Podcasts about Black robe

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

In Dragonlance, The Orders of High Sorcery are governed by the three gods of Magic, Solinari, Lunitary, and Nuitari. Does that make the Wizards of High Sorcery Clerics? Buy Holy Orders of the Stars: https://www.dmsguild.com/en/product/3239/holy-orders-of-the-stars-3-5e?affiliate_id=50797  https://youtu.be/ubZWAe9_1Ks Transcript Cold Open Wizards of High Sorcery serve the gods, obey strict laws, and can lose their power if they stray. So… are they clerics? Intro Welcome to another DragonLance Saga episode. My name is Adam, and today I'm going to answer a question that comes up surprisingly often: are Wizards of High Sorcery clerics? I'd like to take a moment and thank the DLSaga members and Patreon patrons, and invite you to consider becoming a member or patron–you can even pick up Dragonlance media or get $10 by signing up to StartPlaying.Games using my affiliate links. I'm referencing DLA Dragonlance Adventures, and the Chronicles and Legends for this information, if I leave anything out or misspeak, please leave a comment below. Discussion At a glance, Wizards of High Sorcery look very much like clerics. They draw power from divine beings. Their magic waxes and wanes according to heavenly bodies' cycles. They are bound by oaths, laws, and a rigid hierarchy. They can be punished, stripped of power, or even executed for violating doctrine. And like priests, their lives are defined by service to something greater than themselves. So the confusion is understandable. But in Dragonlance, Wizards of High Sorcery are not clerics, and the distinction matters greatly—both thematically and cosmologically. To understand why, we have to start with what the gods of magic actually are. Solinari, Lunitari, and Nuitari are gods, yes—but they are fundamentally different from the rest of the pantheon. When the other gods aligned themselves for the coming All-Saints War, the gods of magic refused to take sides. Instead of ruling from the heavens, they bound themselves to Krynn itself, revolving around the world as moons, anchoring magic directly into creation. They do not demand worship. They do not ask for prayer. They do not require devotion, sacrifice, or moral obedience. They grant access, not favor. A Wizard of High Sorcery does not serve a god in the way a cleric serves Mishakal, Paladine, or Takhisis. A wizard pledges loyalty to magic itself. This is explicitly stated in the doctrine of the Orders: a wizard's only loyalty is to magic. That single principle is the reason magic survives in Krynn at all. This is the first and most important difference. Clerics are instruments of divine will. Wizards are custodians of a cosmic force. Since the Second Dragon War, the gods of magic have not intervened to guide behavior. They do not issue commandments. They do not speak through visions demanding obedience. Instead, they allow the Orders to regulate themselves through law, tradition, and brutal accountability. The Conclave, not the gods, governs wizardry. The Test of High Sorcery, not divine judgment, determines worthiness. And the Test makes this distinction crystal clear. The Test of High Sorcery is not about faith. It is not about morality. It is not even about good or evil. Wizards are not judged on why they want power, but on whether they will use it responsibly. Failure does not mean excommunication. It means death. When a wizard takes the Test, they are not dedicating their soul to a god. They are pledging their entire life to magic. That pledge is enforced not by divine punishment, but by the Orders themselves. A wizard who breaks faith with their order does not lose magic because a god is displeased—they lose it because they have broken alignment with the cosmic structure that allows them to channel it. Even the moons reinforce this difference. A cleric's power flows continuously so long as they remain in good standing with their deity. A wizard's power fluctuates mechanically, predictably, impersonally. Solinari waxing does not reward a White Robe. Nuitari waning does not punish a Black Robe. The moons do not care. They simply are. When a wizard strays too far from the principles of their order, the moon ceases to affect them—not as judgment, but as consequence. And this brings us to the crucial dividing line. Clerics exist to serve divine purposes. Wizards exist to preserve balance. A White Robe wizard must pursue good, yes—but only because unrestrained magic is destructive. A Black Robe wizard pursues self-interest, but within boundaries. A Red Robe wizard stands between extremes, maintaining equilibrium. These are not moral callings. They are functional necessities. That is why White and Black Robes can slaughter each other on the battlefield, then calmly debate spell theory in a Tower of High Sorcery. Their loyalty is not to ideology, nation, or god—it is to magic's survival. And it is why renegade wizards are treated more harshly than apostate clerics. A fallen cleric has lost favor. A renegade wizard is a threat to reality. The Orders will hunt, capture, convert, or destroy renegades because uncontrolled magic destabilizes the world itself. This is not heresy—it is hazard containment. So while Wizards of High Sorcery share surface similarities with clerics—hierarchy, obligation, loss of power—their role in Dragonlance is entirely different. Clerics are servants. Wizards are stewards. Clerics submit to will. Wizards submit to law. And that distinction is at the very heart of Krynn's cosmology. Outro But that is all the time I have to talk about Wizards of High Sorcery and whether they are clerics. What do you think? Does the distinction matter to you as a player, or do they feel functionally the same at the table? And if you were playing a wizard in Dragonlance, which order would you choose, and why? Leave a comment below. I would like to invite you to subscribe to this YouTube channel, ring the bell to get notified about upcoming videos, and click the like button. It all helps other Dragonlance fans learn about this channel and its content. Thank you for watching — this has been Adam with DragonLance Saga, and until next time, remember: I go where I choose in this world, and I choose to go with you, Tanis Half-Elven.

Collecting mokuhanga has never been easier. You no longer need to visit galleries as often; you can purchase prints online from anywhere in the world, all from the comfort of your own home. But you'd be doing yourself a disservice to stop there. Seeing prints in person at galleries is a wonderful experience — it allows you to get up close to the work, to see what your potential investment looks like under the lights, and to speak with the people who work in the galleries and collections, who can help guide you toward the right decision. One such gallery is in Tokyo and New York and has a long history of showcasing wonderful contemporary prints — from mokuhanga and aquatint to lithography and other mediums. The Tolman Collection Tokyo, located in the Shibadaimon district of Minato, Tokyo, has been operating for over 50 years and enjoys a strong reputation both in Japan and around the world. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Allison Tolman of The Tolman Collection Tokyo. We discuss how the gallery began — from the hope and a dream of Allison's parents, Mary and Norman Tolman, who built a life and a    business in a new country, to their friendships with many of the most important printmakers of their time. Allison shares why prints remain so vital today, emphasizing their democratic nature. She also discusses the differences between contemporary printmakers in Japan and those in the West, as well as the unique experiences of selling prints in Tokyo versus at The Tolman Collection in New York. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.  The Tolman Collection - Tokyo, New York Machida City of Graphic Arts - is a print gallery located in Machida City, Tokyo, Japan. More info can be found, here.  Kitaoka Fumio (1918-2007) - was a painter who moved onto mokuhanga later in life. Kitaoka was a sōsaku hanga printmaker whose works touched on anti-war themes and Japanese society, emigres and the working class.  Tsukiji Fish Market (1988)  Tadashige Ono (1909-1990) - was a socially conscience printmaker of Post-War Japan. Tadashige's early works were influenced by the west with German Expressionism and later in his career, as his personal politics began to change, Tadashige;'s prints began to focus on an industrial Japan.  House (Hiroshima) (1957) Tōkō Shinoda (1913-2021) - was a calligrapher and painter in Japan. Shinoda saw herself as an artist who combined painting and calligraphy together defying categorization. More information can be found, here from The Royal Ontario Museum, Toronto.  Sound (ca 1990) lithograph on paper 17 5/8" h x 23 3/8" w Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Black Robe (1976)  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Kawamura Sayaka - is a mokuhanga printmaker based in Japan. Her work has an ethereal quality of mystery and fantasy. More information can be found on her Instagram.  Bon Voyage IV (2019) 27.56 " × 27.56 " AP - stands for Artist's Proof. When a printmaker is almost ready to print an edition, they will create a few prints that serve as proofs of the final image before the edition is printed. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Sound Of The Waves (2016) 15" × 12" Zōjōji Daimon - is a Buddhist temple in Minato, Tokyo of the Jōdo-shū (Pure Land) sect of Buddhism David Rockefeller (1915-2017) - was an American economist and investment banker who led Chase Manhattan Corporation as its chairman and CEO. From 2004 until his passing in 2017, he was the oldest living member of the Rockefeller family. The youngest of five sons, he was the child of John D. Rockefeller Jr. and Abby Aldrich Rockefeller, and the grandson of John D. Rockefeller and Laura Spelman Rockefeller.  Hasegawa Yuichi (1945-2025) - was a woodblock printmaker from Aizu in Fukushima Prefecture. He was from a family of lacquerware makers. Hasegawa incorporated lacquer resin and metallic paints into his reduction woodblocks, giving them a distinctive texture and gleam. Deeply influenced by Zen and the natural world, he aimed to capture the power and splendor of nature in his prints.  Night Sky No. 5 (2000) Seiko Kawachi - is a mokuhanga printmaker and painter based in Japan. His work is known for its rich use of color and dynamic energy. A longtime printmaking instructor at Tama Art University, he experienced a turning point in his middle age when he began exploring the influence of Hokusai. Using contemporary materials, his large, powerful prints capture the movement and vitality of the natural world. Object: The Flying: Ki (The Flying: Introduction) (1985) mokuhanga and intaglio, 65" × 36" Tama Art University - located in Tokyo, Japan, is one of the country's leading institutions for art and design education. Founded in 1935, it offers programs in fine arts, design, architecture, and media arts, fostering both traditional and contemporary approaches to creativity. Known for its strong emphasis on experimentation and individual expression, Tama has produced many influential artists, designers, and educators who have shaped Japan's modern art scene. More info, here.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

Send us a textJudges continue to try to be president, Thom Tillis is in political danger, Fauci hearing coming, No more Pronouns, Epstein files, is Bessent too popular? James O'Keefe in hiding. Support the showWatch the full episode at Rumble.com/TheIkeWingateShowFollow us here:Facebook PageInstagramTwitterTikTokTruth Social

Samuel de Champlain and French Jesuit Priests are featured in the movie BLACK ROBE, set in Eastern Canada during the early 1600s. Check out the YouTube version of this episode at https://youtu.be/YUc889DK_6E which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast is available at: https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's Books: https://amzn.to/3k8 Podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. (2E272)See omnystudio.com/listener for privacy information.

Pope Francis (1936-25) was a Jesuit, a religious Order that sent Priests to North America on a mission to evangelize the natives. Hurons, Algonquins, and Mohawk Iroquois clashed in Northeastern North America during the 1630s. Check out the YouTube version of this episode at https://youtu.be/dTScCOAwuUo which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast is available at: https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's Books: https://amzn.to/3k8 Podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. (2E271)See omnystudio.com/listener for privacy information.

Recently deceased Pope Francis, the first Jesuit Pontiff, was a spiritual descendant of the courageous Black Robe Jesuits in early New France. Check out the YouTube version of this episode at https://youtu.be/7KjHABFTmWc which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Pope Francis books available at https://amzn.to/4lEOqZ1 Jesuit books available at https://amzn.to/3vttWgG Black Robe novel by Brian Moore at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD Ignatius of Loyola books at https://amzn.to/3VvdwiD New France books at https://amzn.to/43IZrjw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's Books: https://amzn.to/3k8 Podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. (2E270) See omnystudio.com/listener for privacy information.

To mark the death of Pope Francis, the first Jesuit Pontiff, join me as I present a few special episodes on the activities, influence, and adventures of the Jesuits in early New France. Check out the YouTube version of this episode at https://youtu.be/six-AKVZS0A which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Pope Francis books available at https://amzn.to/4lEOqZ1 Jesuit books available at https://amzn.to/3vttWgG Black Robe novel by Brian Moore at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD Ignatius of Loyola books at https://amzn.to/3VvdwiD New France books at https://amzn.to/43IZrjw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's Books: https://amzn.to/3k8 Podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. (2E269)See omnystudio.com/listener for privacy information.

In the summer of 1673, two now famous Frenchmen and five others who are all but nameless traveled by canoe from the Upper Peninsula of Michigan at the Straits of Mackinac to central Arkansas on the western bank of the Mississippi River, and then back again. Louis Jolliet was a new sort of Frenchman, a natural born North American, having come into this world in Quebec in 1645, now a fur trader and voyageur. Jacques Marquette was the more usual sort, having been born in France in 1637.  By the time of the expedition Marquette was a Jesuit priest, long known to the nations of North America as a “Black Robe.” The episode begins with an overview of New France in the years between Samuel de Champlain's death in 1635 and 1661, when it languished because the Five Nations of the Iroquois had it entirely bottled up. The expedition was a marker of New France's rapid expansion after King Louis XIV began to rule in his own right that year. Along the way, our heroes become the first Europeans to visit Iowa (Go Hawks!), see some extraordinary painted monsters, learn the importance of the calumet, and find a short portage in the eastern continental divide at a place soon to be called Chicago. Map of the route (visible in the shownotes for the episode on the website), credit Illinois State Museum X/Twitter – @TheHistoryOfTh2 – https://x.com/TheHistoryOfTh2 Facebook – The History of the Americans Podcast – https://www.facebook.com/HistoryOfTheAmericans Selected references for this episode (Commission earned for Amazon purchases through the episode notes on our website) Mark Walczynski, Jolliet and Marquette: A New History of the 1673 Expedition Francis Borgia Steck, The Jolliet-Marquette Expedition, 1673 (pdf) Piasa "monsters" (Wikipedia) Carignan-Salières Regiment (Wikipedia) Beaver Wars (Wikipedia)

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friends are Richard Melling & Karen McCracken! We recorded this last week at my home in Portland, OR. Tunes in this episode: * My Texas Girl (0:35) * Pretty Little Pink (11:07) * Black Robe (25:47) * Moses on the Mountain (Richard Melling original) (44:46) * Beautiful (53:08) * Bonus Track: Light in Your Eyes (Richard Melling original) Visit Ross Island Ramblers' website (https://www.rossislandramblers.com/) and follow them on Facebook (https://www.facebook.com/profile.php?id=100084482822753) Catch the Ross Island Ramblers at Multnomah Grange #71 on Feb 8 (https://oregonbluegrass.org/event/ash-creek-and-ross-island-ramblers-at-the-multnomah-grange/) Come see Tradwife Stringband open for Rachel Sumner on February 26th at McMenamins White Eagle Saloon (https://www.etix.com/ticket/p/35725471/rachel-sumner-traveling-light21-portland-mcmenamins-white-eagle-saloon) Follow Tradwife Stringband on Instagram (https://www.instagram.com/tradwifestringband/) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

Samuel de Champlain and French Jesuit Priests are featured in the movie BLACK ROBE, set in Eastern Canada during the early 1600s. Mark joins Steve Guerra on his show Beyond the Big Screen to conclude discussing this fascinating topic. Check out the YouTube version of this episode at https://youtu.be/YUc889DK_6E which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel at : https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

Hurons, Algonquins, and Mohawk Iroquois are featured in the film BLACK ROBE, set in Northeastern North America during the 1630s. Mark joins Steve Guerra on his show Beyond the Big Screen to continuing discussing this fascinating epoch. Check out the YouTube version of this episode at https://youtu.be/dTScCOAwuUo which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel at : https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

Jesuit missionaries are featured in the movie BLACK ROBE, set in New France during the early 17th century. Mark joins Steve Guerra on his show Beyond the Big Screen to discuss. Check out the YouTube version of this episode at https://youtu.be/7KjHABFTmWc which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel at : https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

Esteemed podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. Check out the YouTube version of this episode at https://youtu.be/six-AKVZS0A which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2 Black Robe movie available at https://amzn.to/4alI8YD ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel at : https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

On this weeks show, Jackie (@jackiekashian) and Laurie (@anylaurie16) share similar goals. You are invited to do your part and see who gives a shit. Plus, the bananus remains a hot button topic! Subscribe to the podcast, and give it a 5-star rating and review to help the show move up the charts. Video for the episodes is on The Jackie and Laurie YouTube channel! Comic of the Week: Roz Browne @rozbrowne Become a MaxFun Member for benefits and other great pods:https://href.li/?https://maximumfun.org/donate Join our Patreon: https://www.patreon.com/JackieandLaurie Watch the episodes and subscribe here: https://www.youtube.com/@Jackie_Kashian See Laurie on tour: https://lauriekilmartin.com/tour-dates See Jackie on tour: https://jackiekashian.com/tour-dates Watch 'Lauries special “Cis Woke Grief ”Slut on YouTube:https://bit.ly/3zWwgPA Watch Laurie's special “Cis Woke Grief ”Slut on Amazon Prime: https://amzn.to/3NpHlMo Watch 'Jackies special “Looking Back” on YouTube: https://www.youtube.com/watch?v=0ZfwWvgMT70 Follow Laurie on social media: @anylaurie16 Follow Jackie on social media: @jackiekashian Recorded and Produced by Kyle Clark : @kyleclarkisrad  

SEASON 2 - EPISODE 107 - PETER JAMES - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Peter James (MAO'S LAST DANCER, BLACK ROBE, DRIVING MISS DAISY) joins us to talk about his career. Growing up in Sydney, Australia, Peter spent five years in his youth working at a small studio working on commercials and local television programs before finding his to working on features. Peter shares his process for overcoming his dyslexia to break down scripts, and at one point in the conversation, he even teaches us a new lighting trick. Peter later discusses how he and the crew battled the elements to shoot the colonial-era set BLACK ROBE on location in the Canadian wilderness. Towards the end, we conduct some forensics on Peter's IMDb page, and we reflect on the power of the inverse-square law. - Recommended Viewing: BLACK ROBE - This episode is sponsored by Aputure

Filmmaker, critic, video essayist and author Scout Tafoya joins the show to discuss the work of undersung journeyman Bruce Beresford and his brilliant 1991 film 'Black Robe', a story of faith, the frontier, and the church as a pernicious vestige of the European colonial project. Set amidst the 17th Century French conquests of North America in modern-day Quebec, the film follows the titular Black Robe, Father Laforgue, a Jesuit Missionary tasked with bringing Christianity to the indigenous populations of the region. As he ventures deep into Huron territory with his company of Algonquin guides, the limits of his faith and reason are tested, as it becomes clear that his beliefs and the promises they supposedly carry can find no purchase with a people who have no need for them. Greenlit in the wake of the success of 'Dances With Wolves' and cashing in on an exceptional amount of goodwill Beresford had accrued after directing the Academy Award-winning 'Driving Miss Daisy', the film is a brilliant study of self-deception, and the profoundly human impulses of one's perceptions of the divine. We discuss Beresford as filmmaker, his history as a contemporary of Australian greats Peter Weir and George Miller, and why his work deserves an immediate and vast reappraisal. Then, we discuss 'Black Robe', its exacting observations of faith and imperialism, and its unusually sensitive and well-researched portrayals of indigenous American tribes. Finally, we talk about other films in the canon of great portrayals of faith and the frontier, including Michael Mann's gorgeous 'The Last of the Mohicans' and Martin Scorsese's late-period masterpiece 'Silence'. Follow Scout Tafoya on Twitter. Support Scout's video essay work and criticism on Patreon.Buy Scout's book 'But God Made Him a Poet: Watching John Ford in the 21st Century".Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Donald Trump has been found guilty as not charged. The “crime” for which he was egregiously prosecuted in New York actually is that he ran for reelection. Had he not chosen to do so, it's inconceivable that he'd have been subjected to six weeks of a Leninist show-trial and convicted of even a single felony – let alone thirty-four of them.   The question requiring the closest of scrutiny is less what this black robe-enabled political lynching means for the former President and the sentence he'll get four days before the start of the Republican National Convention, at which he will become his party's nominee for the third time.   Rather, it is how much damage will such a blatant miscarriage of justice do to what's left of public confidence in the cornerstone of our constitutional Republic: namely, equal justice under law?    This is Frank Gaffney.

Barrett Fisher and Sam Mulberry meet up in the video store to talk about the 1991 film Black Robe and to get Barrett's film recommendation for next week. For more information about Video Store or to find all of our episodes, check out our website: https://videostorepodcast.wordpress.com/

In this episode of the Black Robe Podcast, We learn about IBJ's A.C.E.S Program and the upcoming 2024 launch date! We also hear from the Black Robe Podcast Host and Co-host who are IBJ Interns, to learn a little bit more about them and their missions towards social justice advocacy. To learn more about the A.C.E.S Program, check out our website at https://instituteforblackjustice.org/ If you have a young adult interested in social justice advocacy aged 18-35, click the interest form below: https://docs.google.com/forms/d/e/1FAIpQLSeuUtGJGsGu4s4abeDD7Dev2cXL49IcwzwY4pyEnBGRO2ieiA/viewform?usp=sf_link

In this episode of the Black Robe Podcast hear from NAACP President Jonathan Johnson our host Isaiah Lenard and Co-host Queleah Collins. This is an episode you don't want to miss! Listen as they dig deep gaining knowledge on how to break generational cycles of social justice oppression, and how to take the next steps to see change in their communities. What is the NAACP? The NAACP or National Association for the Advancement of Colored People was established in 1909 and is America's oldest and largest civil rights organization. It was formed in New York City by white and Black activists, partially in response to the ongoing violence against Black Americans around the country Learn more about the Tacoma NAACP chapter below: https://253naacp.org/branch-leadership https://naacp.org

What the Hale$??? Interview with DUI Guy Larry FormanLaura Owens v. Clayton Echard court videoMegan Fox analyzes Owens v. Echard court videoClayton Echard Wins Big in Court on PJM by Megan FoxGiveSendGo AZ Travel Fund! Send Megan to Owens v. Echard Trial in JuneThe Government Teaches a Little Girl to Hate Government ForeverFani Willis BUSTED in liesTwitter thread with documents proving Willis and Wade lied to the court  Find Megan FoxYOUTUBE Megan Fox Investigates Trailer (youtube.com)LINKTREE https://linktr.ee/meganfoxwriterMERCH STORE: https://my-store-c96929.creator-spring.comRELATED ARTICLES:https://pjmedia.com/columnist/megan-foxRUMBLE: https://rumble.com/c/MeganFoxInvestigatesBITCHUTE: https://www.bitchute.com/channel/nwchg5tXiQ7F/LOCALS: https://meganfox.locals.comMusic by Yrii Semchyshyn at Pixabay

In this episode of the Black Robe Podcast, The Host Isaiah Lenard, and co-host Queleah Collins ask IBJ Founder Carol Mitchell her thoughts as a long standing lawyer, advocate and ally to social justice issues her honest and raw opinion over the verdict rendered by the jury in the Manny Ellis Trial.

Samuel de Champlain and French Jesuit Priests are featured in the movie BLACK ROBE, set in Eastern Canada during the early 1600s. Mark joins Steve Guerra on his show Beyond the Big Screen to conclude discussing this fascinating topic. Check out the YouTube version of this episode at https://youtu.be/YUc889DK_6E which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams.  Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2  Black Robe movie available at https://amzn.to/4alI8YD   THANKS for the many wonderful comments, messages, ratings and reviews. All of them are regularly posted for your reading pleasure on https://patreon.com/markvinet where you can also get exclusive access to Bonus episodes, Ad-Free content, Extra materials, and an eBook Welcome Gift when joining our growing community on Patreon or Donate on PayPal at https://bit.ly/3cx9OOL and receive an eBook GIFT. SUPPORT this series by enjoying a wide-range of useful & FUN Gadgets at https://twitter.com/GadgetzGuy and/or by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3k8qrGM (Amazon gives us credit at no extra charge to you). It costs you nothing to shop using this FREE store entry link and by doing so encourages & helps us create more quality content. Thanks! Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus                                                            Mark's TIMELINE video channel at https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Instagram: https://www.instagram.com/denarynovels Twitter: https://twitter.com/MarkVinet_HNA  Facebook: https://www.facebook.com/mark.vinet.9 YouTube Podcast Playlist: https://www.bit.ly/34tBizu Podcast: https://parthenonpodcast.com/history-of-north-america TikTok: https://tiktok.com/@historyofnorthamerica Books: https://amzn.to/3k8qrGM                                                                              Linktree: https://linktr.ee/WadeOrganization See omnystudio.com/listener for privacy information.

Hurons, Algonquins, and Mohawk Iroquois are featured in the film BLACK ROBE, set in Northeastern North America during the 1630s. Mark joins Steve Guerra on his show Beyond the Big Screen to continuing discussing this fascinating epoch. Check out the YouTube version of this episode at https://youtu.be/dTScCOAwuUo which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams.  Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2  Black Robe movie available at https://amzn.to/4alI8YD   THANKS for the many wonderful comments, messages, ratings and reviews. All of them are regularly posted for your reading pleasure on https://patreon.com/markvinet where you can also get exclusive access to Bonus episodes, Ad-Free content, Extra materials, and an eBook Welcome Gift when joining our growing community on Patreon or Donate on PayPal at https://bit.ly/3cx9OOL and receive an eBook GIFT. SUPPORT this series by enjoying a wide-range of useful & FUN Gadgets at https://twitter.com/GadgetzGuy and/or by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3k8qrGM (Amazon gives us credit at no extra charge to you). It costs you nothing to shop using this FREE store entry link and by doing so encourages & helps us create more quality content. Thanks! Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus                                                            Mark's TIMELINE video channel at https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Instagram: https://www.instagram.com/denarynovels Twitter: https://twitter.com/MarkVinet_HNA  Facebook: https://www.facebook.com/mark.vinet.9 YouTube Podcast Playlist: https://www.bit.ly/34tBizu Podcast: https://parthenonpodcast.com/history-of-north-america TikTok: https://tiktok.com/@historyofnorthamerica Books: https://amzn.to/3k8qrGM                                                                              Linktree: https://linktr.ee/WadeOrganization See omnystudio.com/listener for privacy information.

In this episode of the Black Robe Podcast, Carol Mitchell and the IBJ ACES team go deep in discussion about the mission of the Urban League and Black Tacoma with new Urban League CEO Janice Lee. instituteforblackjustice.org/black-robe-podcast-1 Tacoma Urban League https://www.thetacomaurbanleague.org

Jesuit missionaries are featured in the movie BLACK ROBE, set in New France during the early 17th century. Mark joins Steve Guerra on his show Beyond the Big Screen to discuss. Check out the YouTube version of this episode at https://youtu.be/7KjHABFTmWc which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams.  Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2  Black Robe movie available at https://amzn.to/4alI8YD   THANKS for the many wonderful comments, messages, ratings and reviews. All of them are regularly posted for your reading pleasure on https://patreon.com/markvinet where you can also get exclusive access to Bonus episodes, Ad-Free content, Extra materials, and an eBook Welcome Gift when joining our growing community on Patreon or Donate on PayPal at https://bit.ly/3cx9OOL and receive an eBook GIFT. SUPPORT this series by enjoying a wide-range of useful & FUN Gadgets at https://twitter.com/GadgetzGuy and/or by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3k8qrGM (Amazon gives us credit at no extra charge to you). It costs you nothing to shop using this FREE store entry link and by doing so encourages & helps us create more quality content. Thanks! Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus                                                            Mark's TIMELINE video channel at https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Instagram: https://www.instagram.com/denarynovels Twitter: https://twitter.com/MarkVinet_HNA  Facebook: https://www.facebook.com/mark.vinet.9 YouTube Podcast Playlist: https://www.bit.ly/34tBizu Podcast: https://parthenonpodcast.com/history-of-north-america TikTok: https://tiktok.com/@historyofnorthamerica Books: https://amzn.to/3k8qrGM                                                                              Linktree: https://linktr.ee/WadeOrganization See omnystudio.com/listener for privacy information.

Esteemed podcaster Steve Guerra invited me on his show Beyond the Big Screen to discuss the movie BLACK ROBE, set in New France during the year 1634. Check out the YouTube version of this episode at https://youtu.be/six-AKVZS0A which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams.  Black Robe novel by Brian Moore available at https://amzn.to/48d10Y2  Black Robe movie available at https://amzn.to/4alI8YD   THANKS for the many wonderful comments, messages, ratings and reviews. All of them are regularly posted for your reading pleasure on https://patreon.com/markvinet where you can also get exclusive access to Bonus episodes, Ad-Free content, Extra materials, and an eBook Welcome Gift when joining our growing community on Patreon or Donate on PayPal at https://bit.ly/3cx9OOL and receive an eBook GIFT. SUPPORT this series by enjoying a wide-range of useful & FUN Gadgets at https://twitter.com/GadgetzGuy and/or by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3k8qrGM (Amazon gives us credit at no extra charge to you). It costs you nothing to shop using this FREE store entry link and by doing so encourages & helps us create more quality content. Thanks! Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus                                                            Mark's TIMELINE video channel at https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Instagram: https://www.instagram.com/denarynovels Twitter: https://twitter.com/MarkVinet_HNA  Facebook: https://www.facebook.com/mark.vinet.9 YouTube Podcast Playlist: https://www.bit.ly/34tBizu Podcast: https://parthenonpodcast.com/history-of-north-america TikTok: https://tiktok.com/@historyofnorthamerica Books: https://amzn.to/3k8qrGM                                                                              Linktree: https://linktr.ee/WadeOrganization See omnystudio.com/listener for privacy information.

YBMW is in the house once again! The conversation is rich and goes deep y'all. instituteforblackjustice.org/black-robe-podcast-1 YBMW: Facebook Instagram Get Involved Podcast Bookmark us linktr.ee/Instituteforblackjustice⁠

Michael Coyne, Dean MA School of Law  talks about the late Sandra Day O'Connor

In this episode of the Black Robe Podcast, Our new cohost Queleah interviews IBJ ACES Isaiah and Faith for an update on the Manuel Ellis trial and observations on court etiquette in Pierce County. Navigating this trial as a community is difficult waiting for justice for Manny; It's even harder for his family. Please hold space for his family and support them in any way you can throughout this incredibly painful process. The team also gives an update on the election and @tacoma4all Initiative 1 Tenant Bill of Rights instituteforblackjustice.org/black-robe-podcast-1 Bookmark us linktr.ee/Instituteforblackjustice⁠ Go Fund Me- https://www.gofundme.com/f/in-honor-of-manuel-ellis Meal Train- https://www.mealtrain.com/trains/0e8eq3 Attend the Trial- https://www.piercecountywa.gov/7884/Trial-Information?fbclid=IwAR134EP_yft-GvmXxhwXCpU9McRerw9luGK-brEn88ZA03-f6_SO2qAbiCg#viewing Learn More about the Manny Ellis Case https://www.kiro7.com/news/local/trial-3-tacoma-officers-charged-killing-manny-ellis-starts-monday/D63DOMGSWVDB5EJNK7E4Z46MJY/

Manuel Ellis was a 33-year-old African-American Tacoma, Washington man killed by police on March 3, 2020. Those in Tacoma are very familiar with this case and have been waiting for justice for Manny and his family. In this episode, Morgan and Isaiah discuss what has happened since the trial began on Oct 3 and how you can support the Ellis family. instituteforblackjustice.org/black-robe-podcast-1 Bookmark us linktr.ee/Instituteforblackjustice⁠ Go Fund Me- https://www.gofundme.com/f/in-honor-of-manuel-ellis Meal Train- https://www.mealtrain.com/trains/0e8eq3 Learn More about the Manny Ellis Case https://www.kiro7.com/news/local/trial-3-tacoma-officers-charged-killing-manny-ellis-starts-monday/D63DOMGSWVDB5EJNK7E4Z46MJY/ Attend the Trial- https://www.piercecountywa.gov/7884/Trial-Information?fbclid=IwAR134EP_yft-GvmXxhwXCpU9McRerw9luGK-brEn88ZA03-f6_SO2qAbiCg#viewing Black The Vote- https://instituteforblackjustice.org/voter-toolkit

We've all noticed the uptick in violence among our youth here in Pierce County and throughout the United States. In this episode of The Black Robe, we talk to Carolyn and Malik from Peace Point about how, as a community, we can turn the tide. instituteforblackjustice.org/black-robe-podcast-1 Bookmark us linktr.ee/Instituteforblackjustice⁠

Voting matters. Period. Carol Mitchell and IBJ Intern Isaiah Lenard discuss the history of voting and why IBJ commits to Back The Vote every year https://instituteforblackjustice.org/black-robe-podcast-1  Bookmark us for easy access to all of our content: ⁠https://linktr.ee/Instituteforblackjustice⁠ Find where to vote in your state Stay tuned for the official launch of the IBJ Voters Toolkit #blackthevote #VotingRights #votersuppression #VoteReady #VotingRightsAct #VotingMatters #voting #vote #VoteByMail #VoterRegistration #Voter #Congress #GetOutTheVote #GOTV #Elections #Piercecounty #washingtonstate #washingtonian

The Tenants Bill Of Rights is on the ballot this November. We see the direct impacts of the housing crisis in our work at IBJ; In this Black Robe Episode, we went in and had a deep discussion with Morgan Smith and Isaiah Lenard on the Tacoma Tenant Bill Of Rights and just how important it is for all of us to get out there and vote in EVERY ELECTION. This one is juicy y'all! https://youtu.be/6H-W4OlmjTM  Bookmark us for easy access to all of our content: ⁠https://linktr.ee/Instituteforblackjustice⁠

1991's Black Robe is probably a movie you've never heard of, but maybe you should. It's one of the rare films that travel back to 17th Century New France to allow us to witness interactions between Indigenous communities and Jesuit missionaries. I watched this film in college and it made an impression on me. So I asked Michael Oberg to come on the pod to talk not only about this film but about how to teach this film as well as point out the complicated relationships between people during the era. This is maybe a bit more cerebral episode than some of the others, and I hope you like it.About our guest:Michael Leroy Oberg, the author of Native America, is Distinguished Professor of History at SUNY-Geneseo and founder of the Geneseo Center for Local and Municipal History, which he directed from 2019 until 2022.  In addition to this textbook, he has written the following works:   Dominion and Civility: English Imperialism and Native America, 1585-1685 (Ithaca: Cornell University Press, 1999); Uncas: First of the Mohegans, (Ithaca: Cornell University Press, 2003); Samuel Wiseman's Book of Record: The Official Account of Bacon's Rebellion in Virginia, (Lanham: Lexington Books, 2005); The Head in Edward Nugent's Hand: Roanoke's Forgotten Indians,  (Philadelphia: University of Pennsylvania Press, 2007); the first edition of Native America; Professional Indian: Eleazer Williams's American Odyssey, (Philadelphia: University of Pennsylvania Press, 2015); and Peacemakers: The Iroquois, the United States, and the Treaty of Canandaigua, 1794, (New York: Oxford University Press, 2015).  He has published, as well, articles and reviews, and has worked as a historical consultant for native communities in New York and North Carolina, as well as for the Indian Resources Section of the United States Department of Justice.  He has won awards for his teaching and research in Montana and in New York, including the SUNY Chancellor's Award for Excellence in Teaching.

Hannibal Johnson, the keynote for the Institute For Black Justice 2023 Freedom Summer Symposium, educates the audience on the history of the Greenwood district, also known as Black Wall Street. Keep up with us tinyurl.com/IBJ-Newsletter Find us online linktr.ee/Instituteforblackjustice

What is vegan haircare anyways? Carol sits down with Sally from Beyond The Curls to discuss natural haircare and the journey to entrepreneurship. www.beyondthecurls.co Bookmark us for easy access to all of our content: https://linktr.ee/Instituteforblackjustice #gethtatbag

Just 2 weeks left until the Freedom Summer Symposium Seats are limited. Get your tickets today instituteforblackjustice.org/event-registration-1

Tia and IBJ Intern Faith sit down with Quincy, co-owner of Campfire Coffee to talk about his path to entrepreneurship and getting the bag while still holding to the mission, vision, and values of putting community first. www.welovecampfire.com https://instituteforblackjustice.org/black-robe-podcast-1 Bookmark us for easy access to all of our content: https://linktr.ee/Instituteforblackjustice #gethtatbag

In collaboration with Conversation 253, IBJ facilitates a deep and meaningful discussion with Vonda Sargent J.D. and Dr. Carolyn Weisz on the prevalence of discrimination in the civil court systems. Bookmark us for easy access to all of our content: https://linktr.ee/Instituteforblackjustice

What is Institute For Black Justice and what exactly do we do? Your questions answered in this episode. Find everywhere we are https://linktr.ee/Instituteforblackjustice

What exactly do trees have to do with equity and justice? Find out on episode 79 of the Black Robe Podcast. Carol interviews Lowell Wyse from Tacoma Tree Foundation for a look at environmental justice through the lens of tree canopy Cover in Tacoma & Pierce County https://instituteforblackjustice.org/black-robe-podcast-1 Bookmark us for easy access to all of our content: https://linktr.ee/Instituteforblackjustice

We're back with the very first episode of 2023! Carol Sits down with Kimi Ginn from Vibrant Schools to discuss the organization, and its brand-new status! https://instituteforblackjustice.org/black-robe-podcast-1 Find everywhere we are https://linktr.ee/Instituteforblackjustice Donate today https://www.paypal.com/US/fundraiser/charity/4276769

On this special edition of the Black Robe Podcast, Carol and Tia discuss the patterns we've noticed in the community when it comes to the care and support for Black women and the focus for IBJ over 2023. https://instituteforblackjustice.org/black-robe-podcast-1 Bookmark us for easy access to all of our content: https://linktr.ee/Instituteforblackjustice

In our last podcast episode of the year, Carol interviews Adria Buchanan from The Fair Housing Center of Washington about the difference between Landlord-tenant laws, fair housing laws, and the intersection of these with the housing crisis. View the video podcast https://youtu.be/W4xF7ikDB_A Bookmark us for easy access to all our content https://linktr.ee/Instituteforblackjustice Donate today https://www.paypal.com/US/fundraiser/charity/4276769

Episode 116k Black RobeDescription: Making his second appearance in this series, we have Mark Vinet of the History of North America Podcast. Mark takes us through the real history, background and context of the stunning 1991 historical drama Black Robe. This is a story of a French Jesuit who travels from the brand new settlement of Montreal across the unforgiving landscape of North America. This Jesuit meets new Native Aboriginal groups in his quest to spread Catholicism and battle his own demons.Mark Vinet of the History of North America Podcastmarkvinet.comYou can learn more about the History of Papacy and subscribe at all these great places:http://atozhistorypage.com/https://www.historyofthepapacypodcast.comemail: steve@atozhistorypage.comhttps://www.patreon.com/historyofthepapacyBeyond the Big Screen:Beyondthebigscreen.comThe History of the Papacy on YouTube:https://www.youtube.com/channel/UC6DO2leym3kizBHW0ZWl-nAGet Your History of the Papacy Podcast Products Here: https://www.atozhistorypage.com/productsHelp out the show by ordering these books from Amazon!https://amzn.com/w/1MUPNYEU65NTFMusic Provided by:"Danse Macabre" Kevin MacLeod (incompetech.com)"Virtutes Instrumenti" Kevin MacLeod (incompetech.com)"Virtutes Vocis" Kevin MacLeod (incompetech.com)"Funeral March for Brass" Kevin MacLeod (incompetech.com)"String Impromptu Number 1" Kevin MacLeod (incompetech.com)Agnus Dei X - Bitter Suite Kevin MacLeaod (incomptech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/Image Credits:By Ariely - Own work, CC BY 3.0, ttps://commons.wikimedia.org/w/index.php?curid=4533576By Pam Brophy, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=9124089By ACBahn - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=33810833By impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=10635856