Podcasts about Bleak House

Bleak House (version 3) Pt.6The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

Bleak House (version 3) Pt.5The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

Bleak House (version 3) Pt.4The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

Bleak House (version 3) Pt.3The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

Bleak House (version 3) Pt.2The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

Bleak House (version 3) Pt1The Chancery Court had jurisdiction over all matters of equity, including administration of estates, the guardianship of orphans, and disputed property disbursement. In Dickens' time, some cases could take years to be settled, changing the lives of those involved.Esther Summerson, a young woman raised in a tough and unloving atmosphere, is unexpectedly requested to be a companion to two teenage orphans, Richard Carstone and Ada Clare, for whom the court has appointed as guardian, John Jarndyce. They take up residence at Mr. Jarndyce's home, Bleak House. The story of their lives and fortunes is the main thrust of the novel, and is related at times through the eyes of Esther, whose gentle point of view gives the reader a different and more intimate perspective.Richard is sure his fortune is ‘just around the corner' when the case of Jarndyce-v-Jarndyce, of which he and Ada will be beneficiaries, is settled. He tries his hand at a career or two, but he becomes obsessed with hastening the probate of the willed fortune he feels must soon be theirs. Further difficulties arise when he and Ada fall in love, while he, penniless, continues the quest to bring his case to justice.A scriber of legal documents dies, and from his death, questions arise which unearth secrets that the Jarndyce's neighbour, Lady Dedlock, has kept hidden for years. Inspector Bucket enters the case, and begins investigating the disappearance of Lady Dedlock. In the dirt poor part of London comes a young boy called Joe who claims to ‘know noffink' but who has witnessed something very important.Several other colorful characters are wound into the story. Nearly insane Miss Flite, who for years has attended court every day, with her little folder of documents, is ever hopeful of a settlement. Mr. Boythorn is a boisterous friend of Jarndyce who has a vendetta with Sir Leicester Dedlock. The Jellyby Family, invariably on the verge of a disaster, is neglected by their Mother who is obsessed with an overseas project. The Smallweed family is mean and avaricious – squeezing money from poor clients. Mr. Skimpole is the childlike captivating friend of Mr. Jarndyce who sees no harm in living off everybody else. Mr. Guppy fawns after Esther, and plots to steal documents with his friend Weevle. Mr. Woodcourt is a gentle surgeon and family friend, who becomes a hero.Since the writing of Bleak House, the property laws of England were changed, and disbursements were thenceforth conducted in court with the object of swiftly coming to a settlement for the benefit of inheritors.(Summary by Mil Nicholson)Genre(s): General FictionLanguage: EnglishKeyword(s): literature (1959), dickens (67), bleak house (1)

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. 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

On this episode of Currently Reading, Meredith and Elizabeth are discussing: Bookish Moments: Reading modes and finding books for every moment Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: Which authors' complete works we would take to our hermitage Before We Go: our new segment featuring bookish friend posts and a sleeper hit brought by Elizabeth. Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site). . . . :10 - Bite Size Intro  :51 - Fabled Bookshop :57 - Currently Reading Patreon 2:47 - Our Bookish Moments of the Week 8:23 - Our Current Reads 8:52 - These Is My Words by Nancy Turner (Elizabeth) 10:37 - Little House on the Prairie by Laura Ingalls Wilder 10:40 - Centennial by James Michener 11:50 - This Story Might Save Your Life by Tiffany Crum (Meredith) 16:34 - London Falling by Patrick Raddon Keefe (Elizabeth, pre-order releases April 7, 2026) 17:06 - Defending Jacob by William Landay 17:07 - Someone We Know by Shari Lapena 19:14 - The Plea by Steve Cavanagh (Meredith) 21:40 - Thirteen by Steve Kavanagh 21:41 - Fifty Fifty by Steve Kavanagh 22:40 - The Defense by Steve Kavanagh 24:20 - Raising Hare by Chloe Dalton (Elizabeth) 28:42 - Yesteryear by Caro Claire Burke (Meredith) ***Each current read this week is 10% off if you order through Fabled Bookshop with the code "currently" 35:47 - Lady Tremaine by Rachel Hochhauser 35:58 - Wait for Me by Amy Jo Burns 36:20 - To sign up for Book Lover Weekend head to their website! 37:07 - Deep Dive: The Works of Five Authors for the End of Time Min Jin Lee (Elizabeth) 39:12 - Pachinko by Min Jin Lee  39:16 - American Hagwon by Min Jin Lee Louise Penny - all of them (Meredith) Anthony Horowitz (Elizabeth) 40:22 - Magpie Murders by Anthony Horowitz 41:02 - Moriarty by Anthony Horowitz Charles Dickens (Meredith) 41:56 - A Tale of Two Cities by Charles Dickens 42:02 - Great Expectations by Charles Dickens 42:07 - Bleak House by Charles Dickens Patrick Radden Keefe (Elizabeth) 42:42 - Dead Wake by Erik Larson David Sedaris (Meredith) Kristen Hannah (Elizabeth) Stephen King (Meredith) 45:46 - Fairy Tale by Stephen King Liz Moore (Elizabeth) 46:31 - Long Bright River by Liz Moore 46:32 - God of the Woods by Liz Moore Debbie Macomber (Meredith) Rick Bragg (Elizabeth) 50:40 - Before We Go Meredith highlights a bookish friend post 51:33 - StoryGraph Elizabeth brings a sleeper hit 52:35 - No One's Coming by Kevin Hazzard 52:40 - Sarah's Bookshelves Live   Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. March's IPL is brought by our lovely friends at An Unlikely Story in Plainville, MA. Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads | Substack | Youtube The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

In which the Spiders discuss Charles Dickens's unwieldy, uneven Bleak House, how it may or may not be emblematic of the larger decline of literate culture, and whether we're sure we'd miss it.

Merriam-Webster's Word of the Day for March 7, 2026 is: libertine • LIB-er-teen • noun A libertine is in broad terms a person who is unrestrained by convention or morality. More narrowly, the word describes someone who leads an immoral life. // The legend of Don Juan depicts him as a playboy and libertine. See the entry > Examples: "As horrifying as some of the sins of Victorian scholarship may have been, it would have been anathema to these students of classical philosophy to simply throw out Plato. But that's what some of their modern inheritors have tried to do. … It's worth noting that we might not have Plato's work at all, were it not carefully studied and preserved by the Islamic scholars (hardly libertines themselves) of the medieval period." — R. Bruce Anderson, The Ledger (Lakeland, Florida), 1 Feb. 2026 Did you know? "I only ask to be free," says Mr. Skimpole in Charles Dickens' Bleak House. His words would undoubtedly have appealed to the world's first libertines. The word libertine comes from the Latin lībertīnus, a word used in early writings of Roman antiquity to describe a formerly enslaved person who had been set free (the Roman term for an emancipated person was the Latin lībertus). Middle English speakers used libertine to refer to a freedman, but by the late 1500s its meaning was extended to freethinkers, both religious and secular, and it later came to imply that an individual was a little too unrestrained, especially in moral affairs. The likely Latin root of libertine is līber, the ultimate source of our word liberty.

Cheryl Drury, a lifelong reader, is on a misssion to read a long list of classic books which she found on Ted Gioia's Substack page. She now has her own Substack page that features her podcast "Crack the Book" about classic books. We talk about The Great Gatsby, The Red Badge of Courage, Romeo and Juliet and other works of Shakespeare, The Odyssey, David Foster Wallace, James Joyce's Ulysses, Swann's Way, Les Miserables, Louise May Alcott's Little Women, Jane Austin's Pride and Prejudice, reading on a Kindle vs hardcopies, things we learn about life and human nature from reading classic books, Great Expectations and Charles Dickens, Gentleman in Moscow, Dead Souls, Fathers and Sons, The Brothers Karamazov, The Death of Ivan Ilyitch, characters, taking notes while reading, Dante, what makes a book a classic, Bleak House, Blood Meridian, The Road and Cormac McCarthy, Canticles for Liebowitz, Lord Jim by Joseph Conrad, reading aloud, poetry, Pablo Neruda, writing every day, why we love to read, Breakfast at Tiffany's, In Cold Blood, Brave New World, Blood Child, This is How you Lose the Time War, Isaac Asimov, classic science fiction, Don Quixote, The Golden Ass, and more.  Links are on the podcast shownotes page Support the show through Patreon

In this episode, we look ahead to 2026, not with resolutions or reading quotas, but with curiosity about what we're drawn to next. We talk about a handful of upcoming releases we're excited for, and then share some longer, looser reading plans for the year ahead, including big novels, rereads, and ongoing projects we're hoping to live with slowly.Along the way, we acknowledge the heaviness many people are feeling right now and talk about why reading, conversation, and community continue to matter. Whether you're planning your own reading year or just looking for company, we're glad you're here.2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!ShownotesUpcoming Releases Mentioned* Vigil, by George Saunders* Now I Surrender, by Álvaro Enrigue, translated by Natasha Wimmer* The Glorians: Visitations from the Holy Ordinary, by Terry Tempest Williams* Vilhelm's Room, by Tove Ditlevsen, translated by Jennifer Russell & Sophia Hersi Smith* The Beginnings, by Antonio Moresco, translated by Max Lawton* Theodorus, by Mircea Cărtărescu* Five, by César Aira, translated by Chris Andrews* Ada, by Mark HaberReading Projects & Plans Discussed* The NYRB Classics Big Books project* Currently reading: Bomarzo, by Manuel Mujica Láinez, translated by Gregory Rabassa* On deck: Effingers, by Gabriele Tergit, translated by Sophie Duvernoy* Reading Pilgrimage (Dorothy Richardson's Pilgrimage)* Monthly conversations and resources; videos posted online as a long-term archive by Brad Bigelow* The website* Shakespeare! Up next: King Lear* Trevor's 2026 “in the mix” authors/projects:* Henry James (next up The Ambassadors)* Charles Dickens (Everyman editions; weighing Bleak House vs. other Christmas gifts)* Émile Zola (returning to the Rougon-Macquart project)* Virginia Woolf journals + moving toward Mrs Dalloway* NYRB Women readalong with Kim McNeil (starting with Lolly Willowes)* Library book club (next up: Loved and Missed, by Susie Boyt)* Paul's year-long/slow-burn plans:* Pilgrimage alongside the community project* Continuing Flannery O'Connor and Cormac McCarthy* Deeper into Mircea Cărtărescu, William H. Gass, and Clarice Lispector* Potential Big Classics like The Count of Monte Cristo, by Alexandre Dumas and Vanity Fair, by William Makepeace Thackeray* Bookstore book club focus on translated fiction/small presses* Taiwan Travelogue, by Yang Shuangzi, translated by Lin King* Time Shelter, by Georgi Gospodinov, translated by Angela Rodel* Woman Running in the Mountains, by Yūko Tsushima, translated by Geraldine HarcourtBooks Also Mentioned* In Search of Lost Time, by Marcel Proust* The Magic Mountain, by Thomas Mann* The Comfort of Crows: A Backyard Year, by Margaret Renkl* The Land in Winter, by Andrew MillerJoin the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in the first novella book club of 2026, where we're reading Daisy Miller, by Henry James. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.The Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Send us a textMy New Podcast launches today. "The Classic Literature Podcast".Subscribe and follow it wherever you get your podcast from.Podcast Website: https://www.buzzsprout.com/2568906The First Ever Episode of The Classic Literature Podcast.“In the beginning was the Word…” — John 1:1Welcome to The Classic Literature Podcast. I'm your host, Jeremy McCandless, and I'm so glad you've joined me for this first episode of a new bi-monthly journey—one that explores the great works of classic literature, approaching these great books via the world out of which they emerged—a cultural heritage, rich in spiritual metaphor.Each season, we'll walk alongside the giants of literary history—authors who in many ways have shaped nations, stirred hearts, whilst at the same time wrestling with the deepest questions of human existence. But we won't just admire their craft. We'll ask: What spiritual soil did these stories grow from? What echoes of grace and redemption resound within their pages?

“A Merry Christmas to us all; God bless us, everyone!” A Christmas Carol is a huge success and Dickens is an international celebrity. There's lots of money coming in – Bleak House, Hard Times, David Copperfield all do well - but he has a big family and a lavish lifestyle to fund, as well as his Home for Homeless Women. Plus, there's trouble in his marriage when Dickens' eye is caught by the turn of a pretty ankle.Stay connected with LegacyFollow us for clips, behind-the-scenes stories, and new episode drops:Instagram: @originallegacypodcast | BlueSky: @legacy-productions.bsky.social | TikTok: @legacy_productionsExplore more from Peter and Afua — essays, sources, and ideas: Substack: peterfrankopan.substack.com | afuahirsch.substack.com Hosted on Acast. See acast.com/privacy for more information.

Dickens' A Christmas Carol stands out strongly from his other works, but not because it's so different, really, in what it hopes to accomplish. Critiquing society, drawing attention to the world outside the doors of the wealthy in Victorian England, hoping to create social change... this was Dickens. But it's in A Christmas Carol that he condenses this message and provides joy in equal measure with distress. I've read a lot of Dickens, though I never did quite manage to finish Bleak House even after carrying it around for months, but it's A Christmas Carol that most stays with me, and that most feels like a doable add to a high school curriculum filled with many voices. At the same time, we can't talk about A Christmas Carol without considering how it centers Christmas. If you're going to teach this book, consider how you can also acknowledge the many other holidays that happen in this season - Diwali, Hanukkah, Eid, Lunar New Year, and more. I recently redid all the imagery in my winter holiday maker project (snag it free here) because I realized that although I had tried to keep Christmas from dominating, it was still too red and green. Take a look at the simple changes I was able to make (below) to create a more inclusive project, featuring imagery from many holiday traditions. And if you'd like to explore more inclusive holiday activities, you can find a bunch in this round up blog post.  But to come back to Dickens, I think it's important to use the vehicle as a book to discuss Dickens' desire to use his art to create change, his context in Victorian England, and the transformation of his character, Scrooge, rather than seeing it as mainly a fun holiday activity, because of course, many students do not celebrate Christmas and so reading a Christmas story won't necessarily feel like a fun holiday activity to them. IKYK. OK, with all this said, let's dive in to five creative activities you can use with this text, whether you choose to read the play, watch the movie, or some combination. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Launch your choice reading program with all my favorite tools and recs, and grab the free toolkit. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the 'gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

Daily Quote There is only one success--- to be able to spend your life in your own way. (Christopher Morley) Poem of the Day To a Cat Jorge Luis Borges Beauty of Words Bleak House Charles Dickens

A neglected Georgian house, shutters still, poplars trees surround it, whispering. Downstairs is a row of servant bells to call servants. One has a mysterious name and is reputed to ring when no one is there. Rumour speaks of a hooded figure and an owl; the corridors mutter with sounds of pipes, disconnected wires, and something harder to dismiss. By night, faces seem to change in the mirror; but by day, the rooms are ordinary. Servants won't stay there and then the owner organises an investigation, a ghost hunt, if you like. A society of guest who are to keep their counsel until Twelfth Night, listening for what remains and for the presence that speaks when the house is empty. First published as the Christmas number of All the Year Round (December 1859), a collaborative sequence framed and partly written by Charles Dickens. This reading includes Dickens's chapters: “The Mortals in the House” and “The Ghost in Master B.'s Room.” Charles Dickens (1812–1870) was a British novelist and social critic, author of Oliver Twist, Bleak House, and Great Expectations. He edited Household Words and All the Year Round, helping to make the Victorian Christmas ghost story a tradition. Join Our Podia Community for 100s of Ad Free Ghost Stories www.classicghost.com Learn more about your ad choices. Visit megaphone.fm/adchoices

JVL ambushes Sarah with The Darkness. It's a fun-filled episode with the indictment of John Bolton, the decimation of the Pentagon press corps, another extra-legal killing off the coast of Venezuela, the resignation of the head of SOCOM, and the weaponization of the IRS. Good times.

A new week means new questions! Hope you have fun with these!Including half-siblings, how many U.S. Presidents have been an only child?What is mixed with chocolate to make a ganache?Which chemical element, under standard conditions, is the least dense metal and the least dense solid element?I can hear it now! What song by Stealers Wheel, originally released in 1972, was made ‘infamous' in Quentin Tarantino's Reservoir Dogs?Our eyes can detect more shades of which color than any other?The first novel to ever mention a dinosaur was Bleak House in 1853 by which Victorian Author?What is the only franchise to win the Oscar for Best Animation twice?The largest asteroid in the solar system is which Dwarf planet?What is the capital of Turkey?On the Golden Girls, which golden girl was a year younger than her TV daughter in real life?Name either the men's or women's single open champion from 2025?King Edward the first bestowed what title on his son in 1301, beginning the tradition of giving the title to the heir apparent?Which cat is the biggest of the big cats, growing much longer than its parent species.MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Ahead of a new series Dominic re-shares the most popular episode of this show so far! Bleak House with the inimitable Stephen Fry who takes the listener on an intricate journey through the fog and mystery of Dickens' thrilling masterpiece.And reading extracts from Esther's narrative is the brilliant Sally ScottAnd here is a link to Miriam Margolyes' unabridged audiobook of Bleak House mentioned in the episodeSupport the showIf you'd like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardThank you so much!Host: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

Gillian Anderson's breakthrough television role in the sci-fi series The X Files made her a global star in 1993, and she played cool-headed Agent Dana Scully for nearly a decade. She also starred in period dramas, including an acclaimed film adaptation of Edith Wharton's novel The House Of Mirth and, on television, in Bleak House, Great Expectations and War and Peace. Her theatre credits include A Doll's House, A Streetcar Named Desire and All About Eve, all of which saw her nominated for Olivier Awards. Gillian Anderson has won Golden Globe and Emmy Awards for the X Files, and also for The Crown in which she played Prime Minister Margaret Thatcher. More recently, she found a new generation of fans for role as a sex therapist in the series Sex Education. Her latest film is The Salt Path, adapted from the bestselling memoir by Raynor Wynn.Gillian Anderson tells John Wilson how, after being born in Chicago, she moved with her parents to Crouch End, London, when she was five, and then to Michigan at the age of 11. After what she describes as ‘rebellious' teenage years, she studied at Chicago's DePaul University with drama teacher Ric Murphy, whom she cites as a major influence on her early acting ambitions. After a series of minor stage roles in New York, she auditioned for The X Files and the role of Agent Scully changed her life. She also chooses the actor Meryl Streep as a major inspiration after seeing her with Robert Redford in the 1985 romantic drama film Out Of Africa. Gillian also reveals how the work of the Serbian-born conceptual performance artist Marina Abramović has also been an influential cultural figure for her.Producer: Edwina Pitman

End of the rainbow: Pride's fallWhat ‘started half a century ago as an afternoon's little march for lesbians and gay men', argues Gareth Roberts, became ‘a jamboree not only of boring homosexuality' but ‘anything else that its purveyors consider unconventional'. Yet now Reform-led councils are taking down Pride flags, Pride events are being cancelled due to lack of funds, and corporate sponsors are ‘withdrawing their cold tootsies from the rainbow sock'. Has Pride suffered from conflation with ‘genderism'? Gareth joined the podcast to discuss, alongside diversity consultant Simon Fanshawe, one of the six original co-founders of Stonewall. (0:59)Next: people are forgetting how to readPhilip Womack ‘can hear the rumblings of disaster, as if the foundations of western culture, eroded for decades, are teetering into collapse'. The reason? We are forgetting how to read. Today's children ‘hardly read; their tech-blinded parents don't care; their teachers don't have the resources'. American students participating in a study requiring them to parse the first paragraph of Bleak House ‘were unable to elicit a scintilla of sense' from Charles Dickens's prose. What or who is to blame? Philip joined the podcast to discuss. (23:29)And finally: the social minefield of swimming pool seasonArabella Byrne writes in the magazine this week that while she has ‘always loved English swimming pools', the arrival of the summer season always presents her ‘with an annual etiquette conundrum'. If you're lucky enough to know one of the 200,000 Brits who have a private swimming pool, she asks: how acceptable is it - really - to ask to use a friend's pool? Arabella joined the podcast, alongside the Spectator's very own Dear Mary, Mary Killen. (32:46)Hosted by William Moore and Gus Carter.Produced by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.

End of the rainbow: Pride's fallWhat ‘started half a century ago as an afternoon's little march for lesbians and gay men', argues Gareth Roberts, became ‘a jamboree not only of boring homosexuality' but ‘anything else that its purveyors consider unconventional'. Yet now Reform-led councils are taking down Pride flags, Pride events are being cancelled due to lack of funds, and corporate sponsors are ‘withdrawing their cold tootsies from the rainbow sock'. Has Pride suffered from conflation with ‘genderism'? Gareth joined the podcast to discuss, alongside diversity consultant Simon Fanshawe, one of the six original co-founders of Stonewall. (0:59)Next: people are forgetting how to readPhilip Womack ‘can hear the rumblings of disaster, as if the foundations of western culture, eroded for decades, are teetering into collapse'. The reason? We are forgetting how to read. Today's children ‘hardly read; their tech-blinded parents don't care; their teachers don't have the resources'. American students participating in a study requiring them to parse the first paragraph of Bleak House ‘were unable to elicit a scintilla of sense' from Charles Dickens's prose. What or who is to blame? Philip joined the podcast to discuss. (23:29)And finally: the social minefield of swimming pool seasonArabella Byrne writes in the magazine this week that while she has ‘always loved English swimming pools', the arrival of the summer season always presents her ‘with an annual etiquette conundrum'. If you're lucky enough to know one of the 200,000 Brits who have a private swimming pool, she asks: how acceptable is it - really - to ask to use a friend's pool? Arabella joined the podcast, alongside the Spectator's very own Dear Mary, Mary Killen. (32:46)Hosted by William Moore and Gus Carter.Produced by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.

In this episode of High Theory Nasser Mufti talks with us about Brutalism. A twentieth century architectural style featuring imposing structures made of a lot of concrete, brutalist structures tend to provoke strong reactions. People either love it or they hate it – you never get a middling conversation about brutalism. Often used for government buildings, university libraries, and hospitals, Nasser suggests it represents the architecture of the state itself, massive bureaucratic structures in which we get lost, but also perhaps, nostalgia for a state that actually takes care of its citizens. Before we recorded the episode, Nasser sent me this article about the Brutalist campus at the University of Illinois where he works, which is full of beautiful black and white images. In the episode he refers to a line in Charles Dickens's Bleak House (1853), which describes Chesney Wold as “seamed by time.” And he reminds us that verb form “decolonizing” is quite new, even Ngũgĩ Wa Thiong'o Decolonizing the Mind: The Politics of Language in African Literature (1986) only uses the gerund in the title. The neologism “decolonizing” is distinct from the world historical project of decolonization and the historiographic method of decolonial analysis that comes from Latin American studies. Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. You can read it online, open access, which is pretty damn cool! He is working on two new projects, the first, tentatively titled Britain's Nineteenth Century, 1963-4, looks at how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second, titled “Colonia Moralia,” examines the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul. The image for this episode is a photograph of Boston City Hall, a Brutalist building mentioned in the episode. The black and white photograph shows an interior courtyard of the building, a large concrete structure with many windows, located at One City Hall Square, Boston, Suffolk County, MA. It comes from the US Library of Congress Prints and Photographs Online Collections. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory Nasser Mufti talks with us about Brutalism. A twentieth century architectural style featuring imposing structures made of a lot of concrete, brutalist structures tend to provoke strong reactions. People either love it or they hate it – you never get a middling conversation about brutalism. Often used for government buildings, university libraries, and hospitals, Nasser suggests it represents the architecture of the state itself, massive bureaucratic structures in which we get lost, but also perhaps, nostalgia for a state that actually takes care of its citizens. Before we recorded the episode, Nasser sent me this article about the Brutalist campus at the University of Illinois where he works, which is full of beautiful black and white images. In the episode he refers to a line in Charles Dickens's Bleak House (1853), which describes Chesney Wold as “seamed by time.” And he reminds us that verb form “decolonizing” is quite new, even Ngũgĩ Wa Thiong'o Decolonizing the Mind: The Politics of Language in African Literature (1986) only uses the gerund in the title. The neologism “decolonizing” is distinct from the world historical project of decolonization and the historiographic method of decolonial analysis that comes from Latin American studies. Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. You can read it online, open access, which is pretty damn cool! He is working on two new projects, the first, tentatively titled Britain's Nineteenth Century, 1963-4, looks at how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second, titled “Colonia Moralia,” examines the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul. The image for this episode is a photograph of Boston City Hall, a Brutalist building mentioned in the episode. The black and white photograph shows an interior courtyard of the building, a large concrete structure with many windows, located at One City Hall Square, Boston, Suffolk County, MA. It comes from the US Library of Congress Prints and Photographs Online Collections. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Welcome to Season 26 of Scholé Sisters! At the risk of sound like grumpy old ladies, we are kicking off this season with a conversation about homeschool history and how you can tap in to some of homeschool culture's strengths. You're going to love this conversation! *** If you've considered upgrading your Sistership membership from FREE to Sophie level, now is the time to do that! Our 2025 book clubs are underway and they are fantastic! Modern Times, Norms and Nobility, Bleak House, and more! There is something for everyone. And in March, Abby, along with Jami Marstall, will be teaching a workshop on leading homeschool co-op classes that you do NOT want to miss. To join us, all you have to do is make sure you are a Sophie level member of the Sistership! Just go to scholesisters.com/join and sign up. *** Click here to access today's show notes. Click here to join the FREE area of the Sistership.

Mark and Gray ring in the New Year with a discussion of the 1960s trend for… actually not being very 1960s at all! But just how much of Christie's 1960s writing harks back to the Edwardian and Victorian eras? Did they even ‘swing' back then?? You can listen to our guest spot on the All About Agatha podcast, here. You can read our special article for the Agatha Christie website here. You can read Mark's paper about Agatha Christie's Charles Dickens's Bleak House here. And tickets and info for The Mirror Crack'd at the Tower Theatre can be found here! You can find us on Instagram (as well as X) @Christie_Time. We are on BlueSky at christietime.bsky.social. Please do rate and review us wherever you get your podcasts. Our website is ChristieTime.com. The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown. Next episode: wait and see… 00:00:00 - Opening titles 00:00:51 - Introductory chat 00:04:29 - The Sixties weren't Swinging for everyone 00:15:38 - Old-new locations 00:58:02 - The Next Generation 01:04:28 - Servants and service 01:14:44 - Reviving the greats: Shakespeare, Tennyson, Austen, Brontë 01:22:37 - Bleak House by Agatha Christie 01:33:57 - Brave monkey puzzle: remembering Christie's childhood home 01:37:22 - Next episode, how to get in touch 01:38:33 - Closing titles 01:39:01 - Coda Solutions revealed! - The Mirror Crack'd from Side to Side, At Bertram's Hotel

“A Merry Christmas to us all; God bless us, everyone!” A Christmas Carol is a huge success and Dickens is an international celebrity. There's lots of money coming in – Bleak House, Hard Times, David Copperfield all do well - but he has a big family and a lavish lifestyle to fund, as well as his Home for Homeless Women. Plus, there's trouble in his marriage when Dickens' eye is caught by the turn of a pretty ankle.Listen to Legacy on the Wondery App or wherever you get your podcasts. You can binge episodes early and ad-free on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. Start your free trial by visiting wondery.com/links/legacy now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode we chat with the man who gave us the 1995 BBC adaptation of Pride and Prejudice—for many, the definitive Austen adaptation. A prolific author and screenwriter, Andrew Davies is also responsible for the 1996 ITV adaptation of Emma, Northanger Abbey (2007), Sense and Sensibility (2008), and the recent dramatization of Sanditon—not to mention adaptations of a host of other classic novels. Join us as we discuss Andrew's thoughts on adapting Austen's novels to film and, of course, Mr. Darcy in a wet shirt. Andrew Davies, prominent author and screenwriter, began his career writing radio plays and eventually moved into writing for television, film, and theater. He is also the author of several novels and children's books. In addition to the screen adaptations of Austen's novels mentioned above, he has dramatized television series such as Bleak House, House of Cards (ITV), Mr. Selfridge, Little Dorrit, To Serve Them All My Days, Vanity Fair, and War & Peace, in addition to films such as Bridget Jones's Diary, and Bridget Jones: The Edge of Reason. Andrew's work has garnered dozens of nominations and awards, and in 2002, he received the highest honor bestowed by the British Academy of Film and Television Arts, a BAFTA Fellowship, in recognition of his “outstanding achievement in the art forms of the moving image.” For a transcript and show notes, visit https://jasna.org/austen/podcast/ep18.Visit our website: www.jasna.orgFollow us on Instagram and FacebookSubscribe to the podcast on our YouTube channelEmail: podcast@jasna.org

Drawing upon St. Theophan the Recluse's commentary, Fr. Seraphim Rose briefly discusses how souls formed in the "emotional and spiritual wasteland of our times" can become aware of this reality and how to live spiritually profitable lives in the Orthodox Church. Sometimes, as a stepping stone, even the best of the secular arts can be used to form the soul in godliness.

Born in Yorkshire, Anna Maxwell Martin is an actress celebrated for her versatility across theatre, television and film. After studying history at Liverpool University, she trained at LAMDA, launching her career at the Royal Shakespeare Company. Her breakthrough role came in 2005, when she portrayed Esther Summerson in the BBC adaptation of Bleak House, earning her the Bafta TV Award for Best Actress. Since then, Anna has delighted audiences playing Julia in sitcom Motherland, and the unsavoury DCS Patricia Carmichael in Line of Duty. Anna's new show Ludwig, also starring David Mitchell, is on BBC iPlayer now. Nick pours a round of margaritas, while Angela concentrates her efforts on a hearty pot-roasted lamb with flageolet beans. The experts at Waitrose pair this with a Côte des Roses organic rosé Anna Maxwell Martin is a tonic. Her sense of humour is infectious and Nick and Angela enjoy comedic tales about cooking for her teenage daughters, meeting Tom Cruise and her absolute aversion to sandwiches. You can watch full episodes of Dish now on Youtube  All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help. Send your dilemmas to dish@waitrose.co.uk and she'll try to answer them in a future episode. Dish is a S:E Creative Studio production for Waitrose Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hey HBs! We're here with a brand new historical era: Dickens' Times! Elizabeth Hoyt came out swinging with WICKED INTENTIONS, the first book in her Maiden Lane series. We've got a do-gooding heroine who needs cash for her orphanage, a bad boy aristocrat who needs entree into London's worst neighborhood, a murder mystery, a vigilante hero clown, and some BIG SWOONS. We're super into it.Bonus Content: Mel is having legal dreams because we're in Dickens' Times and Bleak House left it's mark on her soul, new Times alert! Dickens' Times! Is there an urchin? Are people starving in the gutters? Are babies being rescued from the arms of their corpse mother? You might be in Dickens' Times!, atoning for your clitoris, filming with a gray filter to account for the soot and misery, and so much more! Lady Loves: Mel: Microfiber gloves! Lots of people use them for dusting, but I like to use them to give my houseplants a periodic mashashge! I spray a little water on the leaves and then wipe them down while wearing my gloves to remove dust, promote shine, make sure they can photosynthesize efficiently, and know they're loved!Sabrina: STORYGRAPH CHARTS ARE NOW EDITABLE!!!!!!!!!!! That's right, you can get your books and tags all organized and graphed and then you can fine-tune them!Make sure to check out Mel's new podcast Bonkers Romance! Subscribe! Rate! Review! Tell all your friends :)Get more content on PATREON!!Sign up for our Newsletter! MERCH! Teepublic, Chicaloo Kate, RedbubbleInstagram: @heavingbosomsTwitter: @heaving_bosoms*Disclaimer: the above contains Amazon affiliate links. That means that if you click a link and decide to make a purchase the podcast will receive a commission at no extra cost to you.

‘London. Michaelmas Term lately over and the Lord Chancellor sitting in Lincoln's Inn Hall…' This week, Sally has been reading and teaching Charles Dickens' Bleak House (1852). Follow her on a journey through his London, in the company of its climate, characters, and the bewildering legal bureaucracy not very far from our own…. Music used throughout includes ‘Tuesday' and ‘Thursday' by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

In Which Murderer's 46th episode of Season 6, the girls cover Boobytrap Murders. Mel starts us off with the explosive case involving Ronan Kerr, before Holly goes over the crazy story of Anthony Edward Martin and Bleak House. Emma Jo suggested this week's topic - thanks so much! In this week's episode there is far too much weather related moaning, we learn Holly has a background in Boobytraps, some sweeping (and likely inaccurate) terrorist statements are made and dental traumas are recounted. Production, recording and post production completed by Holly who is currently building a boobytrap for Consulting Producer Craig where he will spend all of eternity editing podcast episodes. Holly edited this week. All complaints should be sent directly to Mel while Consulting Producer Craig watches Holly try to dig a hole and give up after approximately 3.5 seconds of effort.Big thank you to all our listeners for subscribing, leaving fantastic reviews and sending in great theme suggestions. WE HAVE MERCH!  www.whichmurderer.com - CLICK ON THE MERCHANDISE TAB FOR A LINK!WARNING - Explicit language, content and themes (plus whatever else will cover us legally).All opinions stated are our own and case information was gathered from legitimate sources within the public realm. Pre-recorded in Scotland

Bible Study – Job Class Six: Job 8:1-11:1; 11:1-42:22  From the Orthodox Study Bible.  JOB 8: [Bildad's nonsense] TO THE EARS OF BILDAD, JOB'S SECOND RESPONDENT, a man even less tolerant than Eliphaz, the foregoing lament seems to be an attack on the justice of God and the entire moral order. Unlike Eliphaz, however, Bildad is able to make no argument on the basis of his own personal experience. He is obliged to argue, rather, solely from the moral tradition, which he does not understand very well. Indeed, Bildad treats the moral structure of the world in a nearly impersonal way. To the mind of Bildad, the effects of sin follow automatically, as the inevitable effects of a sufficient cause. The presence of the effect, that is, implies the presence of the cause. If Eliphaz's argument had been too personal, bordering on the purely subjective, the argument of Bildad may be called too objective, bordering on the purely mechanical. In the mind of Bildad the principle of retributive justice functions nearly as a law of nature, or what the religions of India call the Law of Karma. Both Eliphaz and Job show signs of knowing God personally, but we discern nothing of this in Bildad. Between Bildad and Job, therefore, there is even less of a meeting of minds than there was between Eliphaz and Job. We should remember, on the other hand, that Job himself has never raised the abstract question of the divine justice; he has shown no interest, so far, in the problems of theodicy. Up to this point in the story, Job has been concerned only with his own problems, and his lament has been entirely personal, not theoretical. Bildad, for his part, does not demonstrate even the limited compassion of Eliphaz. We note, for example, his comments about Job's now perished children. In the light of Job's own concern for the moral wellbeing of those children early in the book (1:5), there is an especially cruel irony in Bildad's speculation on their moral state: “If your sons have sinned against [God], He has cast them away for their transgression” (8:4). What a dreadful thing to say to a man who loved his sons as Job did! Like Eliphaz before him, Bildad urges Job to repent (8:5–7), for such, he says, is the teaching of traditional morality (8:8–10). Clearly, Bildad is unfamiliar with the God worshipped by Job, the God portrayed in the opening chapters of this book. Bildad knows nothing of a personal God who puts man to the test through the trial of his faith. Bildad's divinity is, on the contrary, a nearly mechanistic adjudicator who functions entirely as a moral arbiter of human behavior, not a loving, redemptive God who shapes man's destiny through His personal interest and intervention. Nonetheless, in his comments about Job's final lot Bildad speaks with an unintended irony, because in fact Job's latter end will surpass his beginning (8:7), and “God will not cast away the blameless” (8:20—tam; cf. 1:1, 8; 2:3). On our first reading of the story, we do not know this yet, of course, because we do not know, on our first reading, how the story will end (for example 42:12). So many comments made by Job's friends, including these by Bildad in this chapter, are full of ironic, nearly prophetic meaning, which will become clear only at the story's end, so the reader does not perceive this meaning on his first trip through the book. As Edgar Allen Poe argued in his review of Bleak House by Charles Dickens, the truly great stories cannot be understood on a single reading, because the entire narrative must be known before the deeper significance of the individual episodes can become manifest. As Poe remarked, we do not understand any great story well until our second reading of it. This insight is preeminently helpful in the case of the Book of Job. JOB 11 [Zophar's nonsense] WE NOW COME TO THE FIRST SPEECH OF ZOPHAR, Job's most strident critic, a man who can appeal to neither personal religious experience (as did Eliphaz) nor inherited moral tradition (as did Bildad). Possessed of neither resource, Zophar's contribution is what we may call “third-hand.” He bases his criticism on his own theory of wisdom. Although he treats his theory as self-evidently true, we recognize it as only a personal bias. Moreover, Zophar seems to identify his own personal perception of wisdom as the wisdom of God Himself. Whereas Bildad had endeavored to defend the divine justice, Zophar tries to glorify “divine” wisdom in Job's case. If it is difficult to see justice verified in Job's sufferings, however, it is even harder to see wisdom verified by those sufferings. Like the two earlier speakers, Zophar calls on Job to repent in order to regain the divine favor. (This is a rather common misunderstanding that claims, “If things aren't going well for you, you should go figure out how you have offended God, because He is obviously displeased with you.”) Zophar also resorts to sarcasm. Although this particular rhetorical form is perfectly legitimate in some circumstances (and the prophets, beginning with Elijah, use it often), sarcasm becomes merely an instrument of cruelty when directed at someone who is suffering incomprehensible pain. In the present case, Job suffers in an extreme way, pushed to the very limits of his endurance. It is such a one that Zophar has the vile temerity to call a “man full of talk” (11:2), a liar (11:3), a vain man (11:11–12), and wicked (11:14, 20). The final two verses (19–20) contain an implied warning against the “death wish” to which Job has several times given voice. This very sentiment, Zophar says, stands as evidence of Job's wickedness. The author of the Book of Job surely understands this extended criticism by Zophar as an exercise in irony. Though the context of his speech proves the speaker himself insensitive and nearly irrational in his personal cruelty, there is an undeniable eloquence in his description of the divine wisdom (11:7–9) and his assertion of the moral quality of human existence (11:10–12). Moreover, those very rewards that Zophar promises to Job in the event of his repentance (11:13–18) do, in fact, fall into Job's life at the end of the book. In this story of Job, men are not divided into those who have wisdom and those who don't. In the Book of Job no one is really wise. There is no real wise man, as there is in, say, the Book of Proverbs. While wisdom is ever present in the plot of the story, no character in the story has a clear grasp of it. True wisdom will not stand manifest until God, near the end of the narrative, speaks for Himself. Even then God will not disclose to Job the particulars of His dealings with him throughout the story. From St. Gregory the Great Ver. 3. Doth God pervert judgment? Or doth the Almighty pervert justice? xxxvi. 59. These things blessed Job had neither in speaking denied, nor yet was ignorant of them in holding his tongue. But all bold persons, as we have said, speak with big words even well known truths, that in telling of them they may appear to be learned. They scorn to hold their peace in a spirit of modesty, lest they should be thought to be silent from ignorance. But it is to be known that they then extol the rectitude of God's justice, when security from ill uplifts themselves in joy, while blows are dealt to other men; when they see themselves enjoying prosperity in their affairs, and others harassed with adversity. For whilst they do wickedly, and yet believe themselves righteous, the benefit of prosperity attending them, they imagine to be due to their own merits; and they infer that God does not visit unjustly, in proportion as upon themselves, as being righteous, no cloud of misfortune falls. But if the power of correction from above touches their life but in the least degree, being struck they directly break loose against the policy of the Divine inquest, which a little while before, unharmed, they made much of in expressing admiration of it, and they deny that judgment to be just, which is at odds with their own ways; they canvass the equity of God's dealings, they fly out in words of contradiction, and being chastened because they have done wrong, they do worse. Hence it is well spoken by the Psalmist against the confession of the sinner, He will confess to Thee, when Thou doest well to him. Ps. 49:18. For the voice of confession is disregarded, when it is shaped by the joyfulness of prosperity. But that confession alone possesses merit of much weight, which the force of pain has no power to part from the truth of the rule of right, and which adversity, the test of the heart, sharpens out even to the sentence of the lips. Therefore it is no wonder that Bildad commends the justice of God, in that he experiences no hurt therefrom. 60. Now whereas we have said that the friends of blessed Job bear the likeness of heretics, it is well for us to point out briefly, how the words of Bildad accord with the wheedling ways of heretics. For whilst in their own idea they see the Holy Church corrected with temporal visitations, they swell the bolder in the bigness of their perverted preaching, and putting forward the righteousness of the Divine probation, they maintain that they prosper by virtue of their merits; but they avouch that she is rewarded with deserved chastisements, and thereupon without delay they seek by beguiling words a way to steal upon her, in the midst of her sorrows, and they strike a blow at the lives of some, by making the deaths of others a reproach, as if those were now visited with deserved death, who refused to hold worthy opinions concerning God. We have heard what Job, his wife, and his three friends have to say.  They cycle through similar things several times.  Next week, we will briefly see what a new speaker, Elihuh has to say and spend most of the class – the last one before Great Lent – to look at God's conversation with Job.  During Great Lent, we will work through chapters of Tito Coriander's Way of Ascetics.     Scriptural review  Mentioned historically as Jobab in Genesis (4), Joshua (1), and 1 Chronicles (5) Ezekial 14:20. Though Noah, Daniel, and Job were in it, as I live, saith the Lord God, they shall deliver neither son nor daughter; they shall but deliver their own souls by their righteousness.  James 5:11. Behold, we count them happy which endure. Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful, and of tender mercy. Liturgical review Mentioned (through James) at Holy Unction; “You have heard of the patience of Job.” From the Funeral for a Priest Beatitudes: Blessed are they that are persecuted for righteousness' sake, for theirs is the Kingdom of Heaven.   “Why do you lament me bitterly, O men? Why do you murmur in vain?” he that has been translated proclaims unto all. For death is rest for all. Therefore, let us listen to the voice of Job saying, “Death is rest unto man.” But give rest with Thy Saints, O God, unto him whom Thou hast received. Ode Six:   I remind you, O my brethren, my children, and my friends, that you forget me not when you pray to the Lord. I pray, I ask, and I make entreaty, that you remember these words, and weep for me, day and night. As said Job unto his friends, so I say unto you: Sit again and say: Alleluia.   Forsaking all things, we depart, and naked and afflicted we become. For beauty withers like grass, but only we men delude ourselves. Thou wast born naked, O wretched one, and altogether naked shall you stand there. Dream not, O man, in this life, but only groan always with weeping: Alleluia.   If thou, O man, hast been merciful to a man, he shall be merciful there unto thee. And if thou hast been compassionate to any orphan, he shall deliver you there from need. If in this life thou hast covered the naked, there he shall cover thee, and sing the psalm: Alleluia. Triodion Wednesday of Cheesfare Week; Matins Canticle Eight Let us preserve these virtues: the fortitude of Job, the singlemindedness of Jacob, the faith of Abraham, the chastity of Joseph and the courage of David. Saturday of Cheesefare Week; Matins; Canticle Two … a second Job was Benjamin in his constancy … Thursday of Clean Week (and Thursday of the Fifth Week); Great Canon Ode 4 Thou hast heard, O my soul, of Job justified on a dung-hill, but thou hast not imitated his fortitude. In all thine experiences and trials and temptations, thou hast not kept firmly to thy purpose but hast proved inconstant.          Have mercy on me, Oh God, have mercy on me. Once he sat upon a throne, but now he sits upon a dung-hill, naked and covered with sores. Once he was blessed with many children and admired by all, but suddenly he is childless and homeless. Yet he counted the dung-hill as a palace and his sores as pearls.          Have mercy on me, Oh God, have mercy on me. A man of great wealth and righteous, abounding in riches and cattle, clothed in royal dignity, in crown and purple robe, Job became suddenly a beggar, stripped of wealth, glory and kingship.          Have mercy on me, Oh God, have mercy on me. If he who was righteous and blameless above all men did not escape the snares and pits of the deceiver, what wilt thou do, wretched and sin-loving soul, when some sudden misfortune befalls thee?          Have mercy on me, Oh God, have mercy on me. I have defiled my body, I have stained my spirit, and I am all covered with wounds: but as physician, O Christ, heal both body and spirit for me through repentance. Wash, purify and cleanse me, O my Saviour, and make me whiter than snow. Read at Vespers/PSL on Monday of Holy Week: Job 1:1–12. Read at Vespers/PSL on Tuesday of Holy Week: Job 1:13–22. Read at Vespers/PSL on Wednesday of Holy Week: Job 2:1–10. Read at Vespers/Vesperal Liturgy on Thursday of Holy Week: Job 38:1–21; 42:1–5. Read at Vespers on Friday of Holy Week: Job 42:12–17 (LXX ending) --- Job 38  FROM FR. PATRICK REARDON NOW THE LORD HIMSELF WILL SPEAK, for the first time since chapter 2. After all, Job has been asking for God to speak (cf. 13:22; 23:5; 30:20; 31:35), and now he will get a great deal more than he anticipated. With a mere gesture, as it were, God proceeds to brush aside all the theories and pseudoproblems of the preceding chapters. … [Whirlwind, Lord] … At this point, all philosophical discussion comes to an end. There are questions, to be sure, but the questions now come from the Lord. Indeed, we observe in this chapter that God does not answer Job's earlier questions. The Lord does not so much as even notice those questions; He renders them hopelessly irrelevant. He has His own questions to put to Job. The purpose of these questions is not merely to bewilder Job. These questions have to do, rather, with God's providence over all things. The Lord is suggesting to Job that His providence over Job's own life is even more subtle and majestic than these easier questions which God proposes and which Job cannot begin to answer, questions about the construction of the world (verses 4–15), the courses of the heavenly bodies (verses 31–38), the marvels of earth and sea (verses 16–30), and animal life (38:39–39:30). Utterly surrounded by things that he cannot understand, will Job still demand to know mysteries even more mysterious? If the world itself contains creatures that seem improbable and bewildering to the human mind, should not man anticipate that there are even more improbable and bewildering aspects to the subtler forms of the divine providence? God will not be reduced simply to an answer to Job's shallow questions. Indeed, the divine voice from the whirlwind never once deigns even to notice Job's questions. They are implicitly subsumed into a mercy vaster and far richer. Implicit in these questions to Job is the quiet reminder of the Lord's affectionate provision for all His creatures. If God so cares for the birds of the air and the plants of the fields, how much more for Job! 39 - 41. On the Behemoth and the Leviathan Both behemoth and Leviathan are God's household pets, as it were, creatures that He cares for with gentle concern, His very playmates (compare Psalms 104[103]:26). God is pleased with them. Job cannot take the measure of these animals, but the Lord does. What, then, do these considerations say to Job? Well, Job has been treading on some very dangerous ground through some of this book, and it is about time that he manifest a bit more deference before things he does not understand. Behemoth and Leviathan show that the endeavor to transgress the limits of human understanding is not merely futile. There is about it a strong element of danger. A man can be devoured by it. It is remarkable that God's last narrative to Job resembles nothing so much as a fairy tale, or at least that darker part of a fairy tale that deals with dragons. Instead of pleading His case with Job, as Job has often requested, the Lord deals with him as with a child. Job must return to his childhood's sense of awe and wonder, so the Lord tells him a children's story about a couple of unimaginably dangerous dragons. These dragons, nonetheless, are only pets in the hands of God. Job is left simply with the story. It is the Lord's final word in the argument. 42.  Finale THE TRIAL OF JOB IS OVER. This last chapter of this book contains (1) a statement of repentance by Job (verses 1–6), (2) the Lord's reprimand of Eliphaz and his companions (verses 7–8), and (3) a final narrative section, at the end of which Job begins the second half of his life (verses 9–17). The book begins and ends, then, in narrative form. First, one observes in Job's repentance that he arrives at a new state of humility, not from a consideration of his own sins, but by an experience of God's overwhelming power and glory. (Compare Peter in Luke 5:1–8.) When God finally reveals Himself to Job, the revelation is different from anything Job either sought or expected, but clearly he is not disappointed. All through this book, Job has been proclaiming his personal integrity, but now this consideration is not even in the picture; he has forgotten all about any alleged personal integrity. It is no longer pertinent to his relationship to God (verse 6). Job is justified by faith, not by any claims to personal integrity. All that is in the past, and Job leaves it behind. Second, the Lord then turns and deals with the three comforters who have failed so miserably in their task. Presuming to speak for the Almighty, they have fallen woefully short of the glory of God. Consequently, Job is appointed to be the intercessor on their behalf. Ironically, the offering that God prescribes to be made on behalf of the three comforters (verse 8) is identical to that which Job had offered for his children out of fear that they might have cursed God (1:5). The Book of Job both begins and ends, then, with Job and worship and intercession. In just two verses (7–8) the Lord four times speaks of “My servant Job,” exactly as He had spoken of Job to Satan at the beginning of the book. But Job, for his part, must bear no grudge against his friends, and he is blessed by the Lord in the very act of his praying for them (verse 10). Ezekiel, remembering Job's prayer more than his patience, listed him with Noah and Daniel, all three of whom he took to be men endowed with singular powers of intercession before the Most High (Ezekiel 14:14–20). The divine reprimand of Job's counselors also implies that their many accusations against Job were groundless. Indeed, Job had earlier warned them of God's impending anger with them in this matter (13:7–11), and now that warning is proved accurate (verse 7). Also, ironically, whereas Job's friends fail utterly in their efforts to comfort him throughout almost the entire book, they succeed at the end (verse 11). Third, in the closing narrative we learn that Job lives 140 years, exactly twice the normal span of a man's life (cf. Psalm 90[89]:10). Each of his first seven sons and three daughters is replaced at the end of the story, and all of his original livestock is exactly doubled (Job 1:3; 42:12). St. John Chrysostom catches the sense of this final section of Job:   His sufferings were the occasion of great benefit. His substance was doubled, his reward increased, his righteousness enlarged, his crown made more lustrous, his reward more glorious. He lost his children, but he received, not those restored, but others in their place, and even those he still held in assurance unto the Resurrection (Homilies on 2 Timothy 7). ___ Saint Gregory the Great, Morals on the Book of Job, vol. 1 (Oxford; London: John Henry Parker; J. G. F. and J. Rivington, 1844), 83. Robert Charles Hill.  St. John Chrysostom Commentaries on the Sages, Volume One – Commentary on Job.  Holy Cross Orthodox Press. Patrick Henry Reardon, The Trial of Job: Orthodox Christian Reflections on the Book of Job (Chesterton, IN: Ancient Faith Publishing, 2005), 22. Manlio Simonetti and Marco Conti, eds., Job, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2006), 4–5. Orthodox Church, The Lenten Triodion, trans. Kallistos Ware with Mother Mary, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 222. Mother Mary, Metropolitan Kallistos of Diokleia, trans., The Lenten Triodion: Supplementary Texts, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2007), 60. Orthodox Church, The Lenten Triodion, trans. Kallistos Ware with Mother Mary, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 559. St. Tikhon's Monastery, trans., The Great Book of Needs: Expanded and Supplemented, vol. III (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 283.        

All is revealed. Buckle up. Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Man Who Would Be King”, by Rudyard Kipling. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep doing what we do.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  Mark your calendars for The Classic Tales Book Club! Our first meeting will be at 4:00 Pacific time, 7:00 Eastern time on March 13th. We'll talk over Zoom about the podcast, and what genre you'd like to hear more often. See you then!  I'm pivoting a bit on the Kickstarter for Bleak House. I just think it's too long for our first Kickstarter. So, I'm thinking of the next in the Arsène Lupin series – The Golden Triangle. I'll be making a custom enamel pin only available for supporters of the Kickstarter, among other fun deals. More details coming soon!  And now, Clouds of Witness, Part 9 of 9, by Dorothy Sayers.   Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:    

Is an anatomy professor having murder done to secure his specimens? Robert Louis Stevenson, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening. A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  Keep an ear open for our coming Kickstarter campaign to fund the audiobook of Bleak House, by Charles Dickens. We've got a ton of special bonuses planned. More details coming soon! And mark your calendar for the Classic Tales Book Club! We'll be meeting on Zoom on March 13th at 4:00PM pacific time. See you then!  Today's story was inspired by true events. William Burke and William Hare committed 16 murders over a period of about 10 months in 1828 in Edinburgh,  Scotland. They sold the bodies to Robert Knox, who used them in his anatomy lessons. Of course, Robert Louis Stevenson puts his wonderful spin on the tale. I hope you like it.  And now, “The Body Snatcher”, by Robert Louis Stevenson.  Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

Peter runs off in a final mad dash to secure a secret testimony. But will it be enough to save his brother?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Body Snatcher”, by Robert Louis Stevenson. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep doing what we do.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content. Go to http://classictalesaudiobooks.com and become a supporter today.  The Classic Tales Book Club's first meeting is set! We will be meeting via Zoom on March 13th, at 4:00 Pm Pacific time. That should make it 7:00 Eastern time. I'll be joined by the illustrious Christopher Oulette, and we'll have a fun little chat talking about the show and whatever else comes up. Mark you calendars for March 13th.  I'm working on setting up the Kickstarter project for Dickens' Bleak House. This is a long one, and I can't wait to dive in to an immersive story like this. I'm working on the artwork now, and I'll have more information in the weeks to come. Big thanks to Ammon Anderson for helping me set this up.  And now, Clouds of Witness, Part 8 of 9, by Dorothy Sayers. Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    Follow this link to follow us on TikTok:    

Why does Inspector Valentin, while following the track of the thief Flambeau, keep crossing paths with two argumentative priests? G.K. Chesterton, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  Keep an ear open for our coming Kickstarter campaign to fund the audiobook of Bleak House, by Charles Dickens. We've got a ton of special bonuses planned. More details coming soon!  Gilbert Keith Chesterton was a philosopher, writer, Christian apologist, and a critic of art and literature. He wrote around 80 books, 200 short stories, and  4,000 essays, (most of the essays appeared as newspaper articles). His most famous literary creation was Father Brown, a catholic priest that has heard the confessions of so many thieves, burglars, and law breakers over the course of his holy career, that he can usually anticipate and deduce the solution to any puzzling crime. Today's story is the first Father Brown story, first published on July 23rd, 1910 in The Saturday Evening Post.  And now, “The Blue Cross”, by G.K. Chesterton.  Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:     Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:      

Meg investigates the true story behind John Guare's theatrical masterpiece Six Degrees of Separation. Jessica untangles the cheesy threads of the legendary Ray's Pizza litigation.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

How can Wimsey escape the sucking mud pits of Peter's Pot?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Blue Cross”, by G.K. Chesterton. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep the lights on.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  We have a couple of new developments. The first is The Classic Tales Book Club! We're going to be having our first meeting in March! This will be a monthly meeting where we discuss the stories on the podcast, and we want you to come and chat with us. I'll be joined by Classic Tales and classic literature enthusiast Christopher Oulette. Keep an eye on our social media channels for more information. You may have noticed that I haven't been able to record the longer audiobooks like I used to. It's just hard to justify reserving that time in my schedule – taking it away from recording something I could get paid for. But there are still so many books I still want to do. Well, I think I may have found a way around that.  I've been wanting to record Bleak House, by Charles Dickens for some time, now. It's got his outlandish and deep characters, amazing plot twists, and his beautiful prose tying it all together. So, I'm going to do a Kickstarter project for it! This way I can justify reserving time in my schedule to record and produce this audiobook. I'm planning to have TONS of bonus material and specials to make this happen. So get ready for a lot of fun, and some amazing deals in the near future.  And now, Clouds of Witness, Part 7 of 9, by Dorothy Sayers. Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:    

Lucy Worsley travels back in time to revisit the unthinkable crimes of 19th century murderesses from the UK, Australia and North America.This episode sees Lucy traverse London, hot on the heels of Maria Manning, the so-called Lady Macbeth of Bermondsey, a woman who confounds expectations of respectable Victorian England. Maria shocked the nation in 1849, when she conspired with her husband to kill her lover, before stealing the dead man's money and making a break for freedom on the all-new intercity rail network. She's the inspiration for a key character in Charles Dickens' famous proto-detective novel Bleak House and her fate leads to a pivotal change in the law.To untangle this remarkable story, Lucy is joined by international literary superstar Kate Mosse, author of historical fiction novels including the Joubert Family Chronicles and founder-director of The Women's Prize for Fiction. Lucy also visits the scene of the crime and recreates Maria's escape across the capital with Lady Killers' in-house historian Professor Rosalind Crone from the Open University. They uncover a bizarre trail of evidence, including the huge stash of belongings Maria deposited at London Bridge Station as she fled London, which included 28 pairs of stockings, 11 petticoats, a teapot, an apron and several items of bloodstained clothing.Together, the team ask why the buttoned-up Victorians had such an appetite for grisly tales of lust, crime and punishment. Are the same impulses behind today's fascination with true crime? Can we respect Maria's independent spirit and sharp mind, despite what she did? Does she deserve her place in history?Produced in partnership with the Open UniversityProducer: Sarah Goodman Readers: Meena Rayann and Jonathan Keeble Sound design: Chris Maclean Series Producer: Julia HayballA StoryHunter production for BBC Radio 4New episodes will be released on Wednesday wherever you get your podcasts. But if you're in the UK, listen to the latest full series of Lady Killers first on BBC Sounds. BBC Sounds - Lady Killers with Lucy Worsley - Available Episodes: http://bbc.in/3M2pT0K

Merriam-Webster's Word of the Day for December 23, 2023 is: nobby • NAH-bee • adjective Nobby is a synonym of chic and typically describes people and things that are cleverly stylish. The word is sometimes disapproving in modern use. // The restaurant was a bit too nobby for my tastes, but I did enjoy the food. See the entry > Examples: “If documentaries about famously nobby creatives are your schtick, you should also bookmark Todd Haynes's much-lauded The Velvet Underground, which reconsiders the figure of Lou Reed and premiered in the Grand Théâtre Lumière to rapturous applause.” — Hayley Maitland, British Vogue, 16 July 2021 Did you know? Nobby comes from the noun nob, which is used in British English to mean “one in a superior position in life.” (This nob may have begun as a slang word for “head,” but a possible connection to noble has been suggested as well.) Appearing in English in the 18th century, nobby was first used to describe people in society's upper echelons. In a way similar to that of a more recent coinage, posh, it has extended in usage to describe the places frequented by such people, as well as their genteel customs. Charles Dickens, for example, wrote in his 1853 novel Bleak House of “[r]especting this unfortunate family matter, and the nobbiest way of keeping it quiet.”

This week on From the Front Porch, you get a sneak peek at our super-popular Conquer a Classic book club for Patreon supporters! Today's episode is an excerpt from one of Annie and Hunter's Patreon-exclusive discussions about Bleak House, our Conquer a Classic book of 2023. Do you want to Conquer a Classic with us in 2024? Now is the perfect time to join Patreon and read along with our bookish community from across the globe. Join Patreon to unlock exclusive episodes where Annie and Hunter discuss Lonesome Dove by Larry McMurtry, our Conquer a Classic pick for 2024! We'll read this 20th-century American western together over the next year starting in January. If already own Lonesome Dove, you can access the reading tracker for free as a Patreon member, or purchase a digital PDF download here. To conquer Lonesome Dove with us in 2024, follow these three steps: 1. Join our Patreon community at the $5, $20, or $50 levels here. 2. Stop by the store, call us at (229) 228-7767, or order your copy of Lonesome Dove online here. Your purchase includes an exclusive reading tracker and Conquer a Classic sticker. 3. Start reading and discussing this American western with us in January 2024! We can't wait to Conquer a Classic with you and readers from across the world! In other news, friend of The Bookshelf Sean Dietrich (aka Sean of the South) is returning to Thomasville Center for the Arts on Thursday, November 30 for a book launch, performance, and book signing! We're thrilled to partner with this terrific Southern author, storyteller, and musician to launch his heartwarming new novel, Kinfolk, releasing on Tuesday, November 14! Tap below to get tickets to his performance and preorder Kinfolk. Kinfolk by Sean Dietrich - Signed Copy Kinfolk by Sean Dietrich Tickets to the Sean Dietrich event Thank you to this week's sponsor, Visit Thomasville. Fall is a wonderful time to see Thomasville, Georgia!  If it's time to hit the road for a quick getaway, we're exactly what you're looking for! You can rekindle your spark, explore historical sites, indulge in dining out, shop at amazing independent stores, and finally relax and unwind. There's no better getaway than Thomasville!  Whether you live close by or are passing through, we hope you'll visit beautiful Thomasville, Georgia – it's worth the trip! Plan your visit at ThomasvilleGa.com. From the Front Porch is a weekly podcast production of The Bookshelf, an independent bookstore in South Georgia. You can follow The Bookshelf's daily happenings on Instagram at @bookshelftville, and all the books from today's episode can be purchased online through our store website, www.bookshelfthomasville.com.  A full transcript of today's episode can be found here.  Special thanks to Dylan and his team at Studio D Podcast Production for sound and editing and for our theme music, which sets the perfect warm and friendly tone for our Thursday conversations.  This week, Annie is reading The Fury by Alex Michaelides. If you liked what you heard in today's episode, tell us by leaving a review on Apple Podcasts. You can also support us on Patreon, where you can access bonus content, monthly live Porch Visits with Annie, our monthly live Patreon Book Club with Bookshelf staffers, Conquer a Classic episodes with Hunter, and more. Just go to patreon.com/fromthefrontporch. We're so grateful for you, and we look forward to meeting back here next week. Our Executive Producers are...Ashley Ferrell, Cammy Tidwell, Chanta Combs, Chantalle C, Kate O'Connell, Kristin May, Laurie Johnson, Linda Lee Drozt, Martha, Nicole Marsee, Stacy Laue, Stephanie Dean, Susan Hulings, and Wendi Jenkins.

In this episode, I tell the story of Fred Barras, a 16-year-old boy killed in Emneth Hungate, Norfolk, on August 20, 1999.Fred and his friend, 29-year-old Brendon Fearon, were burgling the isolated farmhouse Bleak House when its owner, 54-year-old farmer Tony Martin, caught them in the act and unloaded his shotgun at them. Both men were hit, but only Fred died due to his injuries.Tony was handed a life sentence in April 2000 after being found guilty of murder. His conviction was later reduced to manslaughter by reason of diminished responsibility in October 2001 after a successful appeal.Receiving a retrospective five-year prison sentence, Tony served just over three and was released in August 2003.Almost a quarter of a century after the shooting at Bleak House, this case remains one of the most divisive in British history.**The following is NOT a sponsored message**If you are experiencing domestic abuse or are concerned that someone you know is, please consider contacting one of the following charities:Refuge (the largest specialist domestic abuse organisation in the UK): 0808 2000 247Respect (Men's Advice Line): 0808 801 0327Galop (the UK's LGBT+ anti-abuse charity): 0800 999 5428Women's Aid (a national charity working to end domestic abuse against women and children): helpline@womensaid.org.ukREMEMBER - If you are in immediate danger, please call 999!For all things British Murders, please visit my website:⁣britishmurders.com⁣Intro music:⁣David John Brady - 'Throw Down the Gauntlet'⁣linktr.ee/davidjohnbradymusic⁣References:⁣britishmurders.com/fredbarras Learn more about your ad choices. Visit podcastchoices.com/adchoices Hosted on Acast. See acast.com/privacy for more information.

In this episode, I tell the story of Fred Barras, a 16-year-old boy killed in Emneth Hungate, Norfolk, on August 20, 1999. Fred and his friend, 29-year-old Brendon Fearon, were burgling the isolated farmhouse Bleak House when its owner, 54-year-old farmer Tony Martin, caught them in the act and unloaded his shotgun at them. Both men were hit, but only Fred died due to his injuries. Tony was handed a life sentence in April 2000 after being found guilty of murder. His conviction was later reduced to manslaughter by reason of diminished responsibility in October 2001 after a successful appeal. Receiving a retrospective five-year prison sentence, Tony served just over three and was released in August 2003. Almost a quarter of a century after the shooting at Bleak House, this case remains one of the most divisive in British history. **The following is NOT a sponsored message** If you are experiencing domestic abuse or are concerned that someone you know is, please consider contacting one of the following charities: Refuge (the largest specialist domestic abuse organisation in the UK): 0808 2000 247 Respect (Men's Advice Line): 0808 801 0327 Galop (the UK's LGBT+ anti-abuse charity): 0800 999 5428 Women's Aid (a national charity working to end domestic abuse against women and children): helpline@womensaid.org.uk REMEMBER - If you are in immediate danger, please call 999! For all things British Murders, please visit my website:⁣ britishmurders.com⁣ Intro music:⁣ David John Brady - 'Throw Down the Gauntlet'⁣ linktr.ee/davidjohnbradymusic⁣ References:⁣ britishmurders.com/fredbarras Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 152, author Liz Nugent talks about her latest novel, Strange Sally Diamond. Liz is known for her dark and psychological storytelling. Strange Sally Diamond is character-driven, delving deep into psychology and trauma, and despite Sally's damaged nature, Liz portrays her with empathy and nuance. Strange Sally Diamond challenges us to consider the “why” behind someone's behavior. Plus, we get some great book recommendations from Liz. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Liz shares a spoiler-free summary of Strange Sally Diamond. The literary character who inspired this story. The amazing way Liz wrote the psychological aspects in Strange Sally Diamond. Why Liz finds it easier to write from the male perspective and how that changed (or didn't!) for writing Sally. All about those two different endings (UK vs. US editions) and the reasoning behind it! Liz's philosophy about opening lines. The inspiration behind the opening line for Strange Sally Diamond. Liz shares a little about her next book — including her opening line (though that could change)! We get a little behind-the-scenes scoop about book cover art and an author's role in choosing their book cover. Liz's Book Recommendations [32:45] Two OLD Books She Loves I Know This Much Is True by Wally Lamb | Amazon | Bookshop.org [32:58] Razorblade Tears by S. A. Cosby | Amazon | Bookshop.org  [37:08] Other Books Mentioned: Pride and Prejudice by Jane Austen [33:12] Bleak House by Charles Dickens [33:13] She's Come Undone by Wally Lamb [36:02] All the Sinners Bleed by S. A. Cosby [41:05] Two NEW Books She Loves Everyone Here is Lying by Shari Lapena | Amazon | Bookshop.org [41:21] I Will Find You by Harlan Coben | Amazon | Bookshop.org [42:33] Other Books Mentioned: The Couple Next Door by Shari Lapena [42:08] One Book She Didn't Love American Psycho by Bret Easton Ellis | Amazon | Bookshop.org [45:17] TWO NEW RELEASES She's Excited About The Mystery Guest by Nita Prose (November 28, 2023) | Amazon | Bookshop.org [47:58] End of Story by A. J. Finn (February 20, 2024) | Amazon | Bookshop.org[49:43] Other Books Mentioned: The Woman in the Window by A. J. Finn [49:46] Last 5-Star Book Liz Read The Lost Man by Jane Harper | Amazon | Bookshop.org [50:54] Other Books Mentioned Unraveling Oliver by Liz Nugent [1:44] Lying in Wait by Liz Nugent [1:47] Little Cruelties by Liz Nugent [1:48] To Kill a Mockingbird by Harper Lee [3:27] The Body Keeps the Score by Bessel van der Kolk M.D. [10:33] The Maid by Nita Prose [21:52] Other Links Esquire | Book Publishing's Broken Blurb System (September 7, 2023)

Guests: Adam Carrington, Kimberley Strassel, & Dwight Lindley Host Scot Bertram talks with Adam Carrington, Associate Professor of Politics and William and Patricia LaMothe Chair in the U.S. Constitution at Hillsdale College, about the impact of the Supreme Court's recent opinion regarding affirmative action on College campuses. Kimberley Strassel, Editorial Board member and Columnist at the Wall Street Journal, discusses the Biden Administration and her new book The Biden Malaise: How America Bounces Back from Joe Biden's Dismal Repeat of the Jimmy Carter Years. And Dwight Lindley, Associate Professor of English at Hillsdale College, continues his series on Charles Dickens, this time focusing on Dickens' masterpiece of political commentary, Bleak House.See omnystudio.com/listener for privacy information.

This week on From the Front Porch, Annie is joined by Hunter McLendon (@shelfbyshelf) to chat about their 2023 reading resolutions! We're thrilled that you can now shop for the books mentioned in this episode on our brand-new website: Annie's reading resolutions last year: Recitatif by Toni Morrison Beloved by Toni Morrison Sula by Toni Morrison Count of Monte Cristo by Alexandre Dumas Annie's resolutions this year: Jayber Crow by Wendell Berry Hannah Coulter by Wendell Berry Standing by Words by Wendell Berry (unavailable to order) Bleak House by Charles Dickens From the Front Porch is a weekly podcast production of The Bookshelf, an independent bookstore in South Georgia. You can follow The Bookshelf's daily happenings on Instagram at @bookshelftville, and all the books from today's episode can be purchased online through our store website, www.bookshelfthomasville.com.  A full transcript of today's episode can be found here. Special thanks to Dylan and his team at Studio D Podcast Production for sound and editing and for our theme music, which sets the perfect warm and friendly tone for our Thursday conversations.  This week, Annie is reading Games and Rituals by Katherine Heiny. Hunter is reading The Farewell Tour by Stephanie Clifford. If you liked what you heard in today's episode, tell us by leaving a review on Apple Podcasts. Or, if you're so inclined, support us on Patreon, where you can hear our staff's weekly New Release Tuesday conversations, read full book reviews in our monthly Shelf Life newsletter and follow along as Hunter and I conquer a classic. Just go to patreon.com/fromthefrontporch. We're so grateful for you, and we look forward to meeting back here next week. Our Executive Producers are... Donna Hetchler, Cammy Tidwell, Chantalle C, Kate O'Connell, Nicole Marsee, Wendi Jenkins, and Laurie Johnson.

This week on From the Front Porch, Annie tells you all about her favorite books ever! Don't forget to join our bookish Patreon community and get your copy of Bleak House if you'd like to join our Conquer a Classic Book Club this year. To purchase the books mentioned in this episode, visit our website: Gilead by Marilynne Robinson A Place for Us by Fatima Farheen Mirza To Kill a Mockingbird by Harper Lee Go Set a Watchman by Harper Lee The Mothers by Brit Bennett The Road by Cormac McCarthy Crossing to Safety by Wallace Stegner Little Women by Louisa May Alcott An Old-Fashioned Girl by Louisa May Alcott (unavailable to order) Homegoing by Yaa Gyasi Transcendent Kingdom by Yaa Gyasi The Year of Magical Thinking by Joan Didion Station Eleven by Emily St. John Mandel From the Front Porch is a weekly podcast production of The Bookshelf, an independent bookstore in South Georgia. You can follow The Bookshelf's daily happenings on Instagram at @bookshelftville, and all the books from today's episode can be purchased online through our store website, www.bookshelfthomasville.com.  A full transcript of today's episode can be found here. Special thanks to Dylan and his team at Studio D Podcast Production for sound and editing and for our theme music, which sets the perfect warm and friendly tone for our Thursday conversations.  This week, Annie is reading Decent People by De'Shawn Charles Winslow. If you liked what you heard in today's episode, tell us by leaving a review on Apple Podcasts. Or, if you're so inclined, support us on Patreon, where you can hear our staff's weekly New Release Tuesday conversations, read full book reviews in our monthly Shelf Life newsletter and follow along as Hunter and I conquer a classic. Just go to patreon.com/fromthefrontporch. We're so grateful for you, and we look forward to meeting back here next week. Our Executive Producers are... Donna Hetchler, Cammy Tidwell, Chantalle C, Kate O'Connell, Nicole Marsee, Wendi Jenkins, Laurie Johnson and Kate Johnston Tucker.