Podcasts about bartleby

Hörspiel-Klassiker. Wall Street 1850. In der Kanzlei eines Anwalts erscheint Bartleby, ein blasser junger Mann. Er erhält Schreibarbeiten, die er still erledigt. Bald aber beginnt er sich zu verweigern, «möchte lieber nicht mehr». Nichts bringt ihn davon ab. Dann möchte er lieber nicht mehr essen. Bartleby, dieser negative Held, ist eine Existenz des Neins bis zu seinem sanften Abschied vom Leben. Melvilles Text von 1853 gehört durch das tastende, hin- und hergerissene Erzählen des Anwalts und Notars Mr. Tucker zu den berührendsten Monologen der Weltliteratur. Matthias von Spallart hat den Text fürs Radio eingerichtet und mit Wolfgang Reichmann als unvergleichlichem Erzähler inszeniert. Die Produktion wurde zu einer seiner wichtigsten Regiearbeiten. Die sorgfältig umgesetzten Szenensplitter zeichnen die enge Welt der Schreibstube mit den schrulligen Angestellten scharf nach, und mit seinen wenigen kümmerlichen Sätzen porträtiert Wolfgang Forester den armen Bartleby so genau, dass man ihn nicht mehr vergessen kann. ____________________ Mit: Wolfgang Reichmann (Erzähler, Anwalt), Wolfang Forester (Bartleby), Rudolf Hofmann (Turkey), Volker Spahr (Nippers), Walter Kiesler (Broadbent), Jürgen Cziesla (Hauswirt), Heinz Günter Kilian (Wärter), Matthias von Spallart (Schliesser) ____________________ Tontechnik: Ernst Neukomm, Vreni Palm-Rupp – Hörspielbearbeitung und Regie: Matthias von Spallart ____________________ Produktion: SRF 1976 ____________________ Dauer: 77'

The AI world's go-to chipmaker is blazing a trail toward your personal computer. We ask what moving out of the cloud indicates about the future of computing. The three candidates for mayor of Los Angeles could not be more different, and they are running neck and neck. And updating generic filler text for the business-jargon era.Guests and host:Shailesh Chitnis, global business writerAryn Braun, West Coast correspondentAndrew Palmer, executive editor and “Bartleby” columnistJason Palmer (no relation), co-host of “The Intelligence”Topics covered: Nvidia, AI, technologyLos Angeles, American politicscorporate jargonGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

The AI world's go-to chipmaker is blazing a trail toward your personal computer. We ask what moving out of the cloud indicates about the future of computing. The three candidates for mayor of Los Angeles could not be more different, and they are running neck and neck. And updating generic filler text for the business-jargon era.Guests and host:Shailesh Chitnis, global business writerAryn Braun, West Coast correspondentAndrew Palmer, executive editor and “Bartleby” columnistJason Palmer (no relation), co-host of “The Intelligence”Topics covered: Nvidia, AI, technologyLos Angeles, American politicscorporate jargonGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

El par de veces que he estado con él, con Daniel Gascón, y siempre que le he leído me ha sucedido igual: que me he reído. No digo sonreído. Digo reído. Aporto como prueba esta entrevista y el libro del que trae su pretexto: Los nuevos Bartleby. Ya es mérito el de Gascón, que no es un gracioso profesional ni, peor todavía, un chistoso atravesado. Y mayor mérito aún, la aparente -y solo aparente- aridez de algunos de los asuntos sobre los que Daniel se ocupa en su último título: el mundo del trabajo y la oficina, la brecha generacional, las transformaciones económicas, la crisis demográfica, la reiteración artística en el cine y la música y cierta pérdida de entusiasmo o de confianza en las posibilidades de futuro. Por resumir, la crónica de un cansancio colectivo, una lectura de nuestro tiempo al trasluz -¡y contra la voluntad!- de Bartleby, el tan desganado como inolvidable escribiente de Melville. Entrevista conducida por Gonzalo Altozano. Sonido: César García. Diseño: Estudio OdZ. Contacto: galtozanogf@gmail.com Twitter: @GonzaloAltozano iVoox, Apple, Spotify.

Send us Fan MailAndrew Palmer is a long-time editor and columnist at The Economist, where he writes the widely read Bartleby column on work and life. He also hosts Boss Class, one of The Economist's most popular podcasts, whose most recent season explored generative AI in the workplace, a topic Andrew approached not just as a journalist, but as a self-described unsophisticated user determined to get smarter by doing.In this episode, Andrew draws on his reporting and interviews with leaders across industries to offer an outside-in view of where AI adoption actually stands, and why the gap between the hype and the reality is not a sign of failure, but of how complex change really is.In this conversation, we discuss:Why AI adoption faces three distinct barriers (behavioral, technical, and organizational) and why solving one without the others leaves productivity gains stranded.Why structural reskilling frameworks (like Denmark's flexicurity model and Singapore's voucher-based lifelong learning system) offer a more credible response to AI disruption than waiting for policy to catch up.Why Johnson & Johnson's "let a thousand flowers bloom" approach to AI experimentation produced a Pareto effect (15% of projects generating 85% of value) and what they changed as a result.How the AI productivity boom is real at the individual level but not yet showing up in aggregate data, and why Andrew believes that gap is a question of time, not technology.Why enlightened corporate leadership requires transparency about potential job disruption and a commitment to adjacent career planning rather than performative optimism.What work in 2036 might look like, and why Andrew's most unsettling prediction has nothing to do with jobs, and everything to do with privacy.Explore this conversation:00:00 Introduction to AI and the Future of Work episode 39101:14 AI fun fact: AI legislative speed versus technological advancement03:51 Meet Andrew Palmer The Economist Bartleby Column Boss Class06:14 Digital Doppelganger and AI Personality Traits07:57 AI Adoption Barriers Behavioral Technical and Organizational11:01 AI Impact at Work Startups vs Large Organizations14:15 Leadership Humility and AI Uncertainty in the Workplace17:41 AI Experimentation at Scale Lessons from Johnson and Johnson24:26 AI vs SaaS Productivity Data and the Speed of Adoption27:35 Balancing AI Automation with Human Meaning at Work31:26 AI Policy Reskilling and Lifelong Learning for the Future36:03 Work in 2036 AI Monitoring Privacy and Constant Surveillance38:47 Who Really Controls AI and What That Means for Workers44:08 Connect with Andrew Palmer and Boss Class The EconomistResources:Subscribe to the AI & The Future of Work NewsletterConnect with Andrew on LinkedInAI fun fact articleOn How Arvind Jain Is Shaping the Future of Enterprise Search Another episode mentioned in the interview: How we can take back control from Big Tech with Tom Wheeler, former FCC Chairman, CEO, VC, and author of Techlash. 

On today's episode, Andrew Palmer, senior editor at The Economist, describes how organizations can experiment with generative AI while balancing speed, quality, and risk. At his own organization, Andrew and others test AI with human oversight to develop editing and publishing efficiencies. As the host of The Economist's Boss Class podcast, Andrew speaks with leaders as well as early-career professionals, and highlights interesting insights from recent conversations around skills and hiring. Read the episode transcript here. Guest bio: A senior editor at The Economist, Andrew Palmer writes about the workplace for the “Bartleby” column and hosts Boss Class, a limited-season podcast about management. His previous roles at the publication, which he joined in 2007, include Britain editor, executive editor, business-affairs editor, head of the data team, Americas editor, finance editor, and banking correspondent. Me, Myself, and AI is a podcast produced by MIT Sloan Management Review and hosted by Sam Ransbotham. It is engineered by David Lishansky and produced by Allison Ryder. We encourage you to rate and review our show. Your comments may be used in Me, Myself, and AI materials. ME, MYSELF, AND AI® is a federally registered trademark of Massachusetts Institute of Technology. All rights reserved.

While we are on a break, enjoy this episode from Season 2. Season 3 starts May 19!Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature. To my surprise, this became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!) The complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rCONNECTTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ Like what you heard? Buy me a coffee! https://ko-fi.com/crackthebookLISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

When a geologist proved that human grief and human joy were being siphoned to the stars as fuel for somebody else's machine, the world spun into cults and suicides and small wars — but the professor had a wooden crate, a Cumberland cottage full of secrets, and a private answer he wasn't ready to share with the man writing the checks. | #RetroRadio EP0640Look for this podcast on YouTube Music, Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and numerous other podcast apps. Get the full list of options here: https://weirddarkness.tiny.us/OTRCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “First Childhood” (September 12, 1977)00:46:21.651 = Philip Marlowe, “Torch Carriers” (January 07, 1950)01:15:58.500 = Pursuit, “The Loch Ness Killer” (ADU) ***WD01:40:29.807 = The Black Mass, “Bartleby the Scrivener” (September 14, 1965) ***WD02:14:04.032 = Michael Shayne, “Meet Me AT Oakland Depot” (April 02, 1945)02:43:45.557 = Beyond Midnight, “The Locked Room” (1969) ***WD03:13:19.062 = MindWebs, “The Machine In Shaft Ten” (1975-1984) ***WD03:41:42.191 = The Humphrey Bogart Theater, “Dead Man / Pilot Episode” (September 17, 1949)04:12:46.534 = Mystery in the Air, “Mask of Medusa” (September 04, 1947) ***WD04:41:44.987 = Molle Mystery Theater, “Red Wine” (March 08, 1946)05:11:00.140 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0640

For the already anxious, this year has provided plenty more fodder for AI-related unease. A wave of AI-connected layoffs continues to impact the tech sector. Companies have been quietly reworking performance criteria to include usage of the technology, with some warning that AI refuseniks' days are numbered. And Meta's CEO is reportedly helping to train an animated, AI-powered version of himself that could converse with employees in his absence.Mark Zuckerberg previously told investors in January that he expects 2026 to be the year that AI “dramatically changes the way we work”, typifying the bullishness that characterises tech execs' pronouncements on the technology. But the evidence suggests that this assuredness is somewhat lacking in the average boardroom, as executives continue to grapple with how to realise tangible value from AI. “The assumption is we're on this path where great quantifiable benefits will materialise but haven't yet,” says Andrew Palmer, The Economist's Bartleby columnist and host of the Boss Class podcast, who adds that the current experimentation phase is essential to reach the endpoint of “either nirvana or disaster depending on your point of view”.This week, Palmer joins Leadership Lessons to talk about some of the burning questions surrounding the technology, such as whether AI is set to hollow out middle management, how you can AI-proof your career, and who wrote his column better: him or a chatbot?Credits:Presenter: Antonia Garrett PeelProducer: Inga MarsdenArtwork: Jenny Hardy Hosted on Acast. See acast.com/privacy for more information.

Hablamos con Daniel Gascón sobre su nuevo libro, ‘Los nuevos Bartleby: Crónica de un cansancio colectivo’ (de la Editorial Rosamerón). Bartleby, con su «preferiría no hacerlo», se vuelve un emblema de la resistencia silenciosa frente al trabajo y las exigencias sociales.Daniel Gascón lo reinterpreta para leer nuestro presente: burnout, apatía, crisis laboral y una creciente desconexión generacional.Escuchar audio

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

What does it mean to reconnect to one's ancestral homeland?Thursday on Midday Edition, we hear from the director of a new documentary, "Dear Alaska," which explores reconnection and interconnection through the lens of the Indigenous Tlingit people of the Pacific Northwest and San Diego's Native community.Then, the Old Globe is currently staging a new adaptation of Herman Melville's 1853 short story "Bartleby, the Scrivener." KPBS arts reporter Beth Accomando sits down with the playwrights.Guests:Moriah Hayes/Keeyées Tláa, director, "Dear Alaska"Noah Brody, playwright, Fiasco TheaterPaul L. Coffey, playwright, Fiasco Theater

En esta columna reflexiono sobre cómo hemos convertido el “ojalá” en una forma de evadir nuestra responsabilidad. A partir de Bartleby, cuestiono la pasividad de ciudadanos y gobernantes ante la violencia, el desorden público y el deterioro institucional, y advierto que esa renuncia a actuar también explica parte del país que hoy tenemos. 

I would prefer not to.Based on “Bartleby the Scrivener - A Story of Wall Street”, a short story by Herman Melville, Bartleby (1970) is the story of a young man at odds with the world in which he finds himself. He starts work as an audit clerk at an accountancy firm but within a few days begins to refuse to do any work, saying merely that he “would prefer not to”.Starring John McEnery in the title role and Paul Scofield as his extremely patient boss, the film is the only feature to be directed by Anthony Friedman.Stephen Armstrong, journalist at The Observer and freelance film critic joins us to talk about the film.In popular culture, Bartleby has become a symbol of passive resistance to corporate bureaucracy. Among many other things, Bartleby's famous line “I would prefer not to” has become a:Column in the economistSeveral T-shirtsA slogan used at Occupy Wall St and other protestsSocksThe official motto of philosopher Slavoj Žižek!In Herman Melville's original story, he mentions the names of two real life people - John C Colt & Samuel Adams. Little heard of today, they would have been extremely famous at the time due to a notorious murder which gripped the United States. We tell the story of this case in the first half.Read or listen to Stephen Armstrong's work at the Observer and find his books here. Stephen also produces an extremely Soho podcast called Strippers in the Attic.The director of Bartleby, Anthony Freidman, did not direct any other feature films and went back to academia.See the Bartleby locations thanks to our friends at ReelStreets.Buy the Blu-ray from Indicator Films.The New York Sun published this special edition all about the John C Colt / Samuel Adams case in January 1842.Most of the information about the Colt / Adams case came from two books by Andie Tucher and Harold Schechter.The Bartleby sound track, composed by Roger Webb, was released by Trunk Records on vinyl. It's also available on Spotify.Troy Taylor provided the voice of John C Colt. Check out his website, his podcast and his Museum of American Oddities on Facebook.Thank you for listening.Follow us on Blue Sky (our Xwitter account is no more)We're now on YouTubeEmail us at sohobitespodcast@gmail.comWe'd love it if you left us a lovely REVIEW.And if you'd like to help support the show we'd be very grateful.Check out our spin-off series Mural MorselsIn fact, see all relevant links HERE

Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateBartleby, the Scrivener (version 2)Herman Melville (1819 - 1891)Bartleby, the Scrivener: A Story of Wall Street is a novella by the American novelist Herman Melville (1819–1891). It first appeared anonymously in two parts in the November and December 1853 editions of Putnam's Magazine, and was reprinted with minor textual alterations in his The Piazza Tales in 1856. ( Summary by Wikipedia )Read by Bob NeufeldGenre(s): General FictionLanguage: EnglishKeyword(s): melville , wall street , bartleby Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

Welcome back to Truth, Lies & Work, the podcast where behavioural science meets workplace culture. This week we're diving into how AI is actually landing in the workplace — and what that means for managers, employees and the future of work. Our guest is Andrew Palmer, host of Boss Class from The Economist and author of the Bartleby management column. In Season 3 of Boss Class, Andrew goes hands-on with AI — not just talking about it, but living with it, testing it and asking the questions leaders need to answer as the technology transforms jobs and organisations. This episode isn't about hype. It's about what AI is actually good at today, what it's still terrible at, and how leaders should think about deploying it in ways that help people — not replace them.

Antonio Martínez Asensio nuevamente la sala de lectura de tres minutos de 'La Biblioteca' de 'Hoy por Hoy' para contarnos 'Bartleby, el escribiente', de Herman Melville.

Pol Guasch aparca la ficción para relatarnos, en 'Reliquia'  (Anagrama),  su duelo por el suicidio de su padre. Narra todo un proceso de diez años que culmina con la decisión de escribir y publicar la novela.  Va encajando con maestría todas las piezas que conforman el puzle de una muerte violenta, que nadie te explica, que ves venir, pero a la vez no esperas, y , lo más importante, que no se olvida.  Pol nos donó además para nuestra biblioteca  'Cerca del corazón salvaje" de Clarice Lispector (Siruela), de la misma autoría de Clarice Lispector  la novela que va a contar Antonio Martínez Asensio en 'Un libro, una hora', 'La hora de la estrella' . Pero antes, nuestro bibliotecario nos contó en tres minutos “Bartleby, el escribiente” de Herman Melville (Alianza) . Las novedades las trajo Pepe Rubio y fueron 'Textos vivos-Notas de un reencuentro" de José Carlos Mainer (Renacimiento ) y 'Noche blanca' de Úrszula Honek (Lumen). El libro abandonado y rescatado por Pascual Donate fue  'Vida Àvida'  de Ángel Guinda (Olifante Editorial). Finalmente los oyentes donaron: 'Último barco' Domingo Villar (Siruela) , 'He visto ballenas' de Javier de Isusi (Astiberri) y 'Vanguardia es una mujer' de Clara de Frutos (Norma Editorial) . Y terminamos la hora con lo que Pol Guasch, el autor invitado, estaba leyendo en ese momento "Un deseo desmesurado de amistad" de Hélène Giannnecchini (Anagrama) 

Hablamos de responsabilidad civil, derecho a la vivienda, duelo y literatura al hilo de Oxígeno (Ed. Alfaguara), la nueva novela de Marta Jiménez Serrano, en la que la autora se centra en el accidente que la dejó a las puertas de la muerte hace cinco años. Un suceso casi trágico que se prestaría a la crónica solemne y altisonante, pero que aquí está narrado con el pulso enérgico y preciso que ya es marca de la joven escritora madrileña.Además, Javier Lostalé abre su ventanita poética a La llama ebria. Antología de mujeres poetas del surrealismo (Ed. Bartleby), volumen coordinado y prologado por Lurdes Martínez que nos acerca a una constelación de creadoras de todo el mundo, tanto célebres como desconocidas, que ahora podemos leer en las traducciones de Eugenio Castro y Jesús García Rodríguez.Luego, Ignacio Elguero nos recomienda varias lecturas: Cruz del sur (Ed. Anagrama), el último libro de Claudio Magris, en el que el autor italiano sigue la pista a tres europeos que acabaron en lugares remotos, Tiempo de descuento (Ed. Pre-Textos) el nuevo poemario de Miguel D´Ors, de título muy revelador, y Flamenco y cante jondo (Ed. Reino de Cordelia), colección de artículos que el escritor y cineasta Edgar Neville dedicó a esta disciplina artística. También escuchamos al escritor y humorista Xavi Puig, protagonista de la sección de Sergio C. Fanjul con motivo de la publicación de Hacer reír (Ed. Debate), breve ensayo sobre el papel y la naturaleza de la sátira en el mundo contemporáneo que se funda en su experiencia al frente del medio satírico El mundo Today, del que es cofundador.Terminamos el programa Desmontando el poema con la ayuda de Mariano Peyrou, que hoy reivindica la faceta como poeta de Goethe, el clásico alemán, a raíz de la reciente publicación de Poemas esenciales (Ed. La oficina), una selección de su obra en verso con traducción de Helena Cortés Gabaudan.Escuchar audio

Der britische Booker Prize zählt zu den renommiertesten Literaturauszeichnungen weltweit. Erhalten hat ihn vor Kurzem David Szalay für seinen Roman "Flesh", der auf Deutsch unter dem Titel "Was nicht gesagt werden kann" erschienen ist. Iris Radisch und Adam Soboczynski sprechen in der neuen Folge des Bücherpodcasts "Was liest du gerade?" über dieses hinreißende Werk. Es handelt von István, der mit seiner Mutter in einer ungarischen Plattenbausiedlung aufwächst – und auf verschlungenen Wegen in die höchsten Kreise Londons gerät. Gelingt ihm der soziale Aufstieg? Was bedeutet es heute, männlich zu sein? Ist er ein Mörder? Und wenn ja, trotzdem ein guter Mensch? Szalay führt uns in die Abgründe menschlicher Existenz. Was man auch über Bodo Kirchhoffs umfangreichen Liebesroman "Nahaufnahmen einer Frau, die sich entfernt" sagen kann: Terese reist ihrem Mann nach Indien hinterher, um ihn mit seiner Geliebten zu erwischen. Kann das gut gehen? Unser Klassiker ist diesmal Herman Melvilles berühmte Erzählung "Bartleby der Schreiber". Sie handelt vom großen Neinsager der Literatur: Sich im Bürojob jeder Tätigkeit zu verweigern, wird hier zum Lebensmotto der Moderne schlechthin. Unser Zitat des Monats kommt aus dem Erzählungsband "Stories 2" der amerikanischen Schriftstellerin Joy Williams. Das Team von "Was liest du gerade?" erreichen Sie unter buecher@zeit.de.  Literaturangaben: - David Szalay: "Was nicht gesagt werden kann". Roman. A. d. Engl. v. Henning Ahrens. Claassen Verlag, Berlin 2025, 384 Seiten, 25,00 EUR - Bodo Kirchhoff: "Nahaufnahmen einer Frau, die sich entfernt". Roman. dtv, München 2026, 576 Seiten, 28,00 EUR - Herman Melville: "Bartleby, der Schreiber". A. d. Engl. v. Jürgen Krug. Insel Verlag, Berlin 2019, 88 Seiten, 14,00 EUR - Joy Williams: "Stories 2". A.d. Engl. v. Julia Wolf. dtv, München 2025, 320 Seiten, 26,00 EUR [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER. [ANZEIGE] Mehr hören? Dann testen Sie unser Podcast-Abo mit Zugriff auf alle Dokupodcasts und unser Podcast-Archiv. Jetzt 4 Wochen kostenlos testen. Und falls Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos DIE ZEIT. Hier geht's zum Angebot. 

Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature—and to my surprise, it became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!

durée : 00:14:00 - Les Midis de Culture - par : Marie Labory - Inspiré par "Bartleby le scribe", fameuse nouvelle d'Herman Melville, Gay Talese signe avec "Bartleby & moi" un hommage aux invisibles de New York révélant une faune humaine aussi disparate que révélatrice de l'Amérique. Une méditation crépusculaire sur ceux que l'Histoire regarde à peine. - réalisation : Laurence Malonda - invités : Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O; Thomas Stélandre Journaliste à Libération

durée : 00:27:22 - Les Midis de Culture - par : Marie Labory - Aujourd'hui, au menu de notre débat critique, nous parlerons du journalisme dans la littérature : "Bartleby & moi" de l'auteur Gay Talese paru aux éditions du sous-sol et "L'appel", Histoire d'une femme argentine de l'autrice Leila Guerriero paru aux éditions Rivages le 20 août. - réalisation : Laurence Malonda - invités : Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O; Thomas Stélandre Journaliste à Libération

This week's episode takes Cory Doctorow's term “enshittification” and uses it as a diagnostic for late-capitalist life, not just for tech platforms but for democracy, higher education, and work more broadly. Our co-hosts unpack Doctorow's three-stage model—platforms start out good to users, then pivot to serving business customers, and finally squeeze both users and customers to extract maximum value for shareholders—and argue about whether this is really a new “platform logic” or just old-school Marxist exploitation and alienation under a punchier name.We connect this logic to the attention economy and datafication (“we are the product”), then extend it to U.S. democracy, where voters are treated as performers in a hollowed-out system, and to universities, where administrative bloat, metrics, and “students as customers” have produced an enshittified version of higher education, while students are locked-in by massive student debt. What is left for us in terms of  resistance?We look at some real options: exiting platforms, Labor organizing and union drives, “quiet quitting” and malicious compliance (“Bartleby”-esque moves), creative sabotage, and maybe even  “enshittification from below.”Our co-hosts ultimately advocate for insisting on higher standards, rather than accepting the slow boil of lowered expectations. Join us for the shit-show! Full episode notes available at this link:https://hotelbarpodcast.com/podcast/the-enshittification-of-everything/---------------------SUBSCRIBE to the podcast now to automatically download new episodes!SUPPORT Hotel Bar Sessions podcast on Patreon here! (Or by contributing one-time donations here!)BOOKMARK the Hotel Bar Sessions website here for detailed show notes and reading lists, and contact any of our co-hosts here.Hotel Bar Sessions is also on Facebook, YouTube, BlueSky, and TikTok. Like, follow, share, duet, whatever... just make sure your friends know about us! ★ Support this podcast on Patreon ★

Luis Alberto de Cuenca nos visita para celebrar el Premio Reina Sofía de Poesía Iberoamericana con el que Patrimonio Nacional ha reconocido el conjunto de su poesía. Un pretexto que aprovechamos para repasar su vida y su obra siguiendo el hilo de Verano eterno, antología editada por la Universidad de Salamanca con motivo del galardón.Luego, Ignacio Elguero nos propone otros títulos: Cervantes, rigurosísima biografía del autor de El Quijote realizada por el profesor Alfredo Alvar a partir de numerosos archivos públicos y privados, y El tiempo está cambiando (Ed. Fundación José Manuel Lara), antología en la que el escritor y crítico Juan Marqués toma el pulso de la joven poesía española a través de la voz de veintisiete autores. En su sección, Javier Lostalé nos lee unos versos de La hermana aprendida (Ed. Bartleby), poemario en el que Ana Martín Puigpelat explora la vejez de dos mujeres con todas sus luces y sus sombras.Además, nuestro colaborador Sergio C. Fanjul nos habla de La hora de los emprendedores (Ed. Seix Barral), ensayo corto e interesantísimo en el que el escritor italosuizo Giuliano da Empoli muestra las entretelas de la alta política mundial y de algunos de sus líderes más controvertidos. Desde el saudí Mohamed Bin Salmán, hasta Trump, pasando por el salvadoreño Bukele.Nos despedimos junto a Mariano Peyrou, que en el programa de hoy nos recomienda la lectura de Hablando con mi cuerpo (Ed. Pre-Textos), antología en la que la poeta polaca Anna Swir desliza la posibilidad de desdoblarse y hasta de deshacerse en un ejercicio de libertad total.Escuchar audio

Hey all.A big thank you and welcome to new Patreon members : Alice, Bosie and Christine.Bartleby's very excited to be back, Adam's calling long distance to Scotland and Mr Appleby is offering up his services to a wider audience.Our crisp flavours are:Brush with The Law : Is George telling the tooth?Brad Medicine : Junior Horrobin almost gets the Amber Nectar.Self Farm : Ruairi and Adam commit a Coup D'Twat.Produced by Matthew WeirBecome a beautiful patron of The Cider Shed and receive early ad-free episodes and our exclusive Patreon-only midweek specials. It really REALLY helps us out.https://www.patreon.com/thecidershedTo help us out with a lovely worded 5 star review hit the link below. Then scroll down to ‘Ratings and Reviews' and a little further below that is ‘Write a Review' (this is so much nicer than just tapping the stars

In which Brian gets desperate, and there are near death experiences for Bartleby and Alan Support this show http://supporter.acast.com/ambridgeonthecouch. Hosted on Acast. See acast.com/privacy for more information.

El escritor madrileño Andrés Barba nos presenta su nueva y ambiciosa novela, Auge y caída del conejo Bam (Ed. Anagrama), fábula política con la que aspira a hacer más inteligible el aluvión de cambios que ha puesto patas arriba el tablero internacional en la última década. Desde la desconfianza hacia las instituciones, hasta el triunfo de la posverdad, pasando por el populismo, la polarización social y la militarización de la vida pública, que quedan plasmadas en esta historia confirmando su talento para indagar en los pliegues de nuestra conciencia íntima a la vez que en los engranajes de la sociedad. Luego, Javier Lostalé abre su ventanita a la Corriente invisible del poeta Antonio Luis Ginés, que acaba de publicar en la editorial Bartleby.En su sección, Ignacio Elguero nos recomienda otros libros: Astillas, una historia de amor diferente (Ed. Anagrama), en el que la estadounidense Leslie Jamison disecciona el desmoronamiento de su matrimonio y los retos de la crianza en solitario y ¿Sueño que vivo? (Ed. Papeles mínimos), en el que Karin Berger recoge los recuerdos de la austríaca Ceija Stokja, quien siendo ya una anciana le relata su experiencia como niña gitana en el campo de concentración de Bergen-Belsen.Además, Sergio C. Fanjul se nos pone existencialista al hilo de ¿Por qué? La finalidad del universo (Ed. Bauplan), ensayo exigente pero también risueño en el que el filósofo Philip Goff se pregunta, entre otras cosas, cuál es el sentido de nuestra vida. Comentamos, también, otros títulos relacionados con el tema: Universo y sentido. En busca del sentido en la inmensidad (Ed. Anagrama), de Norbert Bilbeny y La seducción del encanto (Ed.Herder), de Miquel Seguró.Terminamos el programa en compañía de Mariano Peyrou, que esta vez nos habla de En esta red sonora. Fragmentos literarios 1995-2025 (Ed. Galaxia Gutenberg), volumen en el que Vicente Luis Mora recoge textos de lo más variado: reflexiones ensayísticas, aforismos, poemas o pasajes poéticos, juegos con el lenguaje y entradas de diario sobre cuestiones cotidianas.Escuchar audio

Welcome to the fifth series in the annual podcast programme from Academic Archers, bringing you papers from our 2024 conference.This episode examines the many ways animals shape life in Ambridge and what their stories reveal about both farming practice and human relationships.“It's a ferret ferris wheel!”: Depictions of Human–Animal Interactions and Animal Welfare in The Archers - Tamzin Furtado and Tamsin DurstonAnimals are central to Ambridge life, whether as livestock, wildlife or family pets. This paper explores how The Archers uses animals to convey messages about farming practice, ethics, personality and community.Examples range from Mia's veganism and the disruption of the Ambridge Hunt, to Lilian's unruly Ruby, Peggy's demanding Hilda Ogden, Pip's herbal lays, Freddie's abattoir stint and the Rewilding project. The paper also considers how real-world issues such as the 2021 pig slaughter crisis and equine obesity are reflected in the programme, alongside the grief of losing beloved animals like Stella's dog Weaver or Bartleby the horse.Through these depictions, the paper invites listeners to recognise the role of nonhuman animal actors in shaping the village's stories and our understanding of Ambridge residents.About the speakersDr Tamzin Furtado and Tamsin Durston - The Tams of The Am - both work in animal welfare science with a focus on the intersection of human and animal wellbeing and are equally devoted to life in Ambridge.If you enjoy our work and would like to support Academic Archers, you can Buy Us a Coffee – buymeacoffee.com/academicarchers.

Bite into Cheesy Pav Bhaji with Karen Heuler as we discuss how she found herself embraced far more by the science fiction community than the literary one, why she never consciously thought about craft until she had to teach it, the "dud" novels she wrote before she got to the good ones, the students in her writing classes who only wanted to learn how to write bestsellers, why Bartleby the Scrivener seems to have a superpower, the reason she ended up writing science fiction rather than any other genre, the way in which she considers her short stories to be kittens, which character took over control of her most recent novel, the influence of The Master and Margarita, our mutual dislike of writer branding, where we fall on shredding vs. saving our archives, and much more.

Drama: Favorite Story “The Strange Mr. Bartleby” 1947 Syndicated, Stars Over Hollywood “Grand Gesture” 2/20/54 CBS.

Herman Melvilles "Geschichte aus der Wall Street" mit der sprichwörtlich gewordenen Sentenz "I would prefer not to" wurde 1853 erstmals publiziert. Im Mittelpunkt steht der Angestellte einer New Yorker Rechtsanwaltskanzlei, Bartleby, der die ihm aufgetragenen Schreib- und Kopiertätigkeiten zunächst mit Fleiß und Hingabe erfüllt, plötzlich aber nicht mehr "mitmachen" möchte. Er wird immer schweigsamer, will die aufgetragenen Büroarbeiten nicht ausführen und lässt seinen Arbeitgeber verwirrt zurück. Bartleby verweigert sich schließlich dem Leben selbst. Nach der gleichnamigen Erzählung von Herman Melville Aus dem Amerikanischen von Elisabeth Schnack Mit: Hans Helmut Dickow, Max Haufler, Johannes Schauer, Balduin Baas u. a. Hörspielbearbeitung: Gert Hofmann Regie: Peter Schulze-Rohr (Produktion: SWF/BR 1963)

Andrew Palmer discusses what to do when others take credit for your ideas.— YOU'LL LEARN — 1) Why no one benefits from credit stealing—including the stealer2) The unintentional ways people steal credit3) Why crediting others makes you more credibleSubscribe or visit AwesomeAtYourJob.com/ep1081 for clickable versions of the links below. — ABOUT ANDREW — Andrew Palmer writes the Bartleby column on the workplace, and is the host of “Boss Class”, The Economist's limited-season podcast on management. He was formerly Britain editor, executive editor, business-affairs editor, head of the data team, Americas editor, finance editor and banking correspondent, having joined The Economist as management correspondent in February 2007.• Article: "The Behavior That Annoyed His Colleagues More Than Any Other"• Podcast: Boss Class• Website: The Economist— RESOURCES MENTIONED IN THE SHOW — • Study: “Hey, Boss, Please Share! An Exploitative Perspective on Supervisor Idea Credit Taking and Employees' Reactions” by Dan Ni et al.• Study: “Dual-promotion: Bragging Better by Promoting Peers” by Eric VanEpps, Einav Hart, and Maurice E. Schweitzer• Study: “When expressing pride makes people seem less competent” by Rebecca Schaumberg• Study: “How damaging is shouting ‘Fire' in a crowded theatre?” by Joshua S. Gans• Book: Middlemarch by George Eliot— THANK YOU SPONSORS! — • Strawberry.me. Claim your $50 credit and build momentum in your career with Strawberry.me/Awesome• Plaud.ai. Use the code AWESOME and get a discount on your order• LinkedIn Jobs. Post your job for free at linkedin.com/beawesome• Quince. Get free shipping and 365-day returns on your order with Quince.com/AwesomeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Satoshi Nakamoto Efsanesi" adlı bu podcast bölümünde, Bitcoin'in gizemli yaratıcısı Satoshi Nakamoto'nun kimliğinin ötesindeki derin anlamları keşfediyoruz. Satoshi Nakamoto, sadece bir kişi değil, aynı zamanda kriptografinin bireysel gücünü ve sarsılmaz bir bağımsızlığı temsil eden bir hayalet olarak tanımlanıyor. Onun anonimliği, Bitcoin gibi büyük bir eserin arkasındaki efsaneyi güçlendiriyor ve zamanla bu hikaye tarihin dokusuna işlenecek.Bu bölümde, yazarın kimliğinin gerçeğin bir ölçütü olmaktan çıktığı Foucault'cu düşünce ışığında, Satoshi'nin eylemlerini inceliyoruz. Kendi servetini açığa çıkarmayı reddetmesi ve yalnızca Bitcoin'in yazarı olarak kalmayı seçmesiyle, Satoshi kendini insanlık aleminden "Elysium"a yükseltmiş, modern hayatın sınırlamalarından kaçış için gerçek bir umut sunmuştur. Onu ifşa etme girişimleri ise efsaneyi daha da pekiştirmekte.Podcastimiz, "Konuşanın kim olduğunun ne önemi var, önemli olan kimin konuştuğu" felsefesini vurguluyor. Satoshi'nin Bitcoin aracılığıyla bize öğrettiği kripto-egemenlik kavramı, paranın, kimliğin ve gücün kontrolüne karşı bir direniş gösteriyor. Onun "tercih etmem" şeklindeki kararlı tutumu, Bartleby örneğinde olduğu gibi, sisteme karşı duruşun ve kişisel özgürlüğün bir sembolü haline geliyor.Satoshi Nakamoto, yalnızca 21. yüzyılın kahramanı değil, aynı zamanda insanlığın en büyük kurtarıcısı olarak konumlandırılıyor. Bitcoin'in ve bu görünmez yazarın seçimi, herkese kendi değer, servet ve hukuk anlayışını belirleme yeteneği vererek, yeni bir çağın kapılarını aralıyor. Bu bölüm, Satoshi'nin bize armağan ettiği umudu ve özgürlüğü derinlemesine ele alıyor.Kaynak

Albath, Maike www.deutschlandfunk.de, Büchermarkt

Being a boss is hard—and most people are thrown into it with zero training and a vague job description. Kim and Jason are joined by Andrew Palmer—yes, that Andrew Palmer from The Economist's “Bartleby” column and host of the Boss Class podcast—for a wide-ranging, no-BS conversation about what leadership looks like when it's done well…and when it's not. Together, they dig into the hilarious, maddening, and meaningful realities of modern management: from the awkward feedback moments and the myth of the “natural leader,” to power corruption and the poetry-prose balance of real leadership. Andrew brings the receipts (read: research),  and together they swap tips on blocking your calendar like a boss, making your expectations explicit, and the underrated power of writing things down (including what not to do). This isn't about chasing the latest leadership trend—it's about holding on to the stuff that actually helps people thrive at work. Whether you're a seasoned manager, a team player, or simply trying not to lose your mind in a sea of emails, this one's for you. Get all of the show notes at ⁠⁠⁠⁠⁠⁠⁠RadicalCandor.com/podcast⁠⁠⁠⁠⁠⁠⁠. Episode Links Transcript Andrew Palmer  Managing Is Hard—Here's What Actually Helps | Radical Respect LinkedIn Boss Class podcast  Bartleby | The Economist  Connect: ⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠ Chapters: (00:00:00) Introduction Learn more about your ad choices. Visit megaphone.fm/adchoices

El libro de cuentos Periferia (Almadía, 2024) de la escritora mexicana Diana del Ángel cubren temas que van desde las redes de cuidados que se dan entre mujeres, especialmente en un tiempo en donde la violencia de género es una sombra que continuamente acecha, hasta reescrituras de textos canónicos como “Bartleby, el escribiente”. Las referencias de otros libros importantes de la literatura, mitos y cuentos de hadas se filtran en otras historias contadas en él. La ternura es uno de los hilos conductores con los que la académica Fran Dennstedt revisa este libro.  "... en Periferia, del Ángel edifica, sin descuidar la forma ni banalizar el contenido, una periferia de la escritura que apuesta por la sensibilidad para relacionarse con y resistir el mundo en que vivimos". —Fran Dennstedt

Welcome to Brooklyn, English Major and sports, Dave and Lisa are Mets fans, Mets stole Juan Soto from the Yankees, Lisa appreciates the meditative feel of baseball, Lisa noticed the Oakland A's are playing in Sacramento in a minor league park, Alana loves Juan Soto, Jose Siri injured, Sweaty ridge sounds like something from Blazing Saddles, Not necessarily something Milo loved, but it's on the list nevertheless, Milo unusual looking, enormous head, Eyes wide set, Tiny nose, Milo had curly but thin hair when he was very young, Wispy, curly hair matted down on top of his forehead, Sweaty ridge revealed that Milo was heated, Milo probably didn't care for sweaty ridge, Alana dubbed sweaty ridge, Milo had a "bruh" mentality about sweaty ridge, A little Bartleby the Scrivener, Standard Milo deflection, Even as Milo got older we'd occasionally point out his sweaty ridge, We miss the dismissive Milo, Flat faced dismissal,   

On the cover of his latest book, Impromptu: Amplifying Our Humanity Through AI, Reid Hoffman credits GPT-4 as a co-author. The tech investor tells our Bartleby columnist Andrew Palmer that artificial-intelligence tools offer a solution to the “blank-page problem” and will soon become a core competence for knowledge workers. Boss Class season one is free for a limited time. Season two will appear weekly starting May 12th. To hear new episodes, subscribe to Economist Podcasts+. https://subscribenow.economist.com/podcasts-plusIf you're already a subscriber to The Economist, you have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

On the cover of his latest book, Impromptu: Amplifying Our Humanity Through AI, Reid Hoffman credits GPT-4 as a co-author. The tech investor tells our Bartleby columnist Andrew Palmer that artificial-intelligence tools offer a solution to the “blank-page problem” and will soon become a core competence for knowledge workers. Boss Class season one is free for a limited time. Season two will appear weekly starting May 12th. To hear new episodes, subscribe to Economist Podcasts+. https://subscribenow.economist.com/podcasts-plusIf you're already a subscriber to The Economist, you have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

Yvette Benavides and Peter Orner welcome internationally renowned cartoonist, Ricardo Siri— known professionally as Liniers—to discuss “Bartleby, the Scrivener,” by Herman Melville.

Este relato nos conduce hasta un personaje al que los lectores de todo el mundo todavía no han conseguido desentrañar. No les queremos engañar: esta es una historia absurda, protagonizada por un ser humano… absurdo. Les sugerimos que lo miren con más piedad que severidad. Y con más interés que lógica. Les resultará interesante, e intrigante, la vida de… 'Bartleby, el escribiente', un cuento de Herman Melville. 

Jamás imaginamos hacer radio -ni teatro- desde un velero de tres palos del siglo XIX. Con Sergio del Molino nos subimos a bordo del Pequod, rumbo al Ártico, para entrevistar al gran Herman Melville, novelista y autor de Moby Dick, entre otros relatos.

Choice Classic Radio presents Favorite Story, which aired from 1946 to 1949. Today we bring to you the episode titled "The Strange Mister Bartleby.” Please consider supporting our show by becoming a patron at  http://choiceclassicradio.com We hope you enjoy the show!

In this special episode, hosts Medaya Ocher, Kate Wolf, and Eric Newman discuss the case for and against giving up—on life, vices, dreams, creative pursuits, jobs, relationships, exercise, and work. Their conversation is inspired by Adam Phillips's recent book On Giving Up, in which the psychoanalyst observes that “we give things up when we believe we can change; we give up when we believe we can't.” The hosts discuss what is acceptable to give up, their own fears of failure, both fictional and real-life inspirational quitters, and whether Bartleby was onto something when he said he'd prefer not to.

Darkness Syndicate members get the ad-free version plus all of the artwork created for the YouTube and podcast thumbnails. Click here for the Darkness Syndicate version of this episode: https://www.patreon.com/posts/110495003CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.000 = CBS Radio Mystery Theater, “The Follower” (January 26, 1975)00:51:44.959 = Strange Wills, “One Shining Night” (July 20, 1946)01:22:51.499 = The Witch's Tale, “Rockabye Baby” (August 02, 1934) ***WD01:52:41.300 = X Minus One, “Green Hills of Earth” (July 07, 1955)02:17:39.700 = The Avenger, “The Mystery of Dead Man's Rock” (July 13, 1945) ***WD02:47:22.931 = Beyond The Green Door, “Patrolman Hawkins and the Waxworks” (ADU) ***WD02:53:13.427 = Beyond Midnight, “Death Wish” (1968) ***WD03:23:37.408 = Black Book/Man In Black, “Different Readings, Part 1” (November 21, 1951) ***WD03:42:07.630 = Black Book/Man In Black, “Different Readings, Part 2” (November 21, 1951) ***WD03:51:55.980 = Black Castle, “Escape To Death” (December 16, 1942) ***WD (Low Quality)04:06:41.006 = The Black Mass, “Bartleby the Scrivener” (ADU) ***WD04:41:18.522 = Boston Blackie, “The Rockwell Diamond” (June 23, 1944) 05:10:56.113 = Show Close(ADU) = Air Date Unknown***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR20240820

The life of a scrivener is an existence resigned to the handwritten copying of law documents. One day something clicks in Bartleby, and his simple reply to everything is: “I prefer not to.” Herman Melville, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A Vintage Episode is released every Tuesday. If the show has helped you find comfort, peace, or a quiet place to mentally rest, please help us to help more people like you by going to http://classictalesaudiobooks.com, and becoming a supporter. New stories are coming your way on Friday.  Keep an ear open for our Kickstarter for The Golden Triangle – the seventh novel in the Arsène Lupin series. We'll let you know when we're ready to kick off.  Today's story was published anonymously in 1853. Melville was in a bit of financial straits at the time, since his last two novels, Moby Dick and Pierre, didn't sell well at all.  Melville's major source of inspiration for the story was an advertisement for a new book, The Lawyer's Story, by James A. Maitland. This advertisement included the complete first chapter, which started: "In the summer of 1843, having an extraordinary quantity of deeds to copy, I engaged, temporarily, an extra copying clerk, who interested me considerably, in consequence of his modest, quiet, gentlemanly demeanor, and his intense application to his duties." Melville biographer Hershel Parker said nothing else in the chapter besides this "remarkably evocative sentence" was notable. It's never directly addressed why Bartleby acts the way he does, and the author has left it open to interpretation. Many critics posit that his behavior is due to depression.  And now, Bartleby, the Scrivener, by Herman Melville 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: