Podcasts about British Library

With a cast of over 800, and a budget equivalent to £3 million, James Shirley's extravagant masque ‘The Triumph of Peace' was performed on 3rd February, 1634. Unusually, it was such a popular show that, despite the enormous cost of staging it, King Charles I and Queen Henrietta Maria requested that it be repeated. Though replete with all the arse-kissing allegorical tableaux that typified these celebrations of the monarchy - and requisite set designs by Inigo Jones - this spectacular was also markedly different from its predecessors in that it was especially designed to appease Henrietta, who had been slurred by polemicist William Prynne.    In this episode, Arion, Rebecca and Olly come to terms with the ‘17th century immersive theatre' experience; explain why legendary playwright Ben Jonson WASN'T involved in this one; and reveal how a masque was once responsible for the destruction of Shakespeare's Globe…  Further Reading: • ‘Masque and music at the Stuart court' (Royal Museums Greenwich): https://www.rmg.co.uk/stories/topics/masque-music-stuart-court • ‘Inigo Jones designs for masque costumes' (The British Library): https://www.bl.uk/collection-items/inigo-jones-designs-for-masque-costumes •  ‘The History of the British Masque' (Heidi Kobara, 2013): https://www.youtube.com/watch?v=G22UED2yJ_Q Love the show? Support us!  Join 

How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

Send us a textWhat does it mean to keep making, caring and staying human when everything feels like it's falling apart?In this final episode of the Girls Twiddling Knobs podcast, Isobel Anderson speaks directly and unfiltered to you, the listeners, with honesty, clarity and care.This is not a neat goodbye or a highlight reel. It is a reckoning. A permission slip. And a series of parting truths offered to women in music, male allies, music organisations and colleagues in higher education.Isobel reflects on the wider context we are living in: dark times, eroding systems, the devaluing of art and the quiet shame so many creatives carry around money, security and survival. She argues for doing less but doing it with integrity. For making more than we consume. For listening more than we shout. And for staying close to creativity not because it will save the world, but because it keeps us human.You'll hear candid advice about:The real trade-offs between making art and making a livingWhy streaming is a dead end for most musiciansWhen to treat music like a business and when not toInvesting in skills, backing yourself and stopping the wait for permissionLetting other people own their shitWhy organisations must take digital communication seriously if they want real impactThe role men must play as active, imperfect alliesThe heartbreak and hope of higher education, and when it might be time to build something elseThe episode closes with gratitude, acknowledgements and a reflection on legacy. Girls Twiddling Knobs may be ending, but listening, making, creating and caring do not.Stay bold. Stay unapologetic. Don't wait for permission. Stay human.---------------------------------------------------Girls Twiddling Knobs has ended, but you can stay connected to Isobel's artistic work here. Girls Twiddling Knobs was hosted by Isobel Anderson and produced by Isobel Anderson and Jade Bailey from Nov 2020-Jan 2026 and will remain live on all major podcast platforms throughout 2026. We are grateful to the British Library who have archived the podcast in their Sound and Vision Collection. Learn more about the Girls Twiddling Knobs legacy here.Watch this episode on YouTubeExplore more episodes here.Listen on Spotify.

Elephants have played a surprisingly important role on the battlefield, even before the birth of Christ; notably in 5th Century BCE India, and during the Punic Wars in Africa.  But on 23rd January, 971, the Southern Han division of the Chinese military retired their famous elephant corps forever - after facing a massive aerial assault from crossbowmen from the Song Dynasty, who had defeated them in battle. War elephants were not just formidable attackers, but also served as platforms for archers, vantage points, and even provided cover for advancing troops. Despite their effectiveness, the inherent volatility of the animals - susceptible to spooking and turning on their own side -  led to their eventual decline. In this episode, Arion, Rebecca and Olly discover how some elephants continued to serve in the military, even after the development of gunpowder; consider the awesome psychological impact of being attacked by a troupe of elephants; and reveal how the Romans learned to defend themselves from elephants - with the aid of some squealing pigs… Content Warning: animal cruelty. #China #Animals #War #Medieval #BC Further Reading: • ‘Elephants, kingship and warfare in Southeast Asia' (British Library, 2017): https://blogs.bl.uk/asian-and-african/2017/05/elephants-kingship-and-warfare-in-southeast-asia.html • ‘In Ancient Rome flaming war pigs were used to counter elephants' (The Vintage News, 2016: https://www.thevintagenews.com/2016/09/15/ancient-rome-flaming-war-pigs-used-counter-elephants/ ‘War Elephants' (Royal Armouries, 2018): https://www.youtube.com/watch?v=ZI3-f8ebLlk This episode first aired in 2024 FRIDAY - MEGAPHONE COPYWe'll be back on Monday - unless you join CLUB RETROSPECTORS, where we give you ad-free listening AND a full-length Sunday episode every week!Plus, weekly bonus content, unlock over 70 bonus bits, and support our independent podcast.Join now via Apple Podcasts or Patreon. Thanks!The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill.Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Ollie PeartCopyright: Rethink Audio / Olly Mann 2026 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us a textI thought I would try something a little different for the podcast during 2026. Each month (in conjunction with the usual podcast content) I shall broadcast a podcast giving selected stories from SPR's journal as they have been bound together (two years at a time) in the British Library. I am starting with the journals from 1913/14 and will continue in chronological order. I have started with World War 1 being the start of the modern world.I can spare the time to make an SPR podcast each month as they are easy to research.I record the podcast in one take with no editing. This is not a professional podcast, I make nothing from the podcast, it is a pastime in which I enjoy the research but not presenting the podcast

Bar Talk (our recommendations):Jessica is watching Arctic Void (2022; dir. Darren R. Mann); drinking almond nog + Bright Lights, Big Bourbon.Damien is watching Good Boy (2025; dir. Ben Leonberg); drinking a Bhakta 1928.Ryan is watching Shrinking (Apple TV original series); drinking a Gingerbread fartini (vanilla vodka, Frangelico, Bailey's, gingerbread syrup).If you liked this week's story, watch Head Count (2018; dir. Elle Callahan)Up next: Damn the fates, it's Season 9! Special music licensed for non-commercial use through Creative Commons:Intro/Outro: This is Christmas by Scott HolmesSummary Poem: Christmas Meditation by Dee Yan-KeyLike, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

In this special episode recorded at our A Photographic Life Live 2025 event at Oxford Brookes University Grant speaks with photographic historian Dr Michael Pritchard concerning the importance of creating an organised archive, making money from an archive and how to leave your archive for those who will inherit it. Dr Michael Pritchard Dr Michael Pritchard has a practical knowledge of studio and location photography, darkroom processing and printing, and digital photography.  He joined Christie's, the fine art auction house, as a photography specialist in 1986 and grew auctions of cameras and photographic equipment and associated material, setting many world auction records. He was also an auctioneer, and became a Christie's Director and International Business Director for collectibles across the company. In 2007 he became a consultant for Christie's working on a new cataloguing and property control system. He also undertook a PhD in history of photography between 2007 and 2010. His thesis examined photographic manufacturing and retailing from 1839-1914.  He has taught history of photography at MA level at De Montfort University and catalogued and organised the Kodak Historical Collection at the British Library for public access. Pritchard was recruited to the Royal Photographic Society (RPS) in 2011 as Chief Executive, becoming Director of Programmes from 2018-2023. During his tenure he brought a renewed public profile for the RPS  and oversaw an expansion in its public activities, not least growing its membership to the largest in its history. In 2024 he established his own consultancy. He continues to support the RPS. Pritchard continues to actively research the history of photography and regularly delivers conference papers and publishes across the field. He edits the British Photographic History blog and The PhotoHistorian. His knowledge is regularly sought and he shares his expertise and knowledge of photography and its history with other academics and institutions, students, collectors and the general public.  He gives regular talks and has broadcast on a wide range of photographic subjects. His most recent book is A History of Photography in 50 Cameras (Bloomsbury).  https://mpritchard.squarespace.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work zas a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's next book is Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is on sale February 2024. © Grant Scott 2025

The Gaming Hut wonders what would happen in an F20 world where the smoke from burned magic scrolls produced a potent intoxication? Thanks to the Secret Maps exhibition at the British Library, the Travel Advisory veers into the Cartography Hut. Which means we must be back from London, occasioning our annual UK edition of Ken's […]

The British Library is one of the UK's greatest cultural institutions. However, behind the scenes, the staff who make it function are working longer hours for less pay, in worsening conditions. Now, with help from the PCS union, they've decided to fight back.But what does this means more broadly in terms of who is able to access and benefit from our cultural institutions? The Standard's Culture Writer Claudia Cockerell is here with the findings of her special report on the subject - alongside footage of the strikers in action, from London tour guide Jenny Draper. Hosted on Acast. See acast.com/privacy for more information.

Christmas at Colonel and Lady Garrison's house is all warmth, laughter, and parlour games, until the evening's “entertainment” arrives: a small, shabby medium with disconcertingly sharp eyes. The guests settle round the table for an amusing bit of spiritualism. As the lights dim and the control takes over, the party games curdle into something closer to an inquest, and the most unwelcome of visitors finds its way back. First published in The Sphere on 20 November 1935, “The Man Who Came Back” was collected in The Floating Café and Other Stories (Jarrolds, 1936). It has since reappeared in several modern anthologies of seasonal supernatural tales, including the British Library's Sunless Solstice: Strange Christmas Tales for the Longest Nights (2021). Margery Harriet Lawrence (1889–1969) was an English writer who moved with ease between ghost stories, occult fiction, romance, and crime, and whose work was widely read in the inter-war decades. She is now best remembered for her Club of the Round Table tales and for Dr Miles Pennoyer, her “psychic doctor” occult detective, whose cases draw heavily on the spiritualist beliefs she embraced in later life. Buy My Christmas Ghost Stories Paperback as a Gift for Someone!? https://shop.ingramspark.com/b/084?params=MxXXCglWV2Uu4L9ArK8eIz8rexI8huhrBketkRcyMfh Learn more about your ad choices. Visit megaphone.fm/adchoices

Bar Talk (our recommendations):Jessica is bingeing all 14 seasons of King of the Hill; drinking Burnside Bourbon.Damien is reading Wake Up and Open Your Eyes by Clay McLeod Chapman; drinking a legit painkiller with Pussers Rum (orange, pineapple, cream of coconut, nutmeg).Ryan is reading  Ghostland by Edward Parnell; drinking a Lagavulin 16.If you liked this week's story, read Gothic by Philip Fracassi.Up next: Damn the fates, it's Season 9! And a merry little bonus episode interlude...Special thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

When he wrote Messiah (in 24 days), Handel was past his prime and nearly broke. One night in Dublin changed all that. (Part two of “Making Messiah.”) SOURCES:Charles King, political scientist at Georgetown University.Chris Scobie, curator of music, manuscripts, and archives at the British Library.Ellen Harris, musicologist and professor emeritus at MIT.Mark Risinger, teacher at St. Bernard's School.Philip Rushforth, organist and master of the choristers at the Chester Cathedral.Proinnsías Ó Duinn, conductor and music director of Our Lady's Choral Society. RESOURCES:Every Valley: The Desperate Lives and Troubled Times That Made Handel's Messiah, by Charles King (2024)."Arnaud du Sarrat and the international music trade in Halle and Leipzig c.1700," by Tomasz Górny (Early Music, 2023).George Frideric Handel: A Life with Friends, by Ellen Harris (2014).Handel (Composers Across Cultures), by Donald Burrows (2012)."Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)," by Aileen Adams and B. Hofestädt (Journal Of Medical Biography, 2005).Handel's Messiah: A Celebration: A Richly Illustrated History of the Music and Its Eighteenth-Century Background, by Richard Luckett (1995).Handel's Messiah The Advent Calendar, podcast series. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A woman played a female role on the London stage for the very first time on December 8th, 1660, as Desdemona in a revival of Shakepeare's Othello. The actress was probably Margaret Hughes - though nobody bothered to record this at the time, so we can't be sure. After the 1660 restoration of King Charles II, theatres opened their doors for the first time after 16 years of Puritan suppression. Charles, who had been exiled in France, admired continental theatre, where women had already been performing for over a century, and so England's actresses were finally permitted to follow suit. Arion, Rebecca and Olly uncover the stories of those pioneering performers who combatted sexism and sexual harassment to have their time in the limelight; consider the fate of the ‘pretty boys in petticoats' once real women were allowed on stage; and, once again, marvel at Samuel Pepys's inability to keep his sexual urges out of his diaries… Further Reading: • 'Who was the first Shakespearean actress?' (British Library, 2016): https://blogs.bl.uk/english-and-drama/2016/05/who-was-the-first-shakespearean-actress.html • 'The First English Actresses: Women and Drama, 1660-1700 - By Elizabeth Howe' (Cambridge University Press, 1992): https://www.google.co.uk/books/edition/The_First_English_Actresses/gPC5RvL7O_8C?hl=en&gbpv=1&dq=elizabeth+howe+women+on+stage&printsec=frontcover • ‘April de Angelis Interview | The first women on stage' (Whats On Stage, 2018): https://www.youtube.com/watch?v=GvaJIzHj6zY Love the show? Support us!  Join 

Bar Talk (our recommendations):Jessica is reading Gideon the Ninth by Tamsyn Muir; drinking Freeland Spirits Bourbon.Damien is watching Freaky Tales (2024; dir. Anna Boden, Ryan Fleck); drinking a Hibiki Japanese Harmony.Ryan is reading  A Short Stay in Hell by Steven L. Peck; drinking a Highland Park 12.If you liked this week's story, watch Black Box (2020; dir. Emmanuel Osei-Kuffour).Up next: "The Stalls of the Barchester Cathedral" by the inimitable M. R. JamesSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Bar Talk (our recommendations):Jessica is reading The Dark Tower VI: Song of Susannah by Stephen King; drinking Free Spirits 'The Spirit of Bourbon'.Damien is reading Rejection: Fiction by Tony Tulathimutte; drinking a Boulevardier (Larceny bourbon, Campari, sweet vermouth).Ryan is reading  Long Division: Stories of Social Decay, Societal Collapse and Bad Manners, edited by Doug Murano and Michael Bailey; drinking a Glenlivet 14.If you liked this week's story, read the interconnected short stories of the Dandridge Cycle by Caitlin R Kiernan.Up next: "The Face of the Monk" by Robert HichensSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

The 2025 RDI address will be delivered by incoming Master Johanna Gibbons RDI, founding partner of J&L Gibbons and founding director of Landscape Learn.Johanna is a Landscape Architect, Founding Partner of J&L Gibbons established in 1986 and Founding Director of social enterprise Landscape Learn. She studied at Edinburgh College of Art and is a Fellow of the Landscape Institute and the RSA, and a Research Partner of Urban Mind with Kings College London with an international profile as design panellist, juror and speaker.Jo was awarded Royal Designer for Industry in 2019 for her ‘pioneering and influential work combining design with activism, education and professional practice'. She is respected for routinely and seamlessly incorporating ecology, organismal biology, urban planning, conservation, community organising, the arts, and pedagogy, being driven by a keen awareness of climate change, biodiversity loss, and social need.Her many award-winning, collaborative and innovative designs span over four decades of practice, mostly within the cultural and public realm sector. They range from urban regeneration, heritage and estate planning to artist collaboration and the landscapes of cathedrals and museums, including the Natural History Museum London, Inger Munch Pier Oslo, Horniman Museum and Gardens, St Albans Cathedral and The British Library.Prior to the Address, 5 new Royal Designers for Industry (RDI) and 2 new Honorary Royal Designers for Industry will be welcomed to the Faculty.The title ‘Royal Designer for Industry' is awarded annually by the RSA to designers of all disciplines who have achieved sustained design excellence, work of aesthetic value and significant benefit to society.The RDI is the highest accolade for designers in the UK. Only 200 designers can hold the title. Non-UK designers may become honorary Royal Designers.The ‘Royal Designers' are responsible for designing the world around us, enriching our cultural heritage, driving innovation, inspiring creativity in others and improving our quality of life.Speakers:Johanna Gibbons RDI, founding partner of J&L Gibbons and founding director of Landscape LearnCharlie Paton RDI, founder and director of Seawater Greenhouse Ltd and RDI MasterChair:Sir Loyd Grossman CBE, chair of trustees, RSADonate to the RSA: https://thersa.co/3ZyPOEaBecome an RSA Events sponsor: https://utm.guru/ueembFollow RSA on Instagram: https://www.instagram.com/thersaorg/Like RSA on Facebook: https://www.facebook.com/theRSAorg/Listen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join

Bar Talk (our recommendations):Jessica is watching They Cloned Tyrone (2023; dir Juel Taylor); drinking a Ghia Ginger Spritz.Damien is watching Strange Darling (2024; dir. J.T. Mollner); drinking a Glenmorangie 12.Ryan is play Blue Prince (VG; 2025) ; drinking a Glenlivet Caribbean Cask.If you liked this week's story, watch Presence (2024; dir. Steven Soderbergh)Up next: "The Duchess at Prayer" by Edith WhartonSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

In this episode Adrienne asks Paul probing questions about crime fiction, why is it so popular and what keeps us coming back for more?Theses are the books and authors we mention https://uk.bookshop.org/lists/bookylicious-series-5-episode-3?&new-list-page=trueYou can find the Shedunnit podcast is here https://www.shedunnitshow.com/And details of next year's Agatha Christie Exhibition at the British Library are here https://events.bl.uk/exhibitions/agathachristie

Tony Watkins interviews Dr Dirk Jongkind, Vice Principal (Academic) about his new book, ‘Growing in Understanding: Devotions for Christian Academics' (published by Apollos in 2025).GROWING IN UNDERSTANDING: DEVOTIONS FOR CHRISTIAN ACADEMICS is available directly from IVP or from your normal bookseller.Dirk Jongkind is probably best known as editor of the Tyndale House Greek New Testament. However, before he ended up in the academy, Dirk worked in the horticultural sector (together with his wife Marion), growing tropical cut-flowers (Heliconia) in greenhouses in his native country, the Netherlands. He enjoyed this hands-on setting, yet decided to follow his life's fascination with the history and text of the Bible. He completed a M.A. in Old Testament at Tyndale Theological Seminary (1999, Badhoevedorp, nr. Amsterdam), and moved to the United Kingdom for an M.Phil. in New Testament at Cambridge University, where he also completed a PhD in 2005. At this time he was employed for a brief project at the British Library as part of the preparation of the Codex Sinaiticus Digitisation project.At Tyndale House, Dirk does research in the transmission of the text of the New Testament which has resulted in the Tyndale House Edition of the Greek New Testament (2017). He also maintains an interest in lexical and grammatical studies. He is an Associate Editor of the Tyndale Bulletin. Working at Tyndale House gives unique opportunities to contribute to the practice and vision of theological education.He has taught in a wide variety of settings ranging from big conference rooms and university halls to the back rooms of small rural chapels and local village pubs. Dirk is a Fellow of St Edmund's College and a Member of the Faculty of Divinity.Apart from explaining the Bible and the many ways in which one passage resonates with others, he also enjoys speaking about how Christians can be good scholars and pursue knowledge and truth without compromising their commitment to faith.Support the showEdited by Tyndale House Music – Acoustic Happy Background used with a standard license from Adobe Stock.Follow us on: X | Instagram | Facebook | YouTube

Bar Talk (our recommendations):Jessica is reading A Boy and His Dog at the End of the World by C.A. Fletchere; drinking a Blind Tiger's Bees Knees.Damien is reading The Haar by David Sodergren; drinking a Larceny bourbon whiskey.Ryan is watching "Adolescence" (Netflix); drinking and Old Forester 86.If you liked this week's story, watch Black Swan (2010; dir. Darren Aronofsky)Up next: "An Evicted Spirit" by Marguerite MeringtonSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Do animals make music? Are the languages of whales and birds truly songs? To answer this, we must first understand what we mean by music as human animals—and how it might emerge across the animal kingdom. From Messiaen's transcriptions of bird calls to the rhythmic gaits of horses echoing in the blues, we'll hear how animal behaviours form an unwitting orchestra and explore whether music is uniquely human or a shared language with our animal cousins.This lecture was recorded by Milton Mermikides on the 29th of October 2025 at LSO St Luke's, LondonMilton Mermikides is a composer, guitarist, technologist, academic and educator in a wide range of musical styles and has collaborated with artists and scientists as diverse as Evelyn Glennie, Tim Minchin, Pat Martino, Peter Zinovieff, John Williams and Brian Eno. Son of a CERN nuclear physicist, he was raised with an enthusiasm for both the arts and sciences, an eclecticism which has been maintained throughout his teaching, research and creative career. He is a graduate of the London School of Economics (BSc), Berklee College of Music (BMus) and the University of Surrey (PhD). He has lectured, exhibited and given keynote presentations at organisations like the Royal Academy of Music, TEDx, Royal Musical Association, British Library, Smithsonian Institute and The Science Museum and his work has been featured extensively in the press. His music, research and graphic art are published and featured by Oxford University Press, Cambridge University Press, Deutsche Grammophon, Sony and more, and he has won awards, scholarships and commendations for writing, teaching, research and his charity work.      Milton is Professor of Music at the University of Surrey, Professor of Guitar at the Royal College of Music, Deputy Director of the International Guitar Research Centre, an Ableton Certified Trainer, and lives in London with his wife, the guitarist Bridget Mermikides and their daughter Chloe. He is also a Vice-Chair of Governors at Addison Primary School, a state school which foregrounds music education, offering free instrumental lessons for all on Pupil Premium. The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/music-animalsGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham College's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-today Website:  https://gresham.ac.ukX: https://x.com/GreshamCollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeBluesky: https://bsky.app/profile/greshamcollege.bsky.social TikTok: https://www.tiktok.com/@greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

Bar Talk (our recommendations):Jessica is reading Where Furnaces Burn by Joel Lane; drinking a canned Spiritless Old Fashioned.Damien is reading Buffalo Hunter Hunter by Stephen Graham Jones; drinking a Redbreast 15 Single Pot Still Irish Whiskey.Ryan is reading Red Rabbit by Alex Grecian; drinking the Lagavuhlin 16 yr old.If you liked this week's story, watch The Forest (2016; dir. Jason Zada)Up next: "A Story Told In Church" by Ada BuissonSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

In this episode Paul, Gwyn and Lara catch up with what has been inspiring them recently everything from dragons to hobbits via annihilation and exorcists.Here is a bookshelf of the books we mention along the way: https://uk.bookshop.org/lists/bookylicious-series-5-episode-2?&new-list-page=trueThese are the links for the exhibtions we mentioned:The Word for World: the maps of Ursula K. Le Guin at the Architectural Association in Bedford Square, London https://www.aaschool.ac.uk/publicprogramme/whatson/the-word-for-worldAgatha Christie a major exhibition of the woman behind the books at the British Library in London from October 2026 https://events.bl.uk/exhibitions/agathachristieLewis Carroll at Exploring Surrey's Past https://www.exploringsurreyspast.org.uk/themes/people/writers/lewis_carroll/

When a US Navy exploratory ship finds a tramp steamer that went missing some years before, the mystery surrounding its disappearance becomes closer to being solved when a passenger's journal is uncovered. But what really happened aboard the Wellington and what became of its crew?This original recording is an audio presentation by Jasper L'Estrange for EnCrypted Horror. “SARGASSO” by Ward Muir, 1908.

In this week's episode of the Security Squawk Podcast, Bryan Hornung, Randy Bryan, and Reginald Andre break down three major cybersecurity incidents that show how no industry is immune — from universities and government contractors to the British Library itself. We dig into a 1.2 million-record donor data breach, a ransomware-driven shutdown, and the growing supply-chain risk for MSPs and IT providers. Tune in for sharp analysis, real-world lessons, and actionable advice to protect your business from being the next victim. Cybersecurity podcast, data breach, ransomware, MSP, vendor risk, university breach, British Library, Conduent, IT security trends ️ New to streaming or looking to level up? Check out StreamYard and get $10 discount! https://streamyard.com/pal/d/65161790...

Bar Talk (our recommendations):Jessica is reading Summer Sons by Lee Mandelo; drinking Heck's Gentle Persuasion Golden NA.Damien is watching Daddy's Head (2024; dir. Benjamin Barfoot); drinking a Flying Naked (bourbon, Bénédictine, Aperol, lemon juice).Ryan is reading Aurora Rising by Alastair Reynolds; drinking Highland Park 12 yr 'Viking Honour'.If you liked this week's story, read "Procession of the Black Sloth" by Laird BarronUp next: "The Sexton's Adventuret" by Sheridan Le FanuSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Bar Talk (our recommendations):Jessica is watching Hell House LLC Origins: The Carmichael Manor (2023; dir. Stephen Cognetti); drinking Sloop Brewing Oktoberfest.Damien is watching Bring Her Back (2025; dir. Phillipou Brothers); drinking a Painkiller with Pussers Rum (orange, pineapple, cream of coconut, nutmeg).Ryan is reading "Lot No. 249" by Arthur Conan Doyle; drinking the Bowmore 15.If you liked this week's story, read Night Film by Marisha Pessl.Special thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

All main global operations are understood to be impacted, with the UK among those to see office roles axed.Storm hunters fly into Hurricane Melissa as Jamaica braces for 'storm of the century'.To hear our chat with Deputy Chief Meteorologist Dan Rudman, click here. From December, Meta, TikTok, and Snapchat will start blocking users under the age of 16 in Australia.And, why the British Library's 'Secret Maps' exhibition is so significant now, with Nick Dykes, Curator of Modern Map Collections. Plus, why Taylor Swift may even draw a crowd.Also in this episode:Turkey hit by a magnitude 6.1 earthquakeSuffolk on alert following a new bird flu outbreakCRISPR-engineered pig kidney keeps man alive for nine months Hosted on Acast. See acast.com/privacy for more information.

Biesinger, Gabi www.deutschlandfunk.de, Kultur heute

Biesinger, Gabi www.deutschlandfunkkultur.de, Studio 9

Bar Talk (our recommendations):Jessica is watching Taskmaster (2015 - current TV series); drinking St Agrestis Phony Mezcal Negroni.Damien is watching Demoni/Demons (1985; dir. Lamberto Bava, produced and co-written by Dario Argento); drinking Corsair Triple Smoke.Ryan is reading The Way of Kings by Brandon Sanderson; drinking a perfect Manhattan.If you liked this week's story, read The Traveller by R.H. BensonUp next: "The Cathedral Crypt" by John WyndhamSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Biesinger, Gabi www.deutschlandfunkkultur.de, Fazit

The Library of Lost Maps by James Cheshire, Professor of Geographic Information and Cartography, tells the story of the discovery of a treasure-trove at the heart of University College London. In a long-forgotten room James found thousands of maps and atlases. This abandoned archive reveals how maps have traced the contours of the world, inspiring some of the greatest scientific discoveries, as well as leading to terrible atrocities and power grabs. But maps have not always been used to navigate or reveal the world, according to a new exhibition at the British Library on Secret Maps (from 24 October 2025 to 18 January 2026). Jerry Brotton, Professor of Renaissance Studies at Queen Mary University of London, and author of Four Points of the Compass, explains how mysterious maps throughout history have been used to hide, shape and control knowledge. The biographer Jenny Uglow celebrates a different kind of mapping in her new book, A Year with Gilbert White: The First Great Nature Writer. In 1781 the country curate Gilbert White charted the world around him – from close observation of the weather, to the migration of birds to the sex lives of snails and the coming harvest – revealing a natural map of his Hampshire village.Producer: Katy Hickman Assistant Producer: Natalia Fernandez

Bar Talk (our recommendations):Jessica is watching Red Rooms (2024; dir Pascal Plante); drinking The Best Day Brewing's NA Kolsch.Damien is watching The Coffee Table (2022; dir. Caye Casas); drinking Nelson's Green Brier Tennessee Whiskey.Ryan is reading The Hunt for Red October by Tom Clancy; drinking Glenlivet Double Oaked.If you liked this week's story, watch Mandy (2018; dir. Panos Cosmatos)Up next: "In The Confessional" by Amelia B Edwards.Special thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

When Oscar Wilde was jailed for, "gross indecency," a 19th century euphemism for gay sex, his library card was revoked. 130 years later, the British Library has re-issued it to his grandson.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Rachel Reeves is once again facing tough choices on tax and spending. After promising no further tax rises last autumn, the Chancellor could now see a sizeable downgrade to the borrowing outlook - enough to wipe out the limited ‘headroom' she built into her fiscal plans last spring. To stick to her ‘iron-clad' rules, Reeves may now need a sizeable fiscal consolidation through tax rises, spending cuts, or both.Helen talks to IFS economists Carl Emmerson and Ben Zaranko about why we're back here again, what's really driving the UK's fiscal challenges, and what options the Chancellor has to get the public finances back on track. They discuss whether Reeves can stick to her fiscal rules, what role productivity and growth forecasts play, and how the government could avoid fiscal 'ground hog' day again.

US President Donald Trump has confirmed that he authorized the CIA to conduct secret operations in Venezuela, adding that the White House is weighing the possibility of a land attack on the country. Also, staff members at a prestigious opera house in Venice, Italy, are going on strike to protest the incoming conductor, saying she lacks the experience needed for the role. And, Doctors Without Borders shutters its emergency care center in Port-au-Prince, Haiti, amid a surge in violence. Plus, 130 years later, The British Library reinstates playwright and author Oscar Wilde's library card.Listen to today's Music Heard on Air. Learn about your ad choices: dovetail.prx.org/ad-choices

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. World Food Day 2007 bronze Pope says international community must not turn away from hunger, as UN observes World Food Day; California launches landmark plan to sell insulin pens for $11, Governor Newsom says “Best in the nation, nothing comes close”; Trump prepares to use IRS to go after left-leaning groups, Wall Street Journal says targets include major Democratic donors; Trump considering revamp of US refugee system to favor white South Africans, English speakers, and Europeans opposed to migration; Crowd-sourced “Defending Our Neighbors” fund aims to raise $30 million to provide free legal representation for immigrants; British Library reissues Oscar Wilde's library card, 130 years after it was revoked when Wilde was imprisoned for homosexuality The post UN observes World Food Day; California to sell insulin pens for $11 beginning January 1 – October 16, 2025 appeared first on KPFA.

Bar Talk (our recommendations):Jessica is reading The Other Valley by Scott Alexander Howard; drinking Labatt's NA.Damien is reading Vampires in the Lemon Grove by Karen Russell; drinking Hibiki Japanese Harmony.Ryan is reading Project Hail Mary by Andy Weir; drinking the Lagavulin 16yr.If you liked this week's story, watch Oddity (2024; dir. Damian McCarthy)Up next: "The Parson's Oath" by Mrs. Henry Wood.Special thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Earth.fm curator Melissa Pons was recently invited to attend Endless Fields 2025, as one of seven sound artists-in-residence at Portugal's Estúdio Yucca, in the Algarve by the Ria Formosa lagoon. This inaugural edition of Endless Fields, organized by Anna Clock and Stefano Arrigoni, was funded by the Department of Applied Social Sciences at the School of Science and Technology (FCT), NOVA University, Lisbon, Portugal, and co-organized by its participants. Local facilitation was by Raquel Castro - curator, producer, film director, and former president of the World Forum for Acoustic Ecology - and Ivo Louro, PhD Candidate in History, Philosophy and Heritage of Science and Technology (at FCT NOVA), and “occasional” sound artist. During the residency, which involved collective listening and recording, sound performances, jams, and an open day, Melissa conducted interviews with her fellow participants. These conversations form the basis of a new two-part episode of Earth.fm's Wind Is the Original Radio podcast. This, the first part, features Ivo, Iddo Aharony, a composer of electronic and acoustic music and environmental and multimedia compositions, and Xavier Velastín Vicencio - self-described sound designer, composer, technologist, and whale lover. Ivo Louro - who is studying the acoustemologies of Aeolian instruments, examining how they have been used not only to make music from the wind but also to monitor and forecast weather in both scientific and traditional craft settings - discusses: How his lifelong interest in environment, ecology, and science began in childhood, but that it was a university class on acoustic pollution, taken during his environmental engineering training, which opened a new world that linked sound and environment. Later, reading David Toop's Haunted Weather: Music, Silence, and Memory prompted him to begin making field recordings and engaging with sound theory - starting with R. Murray Schafer's The Soundscape: Our Sonic Environment and the Tuning of the World and, later, the work of ethnomusicologist Steven Feld, whose field research with the Kaluli people of Papua New Guinea's Bosavi rainforest culminated in the 1991 album Voices of the Rainforest How his research accidentally led him to wind-driven Aeolian instruments. This includes resonators attached to the sails of traditional Portuguese windmills, which cause them to “hum and howl and [generate a] complex drone”, allowing millers to anticipate weather shifts while also producing a kind of music that accompanied their long, solitary hours. For Ivo, these sounds also resonate with personal memories and family histories, echoing rural soundscapes once common across the Portuguese hills Estúdio Yucca's location being “almost like an oasis, [but also] very much just a tiny nook inside an area fraught with environmental issues and pressures”, citing the intensive farming and wastewater production associated with the touristification of the Algarve The connection between field recording and travel, and the environmental impacts of that travel, which has led Ivo to mainly make “field recording[s] around the city [...] [to] avoid going out into the country” How soundscape recordings can make “the world completely change” by engaging with unfamiliar species such as crabs: “put a small, sensitive microphone on the sand and [you'll hear] a full world”. Iddo Aharony is a creative musician and listener who continuously explores the myriad intersections of sound, environment, culture, and technology. His body of work spans a wide variety of instrumentations, media, and interdisciplinary collaborations, from a fully-staged opera to various experimental projects utilizing live electronics, created in collaboration with visual artists, theater directors, scientists, and other musicians. He currently lives in Colorado Springs and is Associate Professor of Music Technology at Colorado College. He talks about: His interest in the way that sounds from our environment can be engaged with in unexpected ways, or how they can surprise listeners The way gradually moving from not really listening to what was around him, to an increased engagement with it, “felt like a door that kept opening more and more” How living in an economic structure that is built around attracting people's attention means that listening to whatever environment in which you find yourself is a wonderful way to be in the world without thinking in terms of functionality or productivity: a small, quiet act of rebellion against that attention economy His fascination with sound since childhood, when, while playing guitar and piano, music was Iddo's “most private place”, where he was able to most fully be himself. And how music's emotional resonances acted as a gateway to emotions that he couldn't otherwise express - leading to the realisation that “the whole world has that potential [for] emotional resonance”. Xavier Velastín Vicencio is a performance and sound artist whose practice spans live art, sound design and composition for theatre, sound installations, sound for video games, sound poetry, algorithmic composition, and digital instrument creation. His work often focuses on utterance, agency, the environment, technology, and the physicality of sound. Xavier is a resident of the Pervasive Media Studios, Bristol, and is currently on a research fellowship with the British Library's Eccles Institute, in London, England. With Melissa, Xavier speaks about: How the ‘liveness' and ‘presentness' of the body and the voice “relate to [...] larger questions about bodily autonomy and agency” His obsession with whales and their songs, which began with his realization that the recordings we generally hear have either been edited to make them audible for us, chosen to fit our idea of how whale song ‘should' sound (avoiding any sounds that are too uncomfortable or challenging), or overlaid with “plinky-plonky” New Age piano music. All of which led to his Edinburgh Festival Fringe show [whalesong]: “a sound play about the noises and voices in the sea [...] [and] a love song to cetaceans”, which was used whale song as an organizing structure His excitement about system design and how organic processes can be embodied within technological systems The pleasure of getting to spend time with other sound artists, as opposed to sound designers whose interests lean towards engineering and the results of sound design: “You know, I'm not that interested in plugins and equipment and [...] how many tracks your REAPER session has [...]; I'm interested in [...] effective moments.” We hope that you enjoy this episode. If you'd like to connect with the participants, you can do so here: Iddo and Xavier. And keep an ear out for part two - coming soon!

Melissa Febos is the author of The Dry Season: A Memoir of Pleasure in a Year Without Sex, available from Knopf. Febos is the national bestselling author of five books, including Abandon Me, Girlhood—which won the National Book Critics Circle Award in Criticism, Body Work: The Radical Power of Personal Narrative, and, most recently, The Dry Season. Her awards and fellowships include those from the Guggenheim Foundation, LAMBDA Literary, the National Endowment for the Arts, The British Library, The Black Mountain Institute, MacDowell, the Bogliasco Foundation, The American Library in Paris, and others. Her work has appeared in The Paris Review, The New Yorker, The Sun, The New York Times Magazine, The Best American Essays, Vogue, The Best American Travel and Food Writing, and New York Review of Books. Febos is a Roy J. Carver Professor at the University of Iowa, where she teaches in the Nonfiction Writing Program. She lives in Iowa City with her wife, the poet Donika Kelly. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Literature's most famous castaway, Robinson Crusoe, was washed up on a desert island - where he would remain for 28 years - on 30th September, 1659. By selecting this date, author Daniel Defoe ensured that his fictional protagonist's fate pre-dated the real-life estrangement of Royal Navy man Alexander Selkirk, who was stranded some 46 years later: 14 years prior to Defoe writing his novel. In this episode, Arion, Rebecca and Olly explain how his story pioneered not only the English novel, but also the movie trailer; ask whether Crusoe's narrative voice sounds like an authentic young man of the period, or betrays the fact that Defoe was nearly sixty when he created him; and dig around in the writer's early career (including, but not limited to, creating perfume from civets)... Further Reading: • Daniel Defoe profile (The British Library): https://www.bl.uk/people/daniel-defoe • ‘Debunking the Myth of the ‘Real' Robinson Crusoe' (National Geographic, 2016): https://www.nationalgeographic.com/culture/article/robinson-crusoe-alexander-selkirk-history • The Shipwreck scene from ‘Robinson Crusoe' (1927): https://www.youtube.com/watch?v=OCaYAD1ZGuM This episode first aired in 2021Love the show? Support us!  Join 

In today's episode we discuss how to access paywalled content and membership-only resources. We glean useful tips and tricks from Ellie Broughton, an award-winning freelance journalist - and hear about the fascinating work of David Clarke who has spent many years researching in the National Archives.Get your free portfolio today. We also have a special offer for our FFJ community. Sign up via the link above to any paid plan for 20% off for the first year!GuestsEllie Broughton https://www.elliebroughton.net/https://www.linkedin.com/in/elliebroughton/https://bsky.app/profile/elliebroughton.bsky.socialDavid Clarke https://x.com/shuclarkehttps://bsky.app/profile/davidwclarke.bsky.socialResourcesLibrary app https://www.borrowbox.com/Library app https://libbyapp.com/interview/welcome#doYouHaveACardPress release portal https://www.eurekalert.org/British Library https://www.bl.uk/Magazine app https://gb.readly.com/Recommendationshttps://www.amazon.co.uk/Well-All-Murdered-Our-Beds/dp/1783961333https://www.wearequeeraf.com/conversion-therapy-groups-spend-2m-on-lobbying-and-promoting-practice-in-soaring-costs-since-promise-to-ban-the-abusive-practice/https://www.bigissue.com/news/social-justice/sex-workers-prostitutes-cautions/

36. International Booker prize winners, author Banu Mushtaq & translator Deepa Bhashti talk to co-hosts Paul Waters & Jonathan Kennedy on the We'd Like A Word books & authors podcast at the 2025 Jaipur Literature Festival at the British Library in London.We talk about Banu's short story collection Heart Lamp; whether foreign language words should be italicised - Deepa says no; why Heart Lamp stands out as the first notable translation from Kannada (the language of Karnataka in southern India) into English; and the dynamic between author & translator.We also hear from Lisa Honan of the East India Walking Tour & playwright Dr Anu Kumar, together creators of A London Lark Rising - a moving, walking, street theatre all about the East India Company which ruled large swathes of India from London. Is this tour better than reading The Anarchy by William Dalrymple or listening to the Empire Podcast hosted by William with Anita Anand? (Personally, I'd say it's complementary. You should read both Anita's & William's books.)By the way, Lisa Honan used to be the Governor of St Helena - yup, the island to which Napoleon was banished for the second and final time. She has some stories - including about plumed hats - yes or no, and why.And we hear from Sanjoy Roy, author and one the geniuses behind the international web of festivals known as the Jaipur Literature Festival on providing platforms for diverse conversations which are not publisher driven, focusing on the ideas behind the books, rather than the books themselves; and about it's getting more difficult these days to have free flowing varied conversations.Plus we touch on Singaporean author Ivy Ngeow, Indian-German artistic due Himali Singh Soin & David Soin Tappeser, Anil & Kiran Agarwal & their Riverside Studios arts space in London, Catalan literature, who makes the best tea, whether only British people queue, & should seagulls eat cigarette butts?WHO IS JONATHAN KENNEDY? Jonathan was Director of Arts in India for 5 years for the British Council. He's been everywhere in India and knows everyone there involved in culture. He was also for 12 years the Executive Director of Tara Arts, looking at the world through a South Asian lens. Jonathan is doing some India & South Asian episodes of We'd Like A Word with us every now & then. We'd Like A Word is a podcast & radio show from authors Paul Waters & Stevyn Colgan. (And sometimes Jonathan Kennedy.) We talk with writers, readers, editors, agents, celebrities, talkers, poets, publishers, booksellers, & audiobook creators about books - fiction & non-fiction. We go out on various radio & podcast platforms. Our website is http://www.wedlikeaword.com for information on Paul, Steve & our guests. We're on Twitter @wedlikeaword & Facebook @wedlikeaword & our email is wedlikeaword@gmail.com Yes, we're embarrassed by the missing apostrophes. We like to hear from you - questions, thoughts, ideas, guest or book suggestions. Perhaps you'd like to come on We'd Like A Word to chat, review or read out passages from books.Paul is the author of a new Irish-Indian cosy crime series set in contemporary Delhi. The first in the series is Murder in Moonlit Square, which published by No Exit Press / Bedford Square Publishers & Penguin India in October 2025. Paul previously wrote the 1950s Irish border thriller Blackwatertown.We can also recommend Cockerings, the comic classic by Stevyn Colgan, and his hugely popular YouTube channel @Colganology

This interview is with one of the translators, M. Lynx Qualey. A girl must save herself and her family after discovering her society's secrets in this sci-fi novel in translation. I Want Golden Eyes (U Texas Press, 2025) is set on the Comoros Islands at the end of this century in a futuristic city called Quartzia, the home of a genetically privileged minority called the Golden Eyes. The rest of the population, the Limiteds, live in a cavity called the Hive beneath the city. Dalia is a sixteen-year-old girl who lives in the Hive but works with her family in Quartzia at Professor Adam's house, where she cleans, her sister grows organic food in the garden, and her deaf father works as the cook. Because books are forbidden in the Hive, Dalia secretly borrows math texts from the professor's library and smuggles them to read in the Hive. When Professor Adam, who is famous for engineering embryos with enhanced genes, discovers Dalia's crime, he enslaves her for two years in his library. Dalia seeks to flee the city with her family after overhearing the professor being ordered to design genetic traits for the president's expected baby and realizes that Golden Eyes are not privileged by nature's selection, as she was led to believe, but by authority and money. Maria Dadouch is a Syrian novelist, screenwriter, and children's book author. She is the author of The Planet of Uncertainties, I Want Golden Eyes, The Heart is Behind the Rib, and other books, for which she has won several prestigious prizes. M. Lynx Qualey is a writer, publisher, editor, translator, and speaker. She is the founder of ArabLit. Her translated works include Wild Poppies, Wondrous Journeys in Strange Lands, and the Thunderbird trilogy. Sawad Hussain  is a translator from Arabic. She has run translation workshops under the auspices of Shadow Heroes, Africa Writes, Shubbak Festival, the Yiddish Book Center, the British Library, and the National Centre for Writing. 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

This interview is with one of the translators, M. Lynx Qualey. A girl must save herself and her family after discovering her society's secrets in this sci-fi novel in translation. I Want Golden Eyes (U Texas Press, 2025) is set on the Comoros Islands at the end of this century in a futuristic city called Quartzia, the home of a genetically privileged minority called the Golden Eyes. The rest of the population, the Limiteds, live in a cavity called the Hive beneath the city. Dalia is a sixteen-year-old girl who lives in the Hive but works with her family in Quartzia at Professor Adam's house, where she cleans, her sister grows organic food in the garden, and her deaf father works as the cook. Because books are forbidden in the Hive, Dalia secretly borrows math texts from the professor's library and smuggles them to read in the Hive. When Professor Adam, who is famous for engineering embryos with enhanced genes, discovers Dalia's crime, he enslaves her for two years in his library. Dalia seeks to flee the city with her family after overhearing the professor being ordered to design genetic traits for the president's expected baby and realizes that Golden Eyes are not privileged by nature's selection, as she was led to believe, but by authority and money. Maria Dadouch is a Syrian novelist, screenwriter, and children's book author. She is the author of The Planet of Uncertainties, I Want Golden Eyes, The Heart is Behind the Rib, and other books, for which she has won several prestigious prizes. M. Lynx Qualey is a writer, publisher, editor, translator, and speaker. She is the founder of ArabLit. Her translated works include Wild Poppies, Wondrous Journeys in Strange Lands, and the Thunderbird trilogy. Sawad Hussain  is a translator from Arabic. She has run translation workshops under the auspices of Shadow Heroes, Africa Writes, Shubbak Festival, the Yiddish Book Center, the British Library, and the National Centre for Writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

This interview is with one of the translators, M. Lynx Qualey. A girl must save herself and her family after discovering her society's secrets in this sci-fi novel in translation. I Want Golden Eyes (U Texas Press, 2025) is set on the Comoros Islands at the end of this century in a futuristic city called Quartzia, the home of a genetically privileged minority called the Golden Eyes. The rest of the population, the Limiteds, live in a cavity called the Hive beneath the city. Dalia is a sixteen-year-old girl who lives in the Hive but works with her family in Quartzia at Professor Adam's house, where she cleans, her sister grows organic food in the garden, and her deaf father works as the cook. Because books are forbidden in the Hive, Dalia secretly borrows math texts from the professor's library and smuggles them to read in the Hive. When Professor Adam, who is famous for engineering embryos with enhanced genes, discovers Dalia's crime, he enslaves her for two years in his library. Dalia seeks to flee the city with her family after overhearing the professor being ordered to design genetic traits for the president's expected baby and realizes that Golden Eyes are not privileged by nature's selection, as she was led to believe, but by authority and money. Maria Dadouch is a Syrian novelist, screenwriter, and children's book author. She is the author of The Planet of Uncertainties, I Want Golden Eyes, The Heart is Behind the Rib, and other books, for which she has won several prestigious prizes. M. Lynx Qualey is a writer, publisher, editor, translator, and speaker. She is the founder of ArabLit. Her translated works include Wild Poppies, Wondrous Journeys in Strange Lands, and the Thunderbird trilogy. Sawad Hussain  is a translator from Arabic. She has run translation workshops under the auspices of Shadow Heroes, Africa Writes, Shubbak Festival, the Yiddish Book Center, the British Library, and the National Centre for Writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Bath, England is celebrating Jane Austen - 250 years of her and her legacy. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Link to family tree! Game of Thrones is typically considered to be the most popular television show of all time based on its massive global reach and deep cultural impact. If you haven't seen it, it's an 8 season historical fantasy series based on a book series by George R. R. Martin about different houses, different families, the Starks, the Lannisters, the Targaryens, the Baratheons, all battling and plotting and backstabbing each other to try to sit on the iron throne. It's pretty awesome. It's definitely worth watching. But this episode isn't about Game of Thrones, not the fictional one anyway. It's about the real life game of thrones that went down in 15th century England, the inspiration for the books and the show, the War of the Roses. In today's story the House of Lancaster and the House of York will duke it out, not for the iron throne, but for the throne of England an an unlikely victor will arise. Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: Encyclopedia Britannica "War of the Roses"British Library "The bride's journey"Historic Royal Palaces "The Princes in the Tower"Wikipedia "John of Gaunt"Heritage History "Henry VII"Wikipedia "War of the Roses"History.com "War of the Roses"ThoughtCo "War of the Roses: An Overview"Shoot me a message!

Bede and the Theory of Everything (Reaktion Books, 2023) investigates the life and world of Bede (c. 673–735), foremost scholar of the early Middle Ages and ‘the father of English history'. It examines his notable feats, including calculating the first tide-tables; playing a role in the creation of the Ceolfrith Bibles and the Lindisfarne Gospels; writing the earliest extant Old English poetry and the earliest translation of part of the Bible into English; and composing his famous Ecclesiastical History of the English People, with its single dating system. Despite never leaving Northumbria, Bede also wrote a guide to the Holy Land. Michelle P. Brown, an authority on the period, describes new discoveries regarding Bede's handwriting, his research programme and his previously lost Old English translation of St John's Gospel, dictated on his deathbed. Michelle P. Brown is Professor Emerita of Medieval Manuscript Studies at the School of Advanced Study, University of London, and was formerly Curator of Illuminated Manuscripts at the British Library. Her books include Bede and the Theory of Everything (Reaktion, 2023). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel here.  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