Podcasts about calcutta

(02:39) Na ruim een jaar dreigementen tekenden Trump en de premiers van Groenland en Denemarken deze week een akkoord: Amerika krijgt meer militaire bases en invloed op de defensie van Groenland. Maar het is niet de eerste keer dat Amerika een relatief vrije hand krijgt op Groenland. In 1968 stortte er een Amerikaanse bommenwerper neer met vier kernwapens aan boord; één werd nooit teruggevonden. Wat er daarna gebeurde, bleef lang geheim. Wat leert die geschiedenis ons over die buitenlandse invloed op het eiland? Daarover spreken we Stine Jensen, schrijver van ‘We moeten het over Groenland hebben.' (15:43) Op deze zondagochtend geeft Dominee Gremdaat een onorthodoxe preek over het thema ‘lichaam en geest'. Om onze imperfecte lichamen en dolende zielen wat troost en relativering te bieden.  (22:12) Dit jaar schreef Suzanna Jansen het essay voor de Maand van de Geschiedenis: ‘Project RUST', over vrouwen die in de jaren vijfitg en zestig in rusthuizen geplaatst werden, vaak tegen hun eigen wil. Ook Suzanna's eigen moeder kwam er terecht. Welk idee zat erachter? Wie waren de andere vrouwen? En hoe was het om in zo'n rusthuis te verblijven? Suzanna Jansen is te gast.   (31:57) Singer-songwriter Ara Abrahamian kwam in 1993 in de buik van zijn moeder vanuit Armenië naar Nederland. Ze vluchtte voor de oorlog in Nagorno-Karabach. Nu verwerkt hij zijn Armeense roots en de geschiedenis in zijn muziek. Onder andere met de Duduk, een eeuwenoud Armeens blaasinstrument.  (35:45) Ara met Ruins  (40:27) Een kleine vrouw in witte sari, omringd door de allerarmsten van Calcutta. Lang was Moeder Teresa het toonbeeld van katholieke naastenliefde. Ze kreeg de Nobelprijs voor de Vrede en werd heilig verklaard. Maar vanaf de jaren negentig veranderde dat beeld: critici beschuldigden haar ervan lijden te verheerlijken en de armen niet altijd de juiste medische zorg te geven. Nu is er de film Mother, waarin Moeder Teresa opnieuw wordt bekeken: dit keer vooral als een vrouw die zich verzet tegen de dominante mannenwereld. Is dat beeld accuraat? En kunnen we haar begrijpen via de bril van onze eigen tijd? Oud-OVT-presentator en kenner van het katholicisme Jos Palm bekeek de film. (50:17) Elke week bespreken we historische tips met afwisselend Wim Berkelaar, Dore van Duivenbode, Bart Funnekotter, Sanne Frequin, Lotte Houwink ten Cate en Fresco Sam-Sin. Deze week is de beurt aan Fresco Sam-Sin. Hij bespreekt twee boeken en een tentoonstelling:  -              Thinking Hands – Niemeyer, Groningen -              Wrijving - Peter Jan Margry -              Blood, Sweat and Tears - Ruben Verwaal (1:03:33) Ara met Hin Orer (1:09:20) Opvliegers, slapeloze nachten en hersenmist. De overgang lijkt een puur biologisch gegeven, maar de geschiedenis van het fenomeen vertelt een ander verhaal. In Wisseljaren laat cultuurhistoricus Rina Knoeff zien hoe veranderlijk onze ideeën over de overgang zijn. Een ontluisterende geschiedenis, die laat zien dat de overgang behalve een biologisch ook een cultureel fenomeen is.  (1:19:08) Het was groot nieuws deze week: Paul Haenen stopt als de stem van Bert en Grover in Sesamstraat. Na het overlijden van de stem van Ernie, Wim T. Schippers, wordt het tijd om het stokje over te dragen, vindt Haenen. Maar wie denkt dat het daarmee stil wordt heeft het mis. Als dominee Gremdaat preekt hij nog steeds met een troostrijke, verbindende boodschap, en Margreet Dolman beleeft haar 50-jarig jubileum én heeft een nieuwe tv-serie. Paul Haenen is te gast over de liefde voor zijn karakters door de jaren heen.

Wenn du einmal groß bist! Sicher haben viele von uns diesen Satz schon als Kind gehört. Wenn du einmal groß bist, dann darfst du alles, dann kannst du die Welt erobern, dann wirst du Großes leisten. Groß sein, das klingt nach Erfolg, macht Bedeutung.Deshalb bezeichnen wir bestimmte Menschen als die Großen: Herrscher, Feldherren oder auch Heilige. Und doch fällt auf: Die wirklich Kleinen sind selten. Eine Ausnahme ist die kleine Therese von Lisieux, die wir in den nächsten Tagen feiern werden.Man nennt sie bis heute liebevoll die kleine Theresia. Ihr Leben war kurz, verborgen, unscheinbar. Kein großes Werk, keine spektakulären Taten und doch gehört sie zu den größten Gestalten der Kirche.Ihr Weg heißt der Kleine Weg, ein Weg der Hingabe, des Vertrauens und der Liebe im Alltag. In uns steckt oft der Wunsch, groß zu sein, alles im Griff zu haben. Manchmal führt das dazu, dass wir Gott verlieren.Therese wählte einen anderen Weg. Sie sagt: ich bin ein Kind Gottes, nicht stark aus mir selbst, sondern angewiesen, anhänglich, vertrauend. Christlich nennt man das Demut, nicht als Schwäche, sondern als innere Stärke. Diese Haltung zeigt sich in kleinen Gesten, etwa im Umgang mit einer alten, kranken Mitschwester, eine schwierige Frau, unzufrieden, fordernd. Therese übernimmt freiwillig den Dienst an ihr, nicht aus Sympathie, sondern aus Liebe, still und ohne Applaus. Sie selbst schreibt: Ich bin eine sehr kleine Seele, die Gott nur sehr kleine Dinge anbieten kann, das Geringste ist wertvoll in seinen Augen. Das erinnert mich an den sogenannten Schmetterlingseffekt:Ein kleiner Flügelschlag kann große Folgen haben, was aus kleinen Gesten geworden ist, zeigt die Wirkung ihres Lebens. Mutter Theresa von Calcutta trug ihren Namen; Menschen finden bis heute durch ihr Buch zum Glauben. Kurz vor ihrem Tod erlebte Therese eine tiefe Dunkelheit, Zweifel, Leere.Der Theologe Thomas Halik sieht darin eine Nähe zu Jesu Ruf am Kreuz: Mein Gott, mein Gott, warum hast du mich verlassen? Der Glaube bleibt fragil, aber die Liebe bleibt. Und genau das macht Therese groß: Nicht Macht, nicht Leistung, sondern Liebe bis zuletzt.Und so konnte die große Mitschwester, die heilige Edith Stein, einmal sagen, ich kenne nichts Größeres als Therese von Lisieux. Vielleicht beginnt wahre Größe genau dort, wo wir aufhören, groß sein zu wollen und anfangen, im Kleinen zu lieben.

Regency novels are always fun, but Jenelle Hovde takes them a step further in The Light of Stars by taking us to India!  Listen in as she shares the story (marriage of convenience!) and history. note: links may be affiliate links that provide me with a small commission at no extra expense to you. Talking to Jenelle is such a delight. I love her heart for the Lord and His people. YAY! The Light of Stars by Jenelle Hovde An arranged marriage. A powerful company tainted with corruption. Two souls caught between obligation and a longing to find their true calling in this Regency romance set in glittering London ballrooms and Calcutta street markets. When Kitty Grenville's grandfather announces her engagement to Sebastian Sinclair, she's appalled. She barely remembers the boy she met once as a child—and now he's a man tied to the East India Company, the very organization that tore Kitty and her brother from their mother and home in Hyderabad years ago. Unwilling to relinquish her dream of a love match or her passion for astronomy, Kitty is determined to refuse the marriage and find freedom in her own way. Sebastian Sinclair carries the weight of duty and regret. To atone for past sins, he complies with his grandfather's orders to return to England, fulfill a long-standing betrothal, and defend the maligned East India Company before Parliament. Though Kitty makes her disinterest clear, Sebastian is drawn to her intellect and spirit. As Kitty navigates her first London season, her opinion of Sebastian begins to shift, especially when he shields her from scandal. When he's abruptly called back to India, Kitty stuns everyone by marrying him and going with him, hoping to escape her grandfather's control—and to find her mother. But the challenges that await in India are greater than imagined. Together, Kitty and Sebastian must confront the legacy of family and empire—and discover if a marriage born of obligation can grow into a love strong enough to endure. Learn more about Jenelle on her WEBSITE and follow her on GoodReads and BookBub. Like to listen on the go? You can find Because Fiction Podcast at: Apple Castbox Google Play Libsyn RSS Spotify Amazon YouTube and more!

At The Heights, every teacher functions as a mentor for students. This is more than a figure of speech; it's the character of certain student-teacher relationships with routine check-ins oriented toward holistic personal growth. This week on HeightsCast, Headmaster Alvaro de Vicente considers the scope of different kinds of advisory, and outlines his vision for what makes real, effective mentorship. Chapters: 4:36 Whether all teachers are mentors 9:07 All advisory: goals, agency, and disposition 12:40 Spiritual direction and coaching 16:29 The scope of our mentoring program 20:20 Primary relationships for growth 23:17 Secondary supports for growth 26:49 A holistic mentor 28:23 Mentees of another faith 31:06 Handling big questions Links: The Heights School Mentoring Program, including links to the mentoring handbook and topics by age Mother Teresa, Come Be My Light: The Private Writings of the Saint of Calcutta by St. Teresa of Calcutta Also on the Forum: The Mentoring Playlist on The Heights Forum, containing essays and podcasts on the topic Featured Opportunities: Headmaster's Lecture at The Heights School (October 3, 2026) Fall Open House at The Heights School (October 24, 2026) Fatherhood Conference at The Heights School (November 7, 2026) Convivium Conference for Teaching Men at The Heights School (November 11-13, 2026)

Somebody once wrote a fairy tale where the quest that wins the princess was to find a single newspaper that didn't contain an article by G.K. Chesterton. Dr. Susan Hanssen wrote her doctoral dissertation on him and now teaches history at the University of Dallas, and she argues he's the hinge of what Adam Schwartz called the third spring of English Catholicism. She ends the episode reading Lepanto aloud. In This Episode: Why G.K. Chesterton reached readers the Catholic converts before him never could. John Henry Newman was an Oxford man writing for an educated elite, and Gerard Manley Hopkins wrote poetry too esoteric for the common reader. Chesterton never went to university at all. The claim behind G.K. Chesterton's range: that he could start from any subject whatsoever, Victorian china shepherdesses included, and bring you back to a Christian understanding of the human person. Why nearly every movie preview is about the end of the world now, and how G.K. Chesterton was already correcting both Hegel's coming utopia and Oswald Spengler's inevitable decline. The essay in Heretics with the dull title that Dr. Hanssen calls the absolute cure for family troubles.  What "the English-speaking world" actually meant in 1910, and why an illustrated London paper could put G.K. Chesterton in front of Gandhi in Calcutta and an oil widow in Texas. Resources Mentioned: Dr. Hanssen's talk at this summer's Chesterton conference What I Saw in America by G.K. Chesterton Lepanto by G.K. Chesterton Heretics by G.K. Chesterton Literary Converts by Joseph Pearce Chapters: 00:00: Introduction 00:30: Meeting Susan Hanssen, and a dissertation on Chesterton 02:53: The English-speaking world goes silent after the Reformation 07:35: Newman's second spring, and the third spring that followed 11:09: Belloc, the Latin south, and Chesterton as the Dickens of his age 14:30: High characters, middle characters, and the low characters Dickens let in 15:41: When the Mediterranean was the whole world, and then it wasn't 21:02: The illustrated papers, and writing for absolutely everyone 23:02: Three volumes that only list what he published 24:38: The fairy tale quest to find a paper without Chesterton in it 33:39: Chesterton the painter, and why his essays read like wet canvas 46:01: Lepanto, read aloud FOLLOW US Instagram Facebook X SUPPORT Donate Shop Produced by Saint Kolbe Studios

Step into a journey of unexpected divine appointments with missionary Bob McGurty as he shares powerful stories from the front lines of India and Bangladesh. Discover how asking a single, life-changing question each morning can transform ordinary interactions into extraordinary opportunities for the Gospel, proving that God often works through the most surprising moments. +++++++ You can find our service times on our website: https://www.anctally.com/ You can find sermon highlights on Twitter here: https://x.com/allnationstally

John Tague was a part of the team who turned United Airlines around after one of the largest bankruptcy filings in the industry's history, helped run Hertz Rental Car, and sat in rooms with a hundred creditors — but many only know him as a successful breeder, owner, and board member in the reining world. Today, you get to hear his whole story...John and his wife Nancy own Toyon Ranch, where they stand a group of very successful reining stallions, and keep roughly 160 head on the property to produce a foal crop each year. John came up in the hunter/jumper world as a working student at 13, left school early, took an entry-level analyst job in aviation at 21, and was an officer of a public company by 25. He and Nancy moved into western performance around 2011.In this one, John walks Tom and the boys through how he got involved with United, the hardest decision he ever had to make there, and why he now spends his time on the NRHA Executive Committee instead of corporate boards. The group gets into the association's financial turnaround, why sponsorship dollars follow purse money, the push to invest in affiliates and regional futurities, whether the sport is getting too hard to compete in, the amateur division question, and what rising horse prices mean for the person breeding at home.Plus: the Tulsa recap, Nancy's $600 Calcutta steal, and Tom's ongoing problem with the paper towel trap door on airplanes.BE SURE TO LIKE AND SUBSCRIBE!#reining #podcast #horses #equine #talkshow #tommccutcheon

Making a Scene Presents Gerry Casey's Interview with SujataSujata is a British-Indian singer and songwriter based in London. Raised in Calcutta by her musical family and steeped in the Bengali Folk Music tradition, her focus moved to Pop and Rock soon after she settled in England. Inspired by Janis Joplin, Dolly Parton, Aretha Franklin, George Harrison and her own cross-cultural upbringing, Sujata's songs present a unique fusion of Rock, Pop, Blues and Indian sounds – sitars and tablas with guitars and drums. Her powerful, potent lyrics reflect the challenges of life and honour the human spirit. On the subject of songwriting, Sujata states “If there's something I want to say, but can't for whatever reason – I turn it into a song”. http://www.makingascene.org

In 1867, Norwegian missionary Lars Skrefsrud and a colleague went to the Santal people living in the area north of Calcutta, India.  Skrefsrud quickly learned the language and began proclaiming the Gospel.  These people were far removed from Jewish or Christian influences, and he wondered how long it would take for them to show interest in the Good News. To his surprise, the Santal were immediately receptive to the message.  He heard them say, “This proves that Thakur Jayu [the Genuine God] has not forgotten us!”   “How do you know about Thakur Jayu?” asked Skrefsrud.  “Our forefathers knew him long ago.” “Well, then, why don't you worship Him instead of the sun or worse yet, demonic powers?” “That is the bad news.” So one of the sages, Kolean, told the story. For more, check out our latest sermon “I Am With You,” based on Matthew 28, here:

Bob was one senior who was a tremendous blessing to our ministry. He'd been the kind of volunteer who had been there for every kind of project you could imagine. His whole life—it seems like he's been a warrior for the Lord. But then, he had some illnesses and an accident that slowed him down—even to the point of walking with a cane and honestly looking a little more stooped than usual. We asked him if he could help oversee this important remodeling project at our Headquarters. Before we could finish the tour of the area that needed work, Bob was spouting out ideas about how it could be done. Later I actually saw Bob in the hallway—walking tall, walking fast, without his cane, like a man half his age! I'm Ron Hutchcraft and I want to have A Word With You today about “The Healing Power of Making a Difference.” A new spark, a new spring in his step–what made this almost overnight difference in our friend? At least in part, I think it was the prospect of making a difference again! He was re-energized by having a mission. You know what? That might be just what the doctor—I mean, The Doctor—ordered for someone who's listening right now. In Proverbs 11:24-25, our word for today from the Word of God, the Bible spells out this healing power of making a difference for other people. Here's what it says. “One man gives freely, yet gains even more; another withholds unduly, but comes to poverty. A generous man will prosper; he who refreshes others will himself be refreshed.” When you're all focused on yourself, your world is small, your hurts are big, you're claustrophobic, you're sometimes bitter and self-pitying. But when you're focused on people who need you, on things you can do to make a difference, it's literally life-giving. Jesus described this strange but ever-true equation: “Whoever wants to save his life will lose it, but whoever loses his life for Me will save it” (Luke 9:24). Hold onto your life, you lose it. Give your life away, you find it. I've seen that proven true from teenagers to people way up in years. We all need a mission. It begins by looking around your world and asking this great question, “Who needs me around here? Who can I help with what I know? Who can I help with what I've been through?” Often we're looking for someone to help us instead of someone to help. We're focused on who could meet our needs instead of whose needs we could help meet. And we're miserable. Nobody wants to come to our pity parties, and life looks ugly because we keep looking through a dirty window, and that window is called “It's all about me.” Maybe it's time for you to think more about “giving your life away”—about a mission you could become involved in. You might have some very real limitations, some hurts, some handicaps. But there is someone you can help with what you know; whether it's in person, or letters, or emails, or texts, or with the phone. At least you can tell them about your Jesus and help them be in heaven with you. A young man once wrote to Mother Teresa, and he was asking how he could have the kind of significance with his life that she was experiencing as she ministered to dying people in Calcutta's worst slums. She wrote back just a four-word reply: “Find your own Calcutta.” That's the answer. Find a place where you are needed, where you can pour yourself into someone other than yourself, into something bigger than yourself. And, when you do, prepare to experience the awesome healing power of making a difference!

Pushpa Devi is an author and creative director whose work explores identity, belonging, courage, and the meaning of home. Born in India, she was adopted at age six and traveled from Calcutta to rural America in 1968 to join a family she had never met. English was her fourth language, and storytelling would later become her way of giving voice to the memories and emotions of that life-changing journey. Pushpa first shared her story in her memoir, The Lucky Lotus. She later turned to children's literature, transforming her childhood memories into the Blue Bear Series. Beginning with Journey Home, the series follows a young girl and her powder-blue teddy bear as they navigate uncertainty, change, and new beginnings. Other titles include My New World and What the Ocean Brought Me. Through honest and hopeful storytelling, Pushpa invites readers of all ages to see adoption through a child's eyes and to discover how kindness, resilience, and love can help us find where we belong. Pushpa on YouTube Season 12 Book: The Adoption Paradox by Jean Kelly Widner Eventbrite Link: Live Podcast Event in Minneapolis, MN, Sept. 11th-13th Sign up to be part of our mailing list! Thank you to our Patreons! Join at the $10 level and be part of our monthly ADOPTEE CAFE community. The next meeting will be Saturday, September 26th at 1 pm ET. RESOURCES for Adoptees: Adoptees Connect Adoptee Mentoring Society Gregory Luce and Adoptee Rights Law Fireside Adoptees Facebook Group Dr. Liz Debetta: Migrating Toward Wholeness Movement Moses Farrow - Trauma therapist and advocate National Suicide Prevention Lifeline – 1-800-273-8255 OR Dial or Text 988. Kristal Parke Because She Is Adopted Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Brooke Joiner grew up Lutheran in Colorado, but a car accident, a season of searching, and one unforgettable holy hour in Eucharistic adoration set her on the path to the Catholic Church. In this episode, Brooke shares the story of her conversion, the "arrows" that pointed her toward Mother Teresa's first house in Calcutta, and how she and her husband Matteo walked away to found Catholic Owned, a platform connecting Catholics with authentically Catholic-owned businesses across the U.S. She opens up about the 24 months with no income, the faith it took to keep going, and what she hopes every listener takes away: pray the rosary, and consider Marian consecration.Use code YESCATHOLIC to save 10%Send us some love!Support the showThanks for Tuning in to Yes Catholic!We're so grateful you joined us for this episode. If this story inspired you, be sure to like, share, and subscribe to keep saying Yes to Jesus with us.Stay connected with the Yes Catholic community on Instagram and subscribe on YouTube @yes.catholic for more powerful testimonies and faith-filled content.Your support helps us continue sharing stories and reaching people all over the world! Thank you in advance for your generosity!Thank you for being part of the Yes Catholic community—where real people share real stories, all for God's glory!Thank You to Our Sponsors!This episode of Yes Catholic is made possible by the generous support of our sponsors Truthly, Sacred Spark and Tabella. Your partnership helps us continue sharing powerful testimonies and inspiring stories of faith.

Last time we spoke about the battle of Hong Kong. On the night of December 18th, six Japanese battalions crossed Hong Kong harbour under cover of darkness and burning oil tanks. The Rajputs fought stubbornly but were overwhelmed by sheer numbers. Maltby fatally underestimated the assault, holding reserves against a frontal attack that never came. The breakthrough sparked a cascade of disasters. Elderly British businessmen and World War I veterans—the Hughsiliers—heroically held the North Point power station for 18 hours, delaying the entire Japanese advance. Private Geoghan, wounded but undeterred, charged a Japanese officer and killed him, incredibly surviving. The battle's focal point became Wongneichong Gap, where Brigadier Lawson died defending his headquarters. Desperate, piecemeal counter-attacks by Canadians and Scots failed amid chaos and poor coordination. Finally, a single Canadian company under Lieutenant Blackwood held the position for four days against overwhelming odds, killing over 200 enemy soldiers before surrendering. The Japanese suffered 800 casualties but seized the island's strategic heart.   #218 The Battle of Hong Kong Part 3: Black Christmas Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. By dawn on December 20, the Japanese Army had consolidated its position across Hong Kong Island. The 1/229th and 2/228th prepared to sweep southeastward from Taitam and Saiwan toward Stanley. The 2/229th and 3/229th, positioned near Stanley Gap, readied themselves to advance toward Repulse Bay. East of Wongneichong Gap, the 1/228th poised for the push toward Deep Water Bay, while the 3/228th, one of the original reserve battalions, had just arrived on the northern shore. On Jardine's Lookout, two fresh battalions—the 1/230th and 2/230th—prepared to advance westward across the gap. The West Brigade, meanwhile, held a fragile, ill-defined line: Z Company of the 1st Middlesex and Rajput survivors at Leighton Hill in the north, the 2 Royal Scots on the northern slopes of Mount Nicholson, and the Winnipeg Grenadiers, minus D Company, still clinging to pillboxes at Wongneichong Gap. The 228th Regiment moved first, tasked with clearing Postbridge House of its remaining defenders. Simultaneously, the 229th dispatched reconnaissance teams past Violet Hill toward the cliffs overlooking Repulse Bay Hotel—that opulent five-star resort now transformed into an impromptu fortress sheltering evacuees, soldiers, and sailors. What awaited was an epic three-day siege. Despite their gains, the Japanese later confessed that British resistance proved far stiffer than anticipated. They spent much of the 20th consolidating positions and bringing up supplies rather than pressing forward. Maltby, determined not to cede the initiative, dispatched a Royal Rifles company and two HKVDC platoons to the hotel with orders to attack the Gap from the south via Violet Hill. They recaptured the garages and outhouses but lacked the artillery support necessary to advance further. Growing anxious, Maltby sent a desperately weak platoon of the 2/14 Punjab—only 25 men—to reinforce them and push along the southern coast. Colonel Kidd, commanding the Punjab regiment, personally led an assault on Shouson Hill to link up with besieged sailors. He was killed in the attempt, and the mixed force of sailors and Punjabis fell back with severe losses. By the 22nd, after pressing forward from Shouson Hill, the Japanese seized Brick Hill and systematically beheaded all survivors. Yet the Japanese conquest contained stubborn pockets that refused to crumble. The HKSRA gunners held one end of Brick Hill. A ragtag force of HKVDC, naval personnel, Canadians, and Middlesex under Major Dewar maintained Little Hong Kong's ammunition store. HMS Cicala, providing artillery support from Deep Water Bay, was struck from the air and scuttled, eventually sinking in the Lamma Channel. Colonel H. B. Rose, the HKVDC commander, assumed control of the West Brigade following Brigadier Lawson's death. He spent much of the 20th preparing an ambitious counter-attack: the 2 Royal Scots and Winnipeg Grenadiers would drive toward the Gap from the west, supported by B Company of the Grenadiers, brought up from Pokfulam on the island's western coast. The operation commenced poorly. B Company arrived late to find that the Royal Scots had already departed Mount Nicholson's eastern slopes for reasons no one could later explain. The Grenadiers attacked alone through pitch darkness and torrential rain, splitting into two groups that circled Mount Nicholson from opposite directions, meeting above the Gap at dawn. Colonel Doi's tactical instinct struck again. Observing the undefended summit of Mount Nicholson—lost through British inattention—he seized the moment. That afternoon, under cover of heavy rain, he ordered the 1/228th in a three-company formation to take the position without opposition. When B Company blundered into the Japanese, a savage close-quarters battle erupted that cost the Grenadiers all their officers, seven NCOs, and 29 men. Overwhelmed, B Company retreated to Mount Nicholson's western slope as Doi prepared to exploit his success and assault Mount Cameron. At dawn on the 21st, Wallis proposed a new coordinated attack on the Gap. Major T. G. MacAuley of the Royal Rifles led a combined force of Canadian and HKVDC troops from Stanley Mount at 0915 hours. Accurate mortar fire from Red Hill met them immediately. Hand-to-hand combat erupted at Bridge Hill and Notting Hill before the force could push toward the Gap via Violet Hill. By 1700 hours, MacAuley and all HKVDC officers were wounded. Wallis ordered withdrawal. That same morning at 1030 hours, the Japanese launched a second amphibious assault, driving toward Victoria City itself and reaching the east side of what is now Victoria Park. The anti-aircraft gun at Watson's factory in Causeway Bay was silenced. The naval yard suffered devastating mortar bombardment; all its guns fell silent. Major C. R. Templer, assigned to command at Repulse Bay, had successfully repulsed numerous probing attacks. When ordered to assault the Gap with two platoons of Canadian infantry and two HKVDC machine-gun sections, he encountered such overwhelming Japanese force that he abandoned the operation and withdrew beyond Middle Ridge. By dawn on the 22nd, the Japanese finally established heavy artillery on Hong Kong Island. Two battalions of the 229th concentrated on Repulse Bay Hotel. The divisional reserves—1/229th and 1/230th—deployed against the East Brigade as it fell back to its last bastion: Stanley Peninsula. Stanley's defenses were organized in three concentric zones. The forward area, commanded by Lieutenant Colonel Home, comprised elements of the 1st Middlesex, Royal Rifles companies, and HKVDC troops, supported by a single 2-pounder gun. Stanley village, under Lieutenant Colonel Wilcox, held the second line with artillery pieces and mixed infantry. A final reserve at Stanley Hill and Fort, under Lieutenant Colonel Shaw, contained the last of the artillery and the 1st and 2nd HKVDC batteries. To the west, British forces barely held their positions. The 2/14 Punjab, 1st Middlesex, 4/7 Rajputs, Royal Scots, and Winnipeg Grenadiers stretched along Mount Cameron and the northern heights—a thin, exhausted line facing Japanese battalions concentrated along a kilometer-long front. At noon on the 22nd, Japanese forces attacked Stanley Mound and Sugarloaf, held by B Company of the Royal Rifles augmented with platoons from HQ and D Companies. Despite multiple repulses, ammunition shortages forced the Canadians to retire to the southern slopes. The situation at Repulse Bay Hotel deteriorated daily, yet Major Templer continued to hold against repeated assaults. As Christmas Eve dawned, all defenders faced grim circumstances. The Royal Rifles of Canada, shattered from bearing the brunt of Japanese attacks, withdrew into Stanley Fort—but not before a heated confrontation between Lieutenant Colonel Home and Brigadier Wallis in which the Canadians bitterly accused their comrades of not "pulling their weight." In the evening of december 21st, Lt Colonel Home, now the senior surviving Canadian officer, spoke to Lt Colonel Sutcliffe, learning about the plight of the Winnipeg grenadiers trying to hold the crest of Mount Cameron. Sutcliffe reported that "his battalion was decimated and yet the high command was ordering his men to make counter attacks. So he asked Home if he could not do something to stop what he considered a useless waste of lives." Home took this to heart and began to inform Brigadier Wallis that he wanted to see the Governor. He said to Wallis "his battalion was exhausted; further resistance would only result in the waste of valuable Canadian lives; as senior Canadian officer he felt a grave responsibility" Wallis persuaded Home to wait until morning. Home the next morning was more than ever convinced of the futility of resistance. Its important to note the relationship between senior Canadians and British officers were all but poisoned in Hong Kong, let alone imagine how the Indian or Chinese volunteer forces felt. The Canadians distrusted the British commanders who for the most part got everything wrong in the whole damn operation. Home was threatening a separate Canadian surrender as they had lost confidence in Brigadier Wallis of the east brigade, Maltby and other British staff officers. It seemed to the Canadians they were being sacrificed to ensure the honor of the garrison. As Royal Rifles Major John H price put it  " There were plenty of Canadian officers who had battle experience in the first war who were competent to judge as to the possibility of a successful outcome of the defence of the island. Consider the facts - The Island had been split in two by vastly superior Japanese forces. On the eastern brigade front, which included the Stanley Peninsula, the Royal Rifles and one company of the Hong Kong Volunteer Defence Force were the only troops who had fought continuously day and night, without rest, since the landing on the 17th and were still carrying all the fighting. By the 21st they had been greatly reduced in fighting strength and by the 23rd to a strength of around 500 all ranks. (It might be interesting to note that when troops in this sector were marched out of Stanley fort as Prisoners of War, they numbered over 2000). It required no great military genius to predict the outcome of the battle once the Japanese had landed on the island with their control of sea and air and great superiority in weapons and men. He felt, I think rightly, that he would be derelict in his duty to his men and to the Canadian Government if he did not communicate his conclusions to the highest authority. Also neither Home nor his officers had any faith in Brig. Wallis' judgement or in his conduct of operations. And who had better right than he had? He and his men were bearing the brunt of the fighting and knew from first hand knowledge the strength and armament of the forces against them. The Higher Command had consistently shown an inability to grasp realities of the situation and to pursue tactics which might have prolonged the struggle but could not have altered the final result."  Stanley's defenses were reorganized into multiple lines. HKVDC companies held scattered positions at Chung Honkok, near the police station, and throughout the village. The 1st Middlesex manned pillboxes with medium machine guns. The second defensive line crossed Stanley Peninsula near St Stephen's College, defended by British, Chinese, and Indian policemen alongside HKVDC troops under Corporal E. C. Drown—all senior officers and NCOs having fallen. The final reserve stretched across St Stephen's Prep School north of the prison, held by Sergeant Murphy's HKVDC section and Captain F. G. Rees's 1st Battery HKVDC. By this stage, prison staff, wardens, and inmates had been pressed into the HKVDC. Among them was "Crumb" Chattey, a former captain of the 1st Middlesex serving a court-martial sentence for homosexual offences under the law of the time. Chattey assumed command of forty jailers and assorted men, including the colony executioner, who mounted a spirited defense. Japanese forces massed on Taitam Road with obvious intent to crush Stanley's remaining defense. Their first assault failed but destroyed two 18-pounders and two 2-pounder guns. Shortly before 2100 hours, a second attack commenced, this time supported by three tankettes. Two were destroyed by 2-pounders, yet No. 2 HKVDC Company was forced back to Stanley village with most of its men lost. Major H. R. Forsyth, the company commander, was recommended for a Victoria Cross for his stubborn defense against overwhelming odds. After midnight, a pillbox manned by C Company of the 1st Middlesex was overrun; Sergeant Sheehan and most of his crew were killed. The HKVDC line fractured. During all of this chaos, at midnight of the the Japanese made it to the field hospital at St Stephens College and this is where our story is going to take one of its darkest turns. In the early hours of Christmas day, the Japanese approached St Stephen's hospital which held approximately 96 wounded soldiers. Doctors and nurses stepped forward to surrender. Two doctors in charge, Lt Dr Colonel Black and his second in command Captain Dr Witney Barred the front door and Black called out 'You can't come in here' 'this is a hospital'. With deliberate aim, one of the Japanese soldiers raised his rifle and shot the doctor through the head.The Japanese mob then surged into the hospital ward, the body of Dr Black was repeatedly bayoneted as he lay at the door. The Japanese proceeded to enter the building and a massacre of unprecedented ferocity took place. The Japanese ripped the bandages off the wounded patients and plunged their bayonets into the amputated arms and legs before finishing them off with a bullet. In half an hour fifty-six wounded soldiers had been massacred while the nursing staff looked on helplessly.  They cut off ears, gouged out eyes, beat and raped the nurses. I want to read to you some testimony made by Sister Miss Amelia Fleming Gordon who witnessed what we now call the St Stephens College Massacre, something probably unknown to many outside Canada or Hong Kong. "Just before dawn there was a terrific howl and shortly afterwards Japanese arrived in large numbers at the front entrance. Captain Scotcher was pulled out and shortly afterwards he instructed me to come out and put my hands above my head. They took my steel helmet and cracked me over the head with it, searched my pockets, took off my red cross band and removed my watch that I had. They shouted for everyone to come out and everyone did except Sgt Parkin, who attempted to run past but was shot dead. We were marched single file into one of the adjacent classrooms, the patients also being brought in. Here we remained for about an hour or two, crowded and huddled together with no room to lie or sit down. Several of our patients between 50 to 60 I imagine were killed during the day. After 2 hours we were marched in single file upstairs and saw dead bodies and blood covering the stairs. We were then put into different classrooms, I went into a small room with four VADS (Mrs smith, Mrs Begg, Mrs Buxton and Mrs Simmons) where there were 5 chinese women. At 4:30m some Japanese soldiers came in and removed Mrs Smith, Begg and Buxton, I never saw them again. One of the Chinese girls told Mrs Simmons they had taken out the 3 women to kill them and would return for us. We were later ordered to bandage wounded Japanese soldiers. They took us to another room overlooking the tennis court, where there were five dead bodies of Red Cross personnel. We were made to sit on these dead bodies. I and Mrs Fideo were taken to other rooms. In my room there were two dead bodies, and I was made to take off all my clothes whilst they removed theirs. Before touching me they apparently became afraid someone was coming and made me put my clothes on again and I was returned to the room where Mrs Simmons and Mrs Andrews-Levinge still were. Mrs Fideo joined us almost immediately in a weeping state and told us she had been raped. We were left in peace for a short time only, 3 soldiers came in and took me in a small adjacent bathroom, knocked me down and all raped me one after the other, and then let me return. Mrs Fideo was then taken and underwent a similar experience. Both Mrs Fideo and I were then taken out a second time and raped as before Mrs Simmons and Mrs Andrews-levigne remained untouched. We were all now desperate and discovering there was a Yale lock on the door we pulled it locking ourselves in. They returned several times during the night but did not force an entrance."   Rifle man Sydney Skelton of "D" company of the Royal Rifles had this to say. ""The Japs stormed the hospital throwing grenades and bayoneting the wounded. I had rolled under a bed and lay as still as I could. A Jap turned me over, kicked me in the face, and tore off my bandages. I didn't move, or make a sound. The guy must have thought I was dead and took off. I heard screams coming from outside, terrible screams I can still hear in my head twenty years later. I saw a Jap coming into the hospital and take men outside at random. One of the wounded they dragged from his bed, cut off his ears, and ripped out his tongue. Then they took him outside and shot him. There was a lull in the din and he heard a British officer shout: "If you can walk or crawl to the door you may be allowed to live."  At this point Skelton tried to crawl to the door: "I was really confused from the anesthetic and I started to crawl, dragging my blanket, towards the door. A guy just ahead of me, a Hong Kong Volunteer, with a clasp knife in his belt, but his hands raised, was bayoneted as soon as he went out the door. The Padre grabbed me and slapped me to my senses. I'm alive today, thanks to him." A Japanese officer entered the hospital, saw Skelton with his wounds bleeding. He tore off Skelton's watch, hit him with the flat side of his sword and ordered him to go upstairs. Though badly wounded, Skelton crawled up the stairs and into a room that would be his prison for the next two days. Skelton spent nearly four years as a captive, first in Hong Kong and later in Japan where he worked as a slave labourer in a coal mine. Somehow, he made it home, where he lived in Scarsboro, Ontario. In a 1961 interview, he said: "Twenty years have passed, but I can never forget Christmas, 1941." On Christmas morning, Brigadier Wallis ordered C Company of the Royal Rifles of Canada to lead a counter-attack retaking the bungalows on Stanley village's ridge. Lieutenant Colonel Home refused. Wallis deployed D Company of the Winnipeg Grenadiers under Major Parker instead. At 1300 hours, the attack went in without artillery support. The 18th Platoon under Sergeant McDonnell penetrated to Stanley village, inflicting heavy casualties in savage hand-to-hand combat, but was eventually driven back to the fort. Of 148 men who attacked, only 44 answered roll call at day's end. Urban defense collapsed in stages. Using mines and a Bofors 40-millimeter gun in an anti-personnel role, the 230th Regiment pushed into Wanchai, held up briefly at the China Fleet Club. At Wanchai Market, an 18-pounder was destroyed. Japanese forces reached the Naval Dockyard's western boundary. The Rajputs fell back west of the racecourse. Mount Parish fell, opening the final approach to Victoria City. Back on December 21st, General Maltby sent a communique to the war office indicated that resistance was almost at an end. According to Sir John Kennedy, the director of Military operations in London "We had to decide whether to order the troops to fight it out or give the Governor permission to surrender as he wished to do... the psychological aspect was of overriding importance, particularly with an Oriental enemy. If we fought to the last round and the last man at Hong Kong, we should gain an indirect military advantage, in that the Japanese would judge our powers of resistance elsewhere by the same standard. Therefore my opinion was that, although it was an unpleasant decision, the garrison should be told to fight it out.". When Prime Minister Churchill was informed he sent a typical churchillian message "there must be no thought of surrender..the enemy must be compelled to expend the utmost life and equipment. There must be vigorous fighting in the inner defenses, and, if need be, from house to house. Every day that you are able to maintain your resistance will help the allied cause". Both the Governor and General had little choice but to agree, on Christmas the governors message was "fight on. Hold fast for king and empire".  By the afternoon it was clear further resistance was futile. At 1530 hours on December 25, Governor Young officially surrendered. A white flag rose over the colony. Young and Major General Maltby crossed Victoria Harbour from Queen's Pier to meet General Sakai at the Peninsula Hotel, renamed "Toa" by its new occupants. It was the first occasion on which a British Crown Colony had surrendered to an invading force. The garrison had held out for 17 days, the day is known in Hong Kong as "black christmas". Lieutenant Colonel R. G. Lamb and Lieutenant J. T. Prior descended from Fortress Headquarters to Stanley to order Brigadier Wallis to lay down arms. Wallis refused without written confirmation. When Major Harland arrived with official orders, Wallis finally capitulated. At 0230 hours on December 26, 1941, he and 2,000 men crossed the lines in surrender. Two days later, on the 28th, the Japanese staged a 2,000-man victory parade led by Lieutenant General Sano on a white horse. While the general paraded, his troops—officially granted three days of "rest and recreation"—embarked on systematic rape and pillage across the fallen colony. Rear-Admiral Chan Chak arrived in Hong Kong in 1938 as an unlikely businessman—General Manager of a stockbroker's firm—but his true role was far more consequential. The one-legged Chinese admiral commanded the Military Mission tasked with coordinating China's war effort with British operations. Working seamlessly with the police special branch and intelligence services, Chan orchestrated a shadow campaign against Japanese sympathizers and traitors, drawing on a network of Nationalist agents, many of whom carried Triad connections. His inner circle included Col. Yee Shiu Kee of Chinese intelligence (posing as an insurance salesman), Lt. Cdr. Henry Hsu as aide-de-camp, and Coxswain Yeung Chuen as bodyguard. As Governor Young prepared to sign the unconditional surrender on Christmas afternoon 1941, Chan received permission to lead an escape attempt. The 2nd MTB Flotilla—vessels MTBs 7, 9, 10, 11 and 27—waited in hiding near Aberdeen Island, but Chan's perilous journey through Victoria's ruins delayed his arrival. Finding the MTBs absent, he boarded HMS Cornflower II instead, only to come under withering machine-gun fire as the launch attempted to reach open water. Abandon ship was called. Chan removed his wooden leg and surrendered his lifebuoy to his non-swimming bodyguard, diving into the chaos with Lt. Cdr. Hsu. Almost immediately, a Japanese bullet tore through Chan's wrist—a crippling wound for a one-armed, one-legged swimmer fighting through hostile fire. The Japanese, sensing they had their quarry, ignited the hillside grass with tracer rounds to drive the men back into the sea. Col. Yee remained aboard the bullet-riddled vessel and was last seen attempting to hide; he would eventually make his way to unoccupied China after several harrowing days. The other escapees scattered across Aberdeen Island in desperation. Hearing the gunfire from their concealment on the far side of the island, the MTBs approached cautiously, rescuing survivors as they went. By 2130 hours on Christmas Day, sixty-eight survivors were racing toward Mirs Bay to rendezvous with Communist guerrillas. There the MTBs were scuttled after valuables were salvaged, and the escape party was welcomed as heroes and guided safely to Huizhou in unoccupied China. This dramatic flight marked the first of many escapes and signaled the beginning of Allied cooperation with the Chinese Communist forces. As British forces withdrew from Kowloon, a new force emerged from the shadows. The Guangdong People's Anti-Japanese Guerrillas East River Column (ERC)—a battle-hardened Communist organization founded in 1938—took up the struggle against the Japanese invaders. The ERC had consolidated various local anti-Japanese forces that sprang up after Guangzhou fell to Japan, anchoring itself on two formidable core units: Zeng Sheng's Baoan People's Anti-Japanese Guerrilla Main Force and Wang Zuorao's East Baoan regiment. By the eve of Hong Kong's invasion, the Third and Fifth Column fielded fifteen hundred fighters—seasoned veterans who had waged three years of resistance across Guangdong Province. Even as the British capitulated, Chinese Hongkongers—farmers and fishermen mostly—took up arms alongside their Communist allies. By year's end, over one hundred ERC members operated clandestinely in Hong Kong. In February 1942, to better organize this growing force, the HKKIB was formally established under Cai Guoliang's command, with Political Commissar Chen Daming answering to Zeng Sheng as overall commander of the ERC. The ERC's first mission was audacious in scope: rescue prominent Chinese and foreign VIPs trapped in Hong Kong. While China burned, the colony had remained a haven for industrialists, politicians, authors and dignitaries fleeing the war—now all vulnerable to Japanese occupation. Between December 1941 and June 1942, the ERC spirited over eight hundred key figures past Japanese lines to safety, while simultaneously escorting more than two thousand overseas Chinese volunteers eager to join the anti-Japanese war effort. The guerrillas also became architects of POW liberation. In March 1942, when British prisoners were forced to labor at Kai Tak Airport, the ERC deployed English-speaking operatives disguised as street vendors to infiltrate the airfield and extract Captain Thompson and four comrades through the rainwater culvert system. Among notable rescues were Lt. Col. Ride of the HKVDC (who would establish the British Army Aid Group), naval officers including Lt. J. W. Hurston of the Royal Navy, artillery officer Lt. G. D. Clagne, Indian soldiers such as Lashkar Singh and Mehnga Singh, and key civilians: the HSBC banker T. J. J. Fenwick, Police Superintendent W. P. Thompson, and foreign nationals—Russians, Danes, Norwegians—who found sanctuary in the unoccupied interior. Most were escorted to safety in China, but two Royal Scots soldiers—Joseph Gallaher and Daniel Hodges—remained with the ERC for six weeks, training guerrilla fighters in the use of British weapons and medium machine guns. These two Scottish soldiers became among the few Westerners to fight alongside Chinese Communist forces, a testament to the bonds forged in shared struggle against the Japanese occupier.   The casualty figures for Hong Kong remain contested. General Maltby's immediate post-war reports claimed 2,123 defenders dead or missing with 1,332 wounded, but these were later deemed inflated. The Chief Signal Officer, imprisoned after the surrender, compiled a more credible tally: 2,721 dead and missing. Modern estimates place military casualties around 1,600, including medical personnel from St John Ambulance. Civilian losses proved far grimmer—estimates suggest approximately 7,000 killed. Japanese records tell a different story. The Defence Agency historical section documented 1,720 Japanese deaths, while the Japanese occupation authority's own newspaper, Hong Kong News, reported 1,966 dead and 6,000 wounded on 29 December 1941. On 20 February 1942, Major-General Isogai Rensuke took office as Governor, commanding occupation forces under Brigadier Okada Umekichi. Three independent infantry regiments and supporting artillery maintained control of the colony. The occupiers' brutality would not escape Allied judgment. Major-General Ito, commander of the division's infantry, faced war crimes convictions. More prominently, Lieutenant-General Sakai, the 38th Army's commander and temporary governor, was tried, convicted, and executed by firing squad in 1946. Major-General Isogai received life imprisonment for war crimes but was released in 1967. Lieutenant-General Tanaka, final Japanese Governor and commander of the 23rd Army, was executed in 1947. Of the senior commanders, only Vice-Admiral Niimi survived the war, living to age 106.  General Maltby endured captivity throughout the East, moving from Hong Kong to Shanghai and Taiwan, finally reaching a camp near the Chinese-Mongolian border before repatriation from Shenyang (Mukden). His tenure received no official recognition despite the stubborn defense he had mounted. Lieutenant-Colonel White of the 2 Royal Scots survived internment but died shortly after returning to Britain, his health shattered by cancer. Governor Young resumed office in late 1946, attributing the colony's rapid loss to insufficient Chinese support for the British war effort. His attempts to introduce representative government alarmed London, which promptly replaced him with Sir Robert Black. Young retired in 1947. Maltby, too, retired from the Army soon afterward, also without honor. Not all were forgotten. Rear-Admiral Chan received an honorary KBE from British Ambassador Sir Horace Seymour. Colonel Yee was granted an honorary CBE, and Lieutenant-Commander Henry Hsu an honorary OBE. Hsu, a gifted athlete, became a member of the International Olympic Committee representing Chinese Taipei. Lieutenant-Colonel Stewart of 1 Middlesex died from illness in 1942. Three HKRNVR men—Petty Officer J. W. Fallace, W. C. Johnstone, and civilian Arthur Evans—escaped from the Lisbon Maru and reached Chongqing (Chunking). Of 1,834 POWs aboard that transport, only 716 returned home. Lieutenant Walda, responsible for brutal treatment of prisoners, died before sentencing; Captain Koyda, the Lisbon Maru's commander, received seven years' imprisonment. The British authorities formally acknowledged the East River Column's role—without its aid, no escapee would have survived the treacherous journey to freedom. When future Prime Minister James Callaghan raised questions in Parliament, the government responded with generous monetary awards, free medical care, and employment opportunities for survivors and their families. Many settled in the United Kingdom; others remained to serve in public and private sectors until Hong Kong's return to China in 1997, when the ERC liaison office became the local branch of the New China News Agency. Zeng Sheng, the ERC commander, rose to become Deputy Chief of Staff of the South China Military Region, then Deputy Provincial Governor and Mayor of Guangzhou. Purged during the Cultural Revolution, he was rehabilitated and became Minister of Communication in 1979. He died in Guangzhou in November 1995. One hundred twenty-eight HKVDC members, forty-nine soldiers of the British Army, and fifty personnel from transport and civil defense units escaped to Free China. The RAF transported them to Assam, then Calcutta, via the British Army Aid Group. The first groups joined the 9th Battalion of the Border Regiment at Fort William; the third and fourth joined the 1st Battalion of the Gloucestershire Regiment. Initially relegated to non-combatant roles, their fortunes changed when Brigadier Michael Calvert—who had served in pre-war Hong Kong commanding the Chinese Sappers—called for volunteers to fight the Japanese in Burma. All stepped forward. After months of intensive training, they were formally enrolled on 14 February 1943 as the Hong Kong Volunteer Company, integrated into Wingate's legendary Chindits, where they would see action deep behind Japanese lines in the jungles of Burma. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me.   During Hong Kong's 1941 Christmas invasion, Japanese forces committed atrocities against wounded soldiers and nurses. After seventeen days of brutal resistance, Governor Young surrendered on December 25th. Rear-Admiral Chan Chak escaped through machine-gun fire, while the East River Column guerrillas conducted daring rescues, extracting over 800 VIPs and 2,000 volunteers to safety in unoccupied China.          

Dr. Tom Curran asks Fr. Kurt Nagel: Are we living in a time of Pope Gregory or Pope Leo? Are we headed toward ruin, or is it time to relaunch? Today's hosts respond to quotes by St. Gregory the Great, St. Rose of Viterbo, Blessed Frédéric Ozanam, and St. Teresa of Calcutta.

Morning Offering, September 5, 2026 is brought to you by The Catholic Company https://bit.ly/3V3tq5nFather Brad shares a story about Mother Teresa's challenge to “find your own Calcutta” by serving the sick, lonely, unwanted, and forgotten people already around us.Every morning, join Father Brad as he begins the day with prayer and reflection. In a few short minutes, Father Brad guides you in prayer, shares a brief reflection grounding your day in the Church's rhythm of feast days and liturgy, and provides you with the encouragement necessary to go forward with peace and strength. Disclaimer: The ads shown before, during, or after this video have no affiliation with Morning Offering and are controlled by YouTubeLet us do as the saints urge and begin our days in prayer together so as a community of believers we may join the Psalmist in saying, “In the morning, Lord, you hear my voice; in the morning I lay my requests before you and wait expectantly.” (Psalm 5:3-4)________________

St. Teresa of Calcutta — Mother Teresa — heard God's call on a train to Darjeeling and never looked back. A teaching sister in Calcutta, Teresa felt a second, deeper call from Jesus on a train ride in 1946: to leave the convent and serve the poorest of the poor directly. Grounded every morning in an hour of Eucharistic Adoration and daily Mass, she and her sisters carried the dying off the streets of Calcutta so no one would die unloved and alone. "I THIRST." Mother Teresa's challenge doesn't have to end when the episode does. Our free Family Pack has a saint calendar, feast-day activity pages, and family discussion questions to keep it going at home — free when you subscribe: https://shop.catholicsprouts.com/pages/every-days-a-feast-day-follow-along    

Kris McGregor reflects on St. Teresa of Calcutta's last letter, Mary's loving trust and surrender, the thirst of Jesus, and St. Thérèse's Little Way in The Spiritual Journey for the Discerning Heart. The post Only All for Jesus Through Mary – St. Teresa of Calcutta | The Spiritual Journey for the Discerning Heart Podcast appeared first on Discerning Hearts Catholic Podcasts.

Trinity Anglican Seminary is built on the same daily prayer rhythms you practice every time you hit play. Morning Prayer. Evening Prayer. Weekly Eucharist. Chapel and classroom aren't two separate worlds at Trinity. Whether you're pursuing a degree or exploring a certificate in Anglican studies, Trinity is a place to be formed in community, through study and prayer. Learn more at tas.edu/dailyoffice.Morning Prayer for Saturday, September 5, 2026 (Proper 17; Mother Teresa of Calcutta, Renewer of Society, 1997).Psalm and Scripture readings (60-day Psalter):Psalms 12-142 Samuel 23:1-23Ephesians 4:1-16Click here to support The Daily Office Podcast with a one-time gift or a recurring donation.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to access the text for the Daily Office at DailyOffice2019.com.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Trinity Anglican Seminary is built on the same daily prayer rhythms you practice every time you hit play. Morning Prayer. Evening Prayer. Weekly Eucharist. Chapel and classroom aren't two separate worlds at Trinity. Whether you're pursuing a degree or exploring a certificate in Anglican studies, Trinity is a place to be formed in community, through study and prayer. Learn more at tas.edu/dailyoffice.Evening Prayer for Saturday, September 5, 2026 (Eve of Proper 18; Mother Teresa of Calcutta, Renewer of Society, 1997).Psalm and Scripture readings (60-day Psalter):Psalm 17Micah 3Matthew 6:19-34Click here to support The Daily Office Podcast with a one-time gift or a recurring donation.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to access the text for the Daily Office at DailyOffice2019.com.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Friends of the Rosary,Today, September 5, we celebrate the feast of Saint Teresa of Calcutta, a contemporary saint who led a radical life of service to “the poorest of the poor” in the slums of India's capital, tending to the dying and taking in forgotten orphans.Mother Teresa's fruitful vocation has remained manifest since her death in 1997 in the work of her order, carried on by priests, brothers, lay volunteers, and 4,500 sisters in 133 countries.Ave Maria!Come, Holy Spirit, come!To Jesus through Mary!Here I am, Lord; I come to do your will.Please give us the grace to respond with joy!+ Mikel Amigot w/ María Blanca | RosaryNetwork.com, New YorkEnhance your faith with the new Holy Rosary University app:Apple iOS | New! Android Google Play• September 5, 2026, Today's Rosary on YouTube | Daily broadcast at 7:30 pm ET

One. Tough. Cookie.

On the Memorial of St. Teresa of Calcutta, Fr. Anthony Gramlich, MIC, reflected on our Christian call to hear the cry of the poor; especially those whose suffering goes unnoticed. Mother Teresa left her life as a teacher to answer God's call to serve the “poorest of the poor” in India. She began simply: teaching children by drawing letters in the sand, caring for orphans, and giving dignity and love to those dying on the streets. Her witness reminds us that poverty is not only the lack of material necessities. One of the deepest forms of poverty is to feel unnoticed, abandoned, forgotten, and unloved. Her response was simple: serve one person at a time, doing little things with great love. Fr. Anthony invited us to consider how easily we complain about what we lack while others struggle for life's basic necessities. To hear their suffering, we must empty ourselves so the Lord can fill us with His grace and make room in our hearts for others. Mother Teresa's joyful witness inspired women from around the world to join the Missionaries of Charity and continue serving the poor. Her legacy was deeply rooted in prayer. After her death, her sisters gathered around her tomb and prayed to the Chaplet of Divine Mercy, recognizing a call to bring this prayer to the poorest of the poor. Her life challenges us to see the forgotten, approach them with love, pray with them, and allow Christ's mercy to transform lives, one person at a time. Readings for September 5th 2026: https://bible.usccb.org/bible/readings/090526.cfm © 2026 Marian Fathers of the Immaculate Conception. All rights reserved. ★ Support this podcast ★

Saturday of the 22nd Week in Ordinary Time Optional Memorial of St. Teresa of Calcutta, 1910-1997; founder of the Missionaries of Charity, which grew worldwide, with thousands of nuns and branches caring for the sick, dying, orphaned, and abandoned; she became a global symbol of compassion, receiving honors such as the Nobel Peace Prize in 1979; she died in Calcutta in 1997, was given a state funeral in India, and soon recognized as a saintly figure Office of Readings and Morning Prayer for 9/5/26 Gospel: Luke 6:1-5

Saints du jour 2026-09-05 Sainte Mère Teresa de Calcutta by Radio Maria France

Mother Teresa of Calcutta was one of the most admired humanitarians and influential figures of the twentieth century. Mother Teresa died in 1997, at the age of 87 from cardiac arrest and heart failure following years of declining health. She breathed her last, in her tiny, humble room at the Missionaries of Charity motherhouse in Calcutta. She was canonized as a saint in 2016. Catholic Saints podcast available at https://amzn.to/3Tf28Zp Books by Mark Giszczak available at https://amzn.to/3SJIBQI Books by Tim Gray available at https://amzn.to/4zTLAGZ Mother Teresa books available at https://amzn.to/467BdSi Mother Teresa souvenirs available at https://amzn.to/4cqn71R Christian Saints books available at https://amzn.to/4zWm2sx ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVine Mark's History of North America podcast: www.parthenonpodcast.com/history-of-north-america Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 X (twitter): https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: Catholic Saints with Dr. Tim Gray and Dr. Mark Giszczak (St. Teresa of Calcutta, Sept. 5, 2025, Augustine Institute). Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting. See omnystudio.com/listener for privacy information.

Today’s Topics: 1, 2, 3, 4) William discusses all about the life of Saint Teresa of Calcutta

Full Text of Readings Saturday of the Twenty-second Week in Ordinary Time Lectionary: 436 The Saint of the day is Saint Teresa of Calcutta Saint Teresa of Calcutta's Story Saint Teresa of Calcutta, the tiny woman recognized throughout the world for her work among the poorest of the poor, was beatified October 19, 2003. Among those present were hundreds of Missionaries of Charity, the order she founded in 1950, as a diocesan religious community. Today the congregation also includes contemplative sisters and brothers, and an order of priests. Born to Albanian parents in what is now Skopje, Macedonia, Gonxha (Agnes) Bojaxhiu was the youngest of the three children who survived. For a time, the family lived comfortably, and her father's construction business thrived. But life changed overnight following his unexpected death. During her years in public school, Agnes participated in a Catholic sodality and showed a strong interest in the foreign missions. At age 18, she entered the Loreto Sisters of Dublin. It was 1928 when she said goodbye to her mother for the final time and made her way to a new land and a new life. The following year she was sent to the Loreto novitiate in Darjeeling, India. There she chose the name Teresa and prepared for a life of service. She was assigned to a high school for girls in Calcutta, where she taught history and geography to the daughters of the wealthy. But she could not escape the realities around her—the poverty, the suffering, the overwhelming numbers of destitute people. In 1946, while riding a train to Darjeeling to make a retreat, Sister Teresa heard what she later explained as “a call within a call. The message was clear. I was to leave the convent and help the poor while living among them.” She also heard a call to give up her life with the Sisters of Loreto and instead, to “follow Christ into the slums to serve him among the poorest of the poor.” After receiving permission to leave Loreto, establish a new religious community, and undertake her new work, Saint Teresa of Calcutta took a nursing course for several months. She returned to Calcutta, where she lived in the slums and opened a school for poor children. Dressed in a white sari and sandals–the ordinary dress of an Indian woman–she soon began getting to know her neighbors—especially the poor and sick—and getting to know their needs through visits. The work was exhausting, but Saint Teresa of Calcutta was not alone for long. Volunteers who came to join her in the work, some of them former students, became the core of the Missionaries of Charity. Others helped by donating food, clothing, supplies, and the use of buildings. In 1952, the city of Calcutta gave Saint Teresa of Calcutta a former hostel, which became a home for the dying and the destitute. As the order expanded, services were also offered to orphans, abandoned children, alcoholics, the aging, and street people. For the next four decades, Mother Teresa worked tirelessly on behalf of the poor. Her love knew no bounds. Nor did her energy, as she crisscrossed the globe pleading for support and inviting others to see the face of Jesus in the poorest of the poor. In 1979, she was awarded the Nobel Peace Prize. On September 5, 1997, God called her home. Blessed Teresa was canonized by Pope Francis on September 4, 2016. Reflection Saint Teresa of Calcutta's beatification, just over six years after her death, was part of an expedited process put into effect by Pope John Paul II. Like so many others around the world, he found her love for the Eucharist, for prayer, and for the poor a model for all to emulate.Saint of the Day, Copyright Franciscan Media

I'd like to tell you today about Mother Theresa. Here's an excerpt from a letter she wrote to the Archbishop of Calcutta.

1 Corinthians 4:6-15 ·(We hunger and thirst, we are poorly dressed.) Isaiah 58:6-11 ·(Share your bread with the hungry.)

This week, the TCA team dives into sacred beauty, architecture, and the power of sacred spaces. We're joined by Grady Connolly to discuss his new book, Basilicas: A Pilgrim's Guide to America's Most Remarkable Catholic Churches, and what it means to experience these holy sites as a pilgrim rather than a tourist. Then, Clayton Ferguson drops in to give us an insider preview of Luminiscence coming to NYC's iconic St. Patrick's Cathedral — an immersive 360-degree light, music, and history show narrated by The Chosen's Jonathan Roumie. Msgr. Roger Landry also marks an important feast as we remember the beautiful heart and hardworking hands of St. Teresa of Calcutta, and we also share some beautiful insights from soon-to-be-Blessed Fulton Sheen ahead of his beatification later this month. Catch the show every Saturday at 7amET/5pmET on EWTN radio!

Jim and Joy answer viewer calls as they reflect on the faith, deep humility, and spiritual witness of St. Teresa of Calcutta, and what her extraordinary example means for us today.

Jim and Joy answer viewer calls as they reflect on the faith, deep humility, and spiritual witness of St. Teresa of Calcutta, and what her extraordinary example means for us today.

Full Text of Readings Twenty-second Sunday in Ordinary Time Lectionary: 124 The Saint of the day is Saint Jeanne Jugan Saint Jeanne Jugan's Story Born in northern France during the French Revolution—a time when congregations of women and men religious were being suppressed by the national government, Jeanne would eventually be highly praised in the French academy for her community's compassionate care of elderly poor people. When Jeanne Jugan was three and a half years old, her father, a fisherman, was lost at sea. Her widowed mother was hard pressed to raise her eight children alone; four died young. At the age of 15 or 16, Jeanne became a kitchen maid for a family that not only cared for its own members, but also served poor, elderly people nearby. Ten years later, Jeanne became a nurse at the hospital in Le Rosais. Soon thereafter, she joined a third order group founded by Saint John Eudes. After six years she became a servant and friend of a woman she met through the third order. They prayed, visited the poor, and taught catechism to children. After her friend's death, Jeanne and two other women continued a similar life in the city of Saint-Sevran. In 1839, they brought in their first permanent guest. They began an association, received more members, and more guests. Mère Marie of the Cross, as Jeanne Jugan was now known, founded six more houses for the elderly by the end of 1849, all staffed by members of her association—the Little Sisters of the Poor. By 1853, the association numbered 500 and had houses as far away as England. Abbé Le Pailleur, a chaplain, had prevented Jeanne Jugan's reelection as superior in 1843; nine years later, he had her assigned to duties within the congregation, but would not allow her to be recognized as its founder. In 1890, the Holy See removed him from office. By the time Pope Leo XIII gave her final approval to the community's constitutions in 1879, there were 2,400 Little Sisters of the Poor. Jeanne died later that same year, on August 30. Her cause was introduced in Rome in 1970. She was beatified in 1982, and canonized in 2009. Reflection Jeanne Jugan saw Christ in what Saint Teresa of Calcutta would describe as his “distressing disguises.” With great confidence in God's providence and the intercession of Saint Joseph, she begged willingly for the many homes that she opened, relying on the good example of the Sisters and the generosity of benefactors who knew the good that the Sisters were doing. They now work in 30 countries. “With the eye of faith, we must see Jesus in our old people—for they are God's mouthpiece,” Jeanne once said. No matter what the difficulties, she was always able to praise God and move ahead.Saint of the Day, Copyright Franciscan Media

If you've spent any real time with the Enneagram, you've probably felt Chris Heuertz's influence whether you knew his name or not. Chris is the author of seven books, including The Sacred Enneagram (foreword by Richard Rohr) and The Enneagram of Belonging, with an eighth on pilgrimage coming from Simon & Schuster. But the books came out of a life: nearly three decades of humanitarian work across 70 countries, years in the anti-trafficking movement, time serving alongside Mother Teresa in Calcutta.We recorded this a couple of weeks before his wedding, and I wanted it out in the world before he walks into that new life. We talk about learning to tell stories on a word processor in India, burying 700 of the women and children he served and what that does to a person, the end of a twenty-year marriage and the strange welcome into the human family on the other side of it, rewriting sloth for the Nines, what Eights actually feel under the armor, and why the detours are sacred and the arrival is a myth.The difficulty in life is the choice.Show-note links:* Chris's site: chrisheuertz.com* The Sacred Enneagram and The Enneagram of Belonging (Bookshop.org)* Chris's Substack: Sacred Detours* Instagram: @chrisheuertz* Subscribe to The Difficulty: chadprevost.substack.com* Listen on Apple Podcasts or Spotify.* The press where it all makes sense: crossroadspublishing.group* Chad's site: chadprevost.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Did an Egyptian princess really travel across the ancient world and give Scotland its name? In Episode 207 of Ninjas Are Butterflies, we dive into the bizarre legend of Scota, the mysterious figure some ancient traditions connect to Egypt, Ireland, and the origins of Scotland. But that's only the beginning. We investigate the horrifying story of the Black Hole of Calcutta and ask how much of the version passed down through history actually happened, before uncovering the unbelievable story of Captain Henry Every — the pirate who pulled off one of the greatest scores in history, became one of the most wanted men on Earth, and then seemingly vanished without a trace. Ancient bloodlines, disputed history, buried treasure, missing pirates, and mysteries that somehow get stranger the deeper you go. This is Ninjas Are Butterflies. Thanks to Monarch for partnering with this show. Go to https://monarch.com and use code NINJAS to get 50% off your first year of Monarch Core. #ad This show is sponsored by BetterHelp. Visit Betterhelp.com/ninjas today to get 10% off your first month.  #ad Download Cash App Today: https://click.cash.app/ui6m/5ay8eqzk #CashAppPod. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card, Sutton debit flex card, and Bancorp debit flex card. Savings provided by Cash App, a Block, Inc. brand. Visit cash.app/legal/podcast for full disclosures.  #ad Get MORE Exclusive Ninjas Are Butterflies Content by joining our Patreon:  https://www.patreon.com/NinjasAreButterflies NEW EPISODES EVERY FRIDAY @ 11:15AM EST! Ninja Merch: https://www.sundaycoolswag.com/ Start Your Custom Apparel Order Here: https://bit.ly/NinjasYT-SundayCool Learn more about your ad choices. Visit megaphone.fm/adchoices

Sitarist Partha Bose brings the sounds of Indian classical music to Caffe Lena in Saratoga Springs this Sunday. Bose began playing music as a child in Calcutta and has since built an international career, performing across five continents and introducing audiences around the world to the beauty and improvisation of Indian music.His concerts combine centuries old musical traditions with the spontaneity and energy of a live conversation between musicians and audiences. Sunday show is part of Caffe Lena's Global Voices series, which brings music and traditions from around the world to Saratoga and does so this Sunday, August 16th at 7 p.m.

Every single school morning, millions of kids across India stand up and sing the same fifty-two seconds of music without ever really asking where it came from. Today on Kidacity, I'm going all the way back to a winter night in Calcutta in December 1911, when a poet named Rabindranath Tagore first heard his own song performed in public — and into the controversy that followed almost immediately, when people accused him of writing it for a king instead of for his country. I found his own written defense of the song, word for word, and I'm reading it to you. Then I'm fast-forwarding almost forty years, to the actual Constituent Assembly vote that made this song India's official national anthem, and asking why we still don't talk about the fact that it was written in a language built to be understood everywhere, on purpose. Counting down to Independence Day, August 15th, on Kidacity — where kids learn, share, and grow together.Instagram: @samarthchittaTwitter: @samarthchittaEmail: samarth.chitta@gmail.com

#10MinuteswithJesus ** Put yourself in the presence of God. Try talking to Him. ** 10 minutes are 10 minutes. Even if you can get distracted, reach the end. ** Be constant. The Holy Spirit acts "on low heat" and requires perseverance. 10-Minute audio to help you pray. Daily sparks to ignite prayer: a passage from the gospel, an idea, an anecdote and a priest who speaks with you and the Lord, inviting you to share your intimacy with God. Find your moment, consider you are in His presence and click play.

Msgr. John Esseff reflects on Peter walking on water and St. Teresa of Calcutta as a witness to the living faith that trusts Jesus enough to get out of the boat. The post Why Did You Doubt? Growing in Faith and Trust in Jesus – Building a Kingdom of Love with Msgr. John Esseff – Discerning Hearts Podcast appeared first on Discerning Hearts Catholic Podcasts.

Msgr. John Esseff reflects on Peter walking on water and St. Teresa of Calcutta as a witness to the living faith that trusts Jesus enough to get out of the boat. The post Why Did You Doubt? Growing in Faith and Trust in Jesus – Building a Kingdom of Love with Msgr. John Esseff – Discerning Hearts Podcast appeared first on Discerning Hearts Catholic Podcasts.

College football season is almost here, and DJ and Kelsey are not holding anything back. This week on the High Low Sports Podcast: the Akron Zips are letting a season ticket holder script the opening drive of their home opener — and DJ has a 16-play, 9-minute clock-killing masterpiece ready to submit. Kelsey is going halfback dive, play-action all-go, and keeping the rest a secret. The dream scenario: fan scores on the first drive, real OC gets shut out for the rest of the game.   Then it's straight into the NCAA Top 25 rankings, broken down in chunks of 10 with zero filter. Notre Dame bailed on their bowl game and somehow got five first-place votes — Kelsey wants a preseason ranking ban and isn't shy about it. Indiana won the national championship undefeated, kept their coach, and is sitting at six while Texas is collecting first-place votes off pure reputation. LSU should be at 10 the moment Brian Kelly is gone. Tennessee has no business being ranked with a true freshman at quarterback in the SEC. Alabama is in a rebuilding year and Kalen DeBoer is not Nick Saban — take the pill. Missouri is starting Brady Cook, who lost his job at Ole Miss. Utah's Devin Dampier might be a Heisman dark horse that nobody's talking about yet.   They close out with a major announcement: Belly Up Sports is partnering with Degen Club — one platform for all your pick'ems, survivor pools, Calcutta auctions, and prediction contests. No more spreadsheets. No more chasing your friend for his buy-in. NFL Predictions Month kicks off next week.   Sharp, unfiltered, and very much not an Alabama fan club.  

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

On this episode, we kick off a two-part miniseries, Dark August Knights! That's right, we're focusing on Batman and Batman-adjacent stories during the month of August! And first up is the introduction of the Dark Knight's iconic villain Ra's al Ghul – as seen in 1971's Batman #232 and 1972's Batman #243-244, by the titanic team of Denny O'Neil and Neal Adams, published by DC Comics! After Robin the College-Aged Boy Wonder is kidnapped, Batman is visited by the mysterious Ra's al Ghul, whose daughter, Talia, has also been abducted! The trail takes the World's Greatest Crime-Fighter and his enigmatic new acquaintance to Calcutta and the Himalayas, where a showdown with the lethal Brotherhood of the Demon awaits! Later, the Dark Knight Detective and a team of allies travels to the Swiss Alps to take down this international crime lord – who turns out to be immortal! Can Batman defeat the Head of the Demon in a desert duel to the death? And can this trio of tales infiltrate that mountaintop lair of villainy known as … The Comics Canon? Also in This Episode: Batman, International Man of Mystery Sit, Ubu, sit! The Caped Crusader's implausible detecting skills Spider-Man: Brand New Day Dungeon Crawler Carl, narrated by Jeff Hays Taking work from cat actors Join us in two weeks as we wrap up Dark August Knights with a look at Gotham Central #1-5! Until then:Please consider donating to the Comic Book Legal Defense Fund Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook or Bluesky! And as always, thanks for listening!

Chris Hall joins Stephanie Rousselle to reflect on the practice of delighting in God, especially during life's later chapters or grief-laden season. The conversation weaves through wisdom gained in the “winter of life,” the significance of gratitude, and the centrality of God's relational nature.Chris Hall begins by honestly discussing aging, recognizing the “gift of years,” and learning acceptance—particularly of life's inherent limitations and future partings. Acceptance, he says, is not resignation, but a posture of gratitude and detachment from what's fleeting, allowing deeper attachment to what matters most: God's loving presence and the relationships He's given us.Daily, Chris Hall and his wife pray, focusing on thankfulness. Even in uncertainty or suffering—as exemplified by their grandson with Down syndrome—gratitude centers their hearts on God's mercy. “Lord, have mercy” becomes a foundational prayer, acknowledging deep dependence and God's persistent goodness.The journey hasn't always been simple. Chris Hall shares that, particularly through experiences as a deputy coroner and witnessing immense suffering in places like Los Angeles, Calcutta, and Rwanda, he's grappled with whether God is truly good. Encountering pain and tragedy forced honest questions: “Are you good or not?” But with time and spiritual wrestling, he's emerged with a hard-won conviction of God's steadfastness.In today's culture, delight is often confused with self-focus—“you have to love yourself first.” Chris Hall counters this, insisting that genuine delight is secondary, a “byproduct” of being drawn out of ourselves by something beautiful (the character of God, deep friendships, acts of love). This self-forgetfulness mirrors the Trinity—God's relational essence—and is central to spiritual formation.Using friendship as an example, Chris Hall speaks of the deep grief that attends the loss of his best friend—grief is the “tax we pay for loving.” Yet, grief and joy are intertwined. The richness of a 50-year friendship is the soil from which delight blooms; our relationships (rooted in God's relational nature) are the stage for both love and loss.For anyone struggling to delight in God, Chris Hall gently advises: “Lead with beauty.” Recognize the goodness around you—even in small ways. Beauty draws us out of our self-absorption into a posture of wonder, gratitude, and worship. He encourages practices like meditating on the Psalms and savoring passages from John's, Romans, and Hebrews to nourish this vision.Delight in God is neither sentimental nor shallow—it's a mature joy forged in gratitude, beauty, courage, and faithfulness through all seasons. It invites us to accept limitations, let go of self-preoccupation, and savor God's goodness, even amidst suffering. As Chris Hall and Stephanie Rousselle remind us, delight is tasted, seen, and deeply known—not chased for its own sake, but discovered in God Himself.MORE ABOUT "AWAKEN DELIGHT" BY STEPHANIE ROUSSELLE"Delight yourself in the Lord, and he will give you the desires of your heart." This is God's promise to you in Psalm 37:4. But many believers quietly assume it's just a poetic suggestion, or it doesn't really work here on earth.In Awaken Delight, Stephanie Rousselle invites you to rediscover what Scripture actually means by delight in God. It's not emotional hype or religious performance, but a steady satisfaction rooted in who God is.Through biblical theology and practical rhythms, you'll learn how delighting in Godreshapes sufferingquiets restless strivinganchors your identity in God's unshakable delight of youLearning to delight in God is the quiet revolution that reshapes how we endure pain, love others, and understand our own hearts.Awaken Delight is a theologically grounded spiritual formation book for thoughtful believers who feel spiritually fatigued and are ready to embrace the reality of Psalm 37:4.More at https://www.gospelspice.com/awakendelightDISCOVER THE BOOK BEHIND THE PODCAST | "Awaken Delight" by Stephanie Rousselle"Delight yourself in the Lord, and he will give you the desires of your heart." Psalm 37:4 isn't a poetic suggestion — it's a promise. But many believers quietly assume it doesn't really work, or it's not really possible here on earth.In Awaken Delight, Stephanie Rousselle invites you to rediscover what Scripture actually means by delight — not emotional hype, not religious performance, but a steady satisfaction rooted in who God is.Delight in God isn't a mood to manufacture; it's a relationship to receive.Through biblical theology and practical rhythms, you'll learn how communion with God reshapes suffering, quiets restless striving, and anchors your identity in something unshakable.Delighting in God isn't sentimental optimism. It's deeply rooted in Christ, Jesus.It's the quiet revolution that reshapes how we endure pain, love others, and understand our own heart.Awaken Delight is a theologically grounded spiritual formation book for thoughtful believers who feel spiritually fatigued and are ready to embrace the reality of Psalm 37:4.More at https://www.gospelspice.com/awakendelight Purchase the book, "Awaken Delight" by Stephanie Rousselle: https://a.co/d/0bqhUb5JKind words from Jennifer Rothschild, Bible teacher, Author, Speaker, Podcast Host, Founder, Fresh Grounded Faith: “Stephanie helps us awaken to and experience true delight. It is a rich mix of God's delight in you and your delight in him. This is the life you were made for, the life your soul deeply longs for. So, the table is set. Pull up a chair and let your heart sit alongside Stephanie. As your delight in God wakes up and becomes fully realized, you'll find a satisfaction in Christ that makes you want more and more.”Kind words from Amanda Jenkins, Lead creator of THE CHOSEN's literary content: "I have yet to meet another person quite as eager to intimately know Jesus as Stephanie is. Her enthusiasm for the beauty found inside a thriving relationship with her Savior is downright contagious. Indeed, Stephanie's joy and faith and commitment to growth—along with her love for really good food!—will implant themselves in the hearts of readers. Lucky readers."Kind words from Os Guinness, Theologian, Social critic, Author, The Call:  "Stephanie addresses one of the greatest needs of Christians today. Knowing God is not knowing about God, but knowing Him genuinely and with desire and delight. She does so practically and helpfully, and in a style that sparkles with a verve and joy that is distinctively French."Kind words from Pippa Gumbel, Pioneer, The Alpha Course; Author, The Bible in one year with husband Nicky: "Stephanie's love of God is inspiring and infectious. Her book is an invitation to share in that delight and to come to know God in new and wonderful ways."More at https://www.gospelspice.com/awakendelight Purchase the book, "Awaken Delight" by Stephanie Rousselle: https://a.co/d/0bqhUb5JSupport us on Gospel Spice, PayPal and Venmo!

In addition to filling in more background knowledge from a scholarly article that I did find on this tale by Jamel Eddine Bencheikh, as well as some musings on the formation of the discipline of Anglophone Japan studies under the influence of Francophone Arabology, we explore this same tale in the nineteenth-century colonial-era British-Indian edition of the now much expanded and more textually baroque version known as Calcutta II. There, we find the first-person narrative interludes removed, or at least refocused away from the process of establishing a secure communication channel between the worker go-betweens, on behalf of the elite patrons. That process also becomes top-down rather than bottom-up, as the negotiation of the connection much more clearly follows an elite commission rather than arising on the initiative of the workers themselves. Meanwhile, textual change has obscured some storytelling choices we saw in the post-1450 version, sometimes strengthening the story but also often leaving loose ends dangling and vestigial inconsistencies that only make sense if we know what the passage used to say. In the way, the text of Calcutta II embodies the growth of oriental despotism or decadence precisely in the time of occidental colonization, both in its form and in its content. Hosted on Acast. See acast.com/privacy for more information.

Member states of the International Criminal Court have voted to remove its chief prosecutor, Karim Khan, by an overwhelming majority. The court's oversight body concluded in June that he had committed serious misconduct in connection to allegations of sexual abuse. Mr Khan has repeatedly denied all the allegations against him. Also: Ukraine opens a probe after a deadly Russian ballistic missile attack at a defence event near Kyiv that had been heavily promoted, despite the risks. Israeli settlers attack several Palestinian villages in the occupied West Bank following a major confrontation that left six people dead. Hundreds of thousands of people have been evacuated across France and Spain as intense wildfires continue to burn across Europe. Student protests in India spread beyond Dehli to other cities with thousands marching for education reform in Mumbai and Calcutta. A special report looking at the human cost of South Korea's ultra-convenient overnight deliveries. Canada withdraws invitation of US dignitaries to a joint bridge-opening celebration after Donald Trump's latest tariff threat on Ottawa. And how the book genre "romantasy" went from a niche online interest to one of publishing's biggest commercial success stories.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.ukPhoto: An exterior view of the International Criminal Court (ICC) in The Hague, the Netherlands. Credit: LINA SELG/EPA/Shutterstock

Tobias Beckwith used to manage Jeff McBride and Marco Tempest, just to name a couple “names” in our magic community. He has worked on Broadway with some of the most iconic plays such as “Oh, Calcutta” and “The Fantastiks” among others. He was one of the early staff teachers at the McBride Mystery School as it was formed and of course, was close friends with Eugene Burger, among others. Tobias has authored several books on production and direction and are well worth you inspection. View fullsize View fullsize View fullsize View fullsize This week, Tobias shares some stories about the formation of the Mystery School, plus working behind the scenes of many of the great magic shows over the past few decades. He discusses the differences between being an agent and a manager, and why magicians should consider getting one. Managing Expectations Scott Wells with Tobias Beckwith Download Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

This week we read a gripping article on a man whose ministry, despite sorrow and ill-health, was faithful and blessed—in Perth, Scotland, as well as Calcutta, India.    Featured Resources:  David Campbell, 'John Milne: "A flower of rare beauty and sweetness of odour"' Banner of Truth Magazine, Issue 754 (July 2026).    Buy the book:  Horatius Bonar, The Life of John Milne of Perth   Explore the work of the Banner of Truth: www.banneroftruth.org  Subscribe to the Magazine (print/digital/both): www.banneroftruth.org/magazine  Leave us your feedback or a testimony: www.speakpipe.com/magazinepodcast

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website 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

Jennifer sits down with her friend and travel companion Kirsten Dickerson, founder of Artist & Nomad, in Kirsten's garden flat in London. Kirsten opens up about the moments that quietly rearranged her life: a family that lost nearly everything, a mother she wasn't sure she could hold onto, and a faith that kept nudging her toward the next unlikely yes - from the sorority halls of Baylor University to the bustling streets of Calcutta. What emerges is the origin story behind the life Kirsten has built. “Noticing leads to wonder. Wonder leads to gratitude.” - Kirsten Dickerson