but like as a theme or something. Greg Jones, Amazing Human Being. The Port of Algiers.  Bonafides. The Car Hunts. It's Northern Nevada.  MUSIC: "Thank You" by Late Bus XENO'S LINKS OF LINKAGE: Fireboy Wally on Ripley's Believe it or Not?!: https://youtu.be/tG1I2NsmE9c?t=1930 Extreme Elvis and the Extra Action Marching Band on Playa: https://www.youtube.com/watch?v=IDGLPrZRXos La Contessa and The Whale on Playa: pt 1: https://www.youtube.com/watch?v=tXdEVIiV-ss pt 2: https://www.youtube.com/watch?v=jqxRke8kUSI Shooter making a video.... couldn't find Dr. Fuckofski: https://www.youtube.com/watch?v=QcbgKS9WE6I Desolation Center: https://www.youtube.com/watch?v=66spZRiFjJI Survival Research Labs in Austin '97 https://www.youtube.com/watch?v=tXdEVIiV-ss JOIN OUR DISCORD: https://discord.gg/qXUb7hf6bd FOLLOW US ON BLUESKY: @accuracy3rd.bsky.social Patreon us on Patreon: https://www.patreon.com/A3rd

Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin continue their discussion of Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.” (Thanks to our sponsor for this episode, HelloFresh. Go to HelloFresh.com/subtextapps for free appetizers for life).

Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin continue their discussion of Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.” (Thanks to our sponsor for this episode, HelloFresh. Go to HelloFresh.com/subtextapps for free appetizers for life).

Wes & Erin continue their discussion of "Rime of the Ancient Mariner."  Thanks to our sponsor for this episode, HelloFresh. Go to HelloFresh.com/subtextapps for free appetizers for life. 

Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin continue their discussion of Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.” (Thanks to our sponsor for this episode, HelloFresh. Go to HelloFresh.com/subtextsweet for free dessert for life).

Wes & Erin continue their discussion of "Rime of the Ancient Mariner."

Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin continue their discussion of Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.”

The ancient Mariner kills his Albatross with a carelessness that stands in stark contrast to his impulse for confession. For several days he and his shipmates feed the albatross, play with it, and treat it as if it were inhabited by a “Christian soul.” The mariner never tells the wedding guest why it is that he kills the bird, but the casual and seemingly unmotivated act is followed by a psychedelic nightmare that gives us some clues. Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin discuss Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.”

The ancient Mariner kills his Albatross with a carelessness that stands in stark contrast to his impulse for confession. For several days he and his shipmates feed the albatross, play with it, and treat it as if it were inhabited by a “Christian soul.” The mariner never tells the wedding guest why it is that he kills the bird, but the casual and seemingly unmotivated act is followed by a psychedelic nightmare that gives us some clues. Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Wes & Erin discuss Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.”

The ancient Mariner kills his Albatross with a carelessness that stands in stark contrast to his impulse for confession. For several days he and his shipmates feed the albatross, play with it, and treat it as if it were inhabited by a “Christian soul.” The mariner never tells the wedding guest why it is that he kills the bird, but the casual and seemingly unmotivated act is followed by a psychedelic nightmare that gives us some clues. Why do we rebel against our position within the natural world, even to the point of self-destruction? What is required to restore us? Today we discuss Samuel Taylor Coleridge's classic poem, “The Rime of the Ancient Mariner.” 

The Romantic poet Samuel Taylor Coleridge (1772-1834) has been called the last person to have read everything. He is also one of the greatest poet-critics in the history of literature, known for works like "The Rime of the Ancient Mariner," "Kubla Khan," "Frost at Midnight," and the Biographia Literaria. In this episode, Jacke takes a look at the life and works of this highly influential figure. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the slaying of an albatross, the Ancient Mariner brings a curse that opens the workings of another world. Samuel Taylor Coleridge, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  The Rime of the Ancient Mariner is the longest major poem from Samuel Taylor Coleridge. Originally published in 1798, it marks a shift to modern poetry and the beginning of British Romantic literature. If you've heard the saying of someone having an albatross around their neck, this is the thing they're referencing. The Gustave Doré engraved illustrations for this book are absolutely wonderful.  And now, “The Rime of the Ancient Mariner”, by Samuel Taylor Coleridge.  Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

What does Mary bring to light in her long-awaited confession?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Rime of the Ancient Mariner”, by Samuel Taylor Coleridge. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep the lights on.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  The Classic Tales Book Club is moving forward. We'll be posting details through our Facebook and Instagram accounts. So be sure to follow us there. I'm very excited to get this started. And now, Clouds of Witness, Part 5 of 9, by Dorothy Sayers Follow this link to become a monthly supporter:     Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    Follow this link to follow us on TikTok: