Podcasts about cardinal newman

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Sponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

Sources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

When you hear the name “Lombardo” in St. Louis, you think of great food and sports. When you hear the name Karen Lombardo-Baker, you also think of women's soccer! Host Jen Siess caught up with this trailblazer who, with her peers, found a way to pitch up and play no matter the uniforms, conditions, resources, or fans. As a member of the first intercollegiate women's soccer team for the University of Missouri-St. Louis, Karen was a three-time leading goal scorer, helping UMSL burst onto the college soccer scene with rapid success, then finished at Cardinal Newman with All-American honors. After rounding out her playing career with STL Championship Cup and Regional/Open National teams … she got the coaching bug - assistant at Incarnate Word (5 trips to the Final Four with 2 Missouri State titles) - women's head coach at Florissant Valley CC (3 Conference titles and 2 NJCAA Championships) - first AND youngest woman to receive the NJCAA Coach of the Year Award TWICE! Listen in for Karen's soccer start story, what she's gotten from and given to the game, and wisdom for players and parents just starting their soccer journeys. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Nathan Crankfield explores the timeless definition of a gentleman as articulated by Cardinal John Henry Newman. He delves into the qualities that define a true gentleman, emphasizing the importance of being others-focused, demonstrating emotional intelligence, and navigating social situations with grace. The episode highlights the need for kindness, humility, and the ability to handle criticism without becoming defensive or malicious. Nathan encourages men to embody these principles in their daily lives, aiming to restore the culture of gentlemanly conduct in modern society.Chapters00:00 The Essence of Being a Gentleman02:57 Cardinal Newman's Definition Unpacked06:18 The Importance of Being Others-Focused12:13 Navigating Controversial Topics with Grace18:25 The Role of Kindness and Humility24:07 The Virtue of Forgiveness and Understanding27:09 The Strength of a Gentle Spirit

It's Holy Thursday, also called Maundy Thursday, 1st class, with the color of violet for the Office, and White for the Mass. In this episode: The meditation: “Forty Steps to Easter,” an article from SSPX.org: “Cardinal Newman on Our Lord's Mental Anguish,” a preview of the Sermon: “Our Lord Conquers Human Fears,” and today's thought from the Archbishop. Sources Used Today: Forty Steps to Easter “Cardinal Newman on Our Lord's Mental Anguish” (FSSPX.news) https://sspx.org/en/news/cardinal-newman-our-lords-mental-anguish-51947 “Our Lord Conquers Human Fears” (SSPX Sermons) Watch on YouTube Listen & Subscribe: SSPX Sermons Podcast The Spiritual Life- Archbishop Lefebvre (Angelus Press) - - - - - - - We'd love your feedback on these Daily Devotionals! What do you like / not like, and what would you like us to add? podcast@sspx.org - - - - - - - Please Support this Apostolate with 1-time or Monthly Donation >> - - - - - - - Explore more: Subscribe to the email version of this Devotional - it's a perfect companion! Subscribe to this Podcast to receive this and all our audio episodes Subscribe to the SSPX YouTube channel for video versions of our podcast series and Sermons FSSPX News Website: https://fsspx.news Visit the US District website: https://sspx.org/ - - - - - What is the SSPX Podcast? The SSPX Podcast is produced by Angelus Press, which has as its mission the fortification of traditional Catholics so that they can defend the Faith, and reaching out to those who have not yet found Tradition.  https://sspx.org

In this, the second half of our conversation with Peter Thiel, the discussion delves into Thiel's reflections on ancient prophecies, particularly the concept of the Antichrist as outlined in biblical and literary sources. Drawing from thinkers such as Cardinal Newman and fiction by Vladimir Solovyov and Robert Hugh Benson, Thiel explores how apocalyptic ideas remain relevant today, particularly in light of global challenges like technological risks, nuclear threats, and international governance. The conversation examines the tension between fears of Armageddon and the dangers of a one-world government, emphasizing Thiel's call for critical thinking, balanced globalization, and the need to integrate historical and contemporary insights into a coherent framework for action. Recorded on October 8th, 2024 RELATED SOURCES Part I: Apocalypse Now? Peter Thiel on Ancient Prophecies and Modern Tech Peter Thiel, Leader Of The Rebel Alliance Make Ticker Tape Parades Great Again: A Conversation With Peter Thiel The World According To Thiel Peter Thiel On “The Straussian Moment”

Christ, Science, and Reason: What We Can Know about Jesus, Mary, and Miracles. Our presentersChrist, Science, and Reason: What We Can Know about Jesus, Mary, and MiraclesFr. Robert J. Spitzer, SJ, PhDFather Robert J. Spitzer, S.J., Ph.D. is President of the Spitzer-Magis Center of Reason and Faith (www.magiscenter.com). He was President of Gonzaga University from 1998 to 2009. He is the author of fifteen books, including the award-winning New Proofs for the Existence of God, and most recently, Science, Reason, and Faith: Discovering the Bible. Father Spitzer has his own EWTN weekly television show called Father Spitzer's Universe. He has appeared on the Larry King Show (debating Stephen Hawking), the History Channel, the Today Show, and PBS. Father Spitzer has partnered with Sophia Institute in publishing apologetics courses for middle and high school students, arming them with contemporary science-based evidence of the complementarity of faith and science.AbstractFather Robert Spitzer, S.J., closely examines the scientific evidence for: The Passion and Resurrection of Jesus from the Shroud of Turin The Real Presence of Jesus in the Holy Eucharist from three recent scientifically investigated Eucharistic miracles The supernatural dimensions of the apparitions of Mary manifest in the Tilma of Guadalupe, the Miracle of the Sun at Fatima, and many healing miracles connected with the Grotto of Lourdes. This work also presents a summary of contemporary historical and exegetical evidence for the historicity, Passion, and Resurrection of Jesus, and concludes with a consideration of the Catholic Church and science—particularly the Church's contributions to science, the complementarity of science and the Bible, and the complementarity of physical evolution and the creation of a soul. The book makes clear that the Catholic Church is not anti-science, but quite the opposite—it is one of the most scientifically aware religious denominations in the world. It will also be clear that science is not anti-God, anti-Christ, or anti-religious. On the contrary, its tools and methods give considerable credible evidence for all of them.The Importance of Fr. Spitzer's Christ, Science, and ReasonThomas P. Sheahen, PhD Dr. Thomas P. Sheahen, director emeritus of ITEST, earned BS and PhD degrees in physics from the Massachusetts Institute of Technology. During his 45-year career as a research physicist, predominantly in energy sciences, he worked for various industrial and national laboratories. In the 1990s, Sheahen wrote the textbook Introduction to High-Temperature Superconductivity. More recently, he wrote the book Everywhen: God, Symmetry and Time, which stands at the intersection of faith and science, and explains how mankind's limited capabilities have led to a deficient and weak perception of God.AbstractLong ago it was recognized that, outside of mathematics, no one can prove a proposition. The nearest thing to a proof is to assemble evidence which is strongly convincing and then draw the most reasonable and responsible conclusion. This was termed an “informal inference” by Cardinal Newman in the 19th century. With this book, Fr. Spitzer has examined a number of miraculous events over many centuries and has provided the detailed evidence necessary to draw the reasonable and responsible conclusion that they are truly supernatural occurrences. He devotes attention to the scientific instruments and techniques used to research these miracles, and therefore, the attentive reader is much better able to counter the superficial dismissive arguments put forth by atheists and secularists. For example, in 1988 a carbon-dating measurement seemed to indicate that the Shroud of Turin was of medieval origin, which delighted the atheists. Father Spitzer looked carefully at many other kinds of experimental evidence that has been found in more recent decades, and he demonstrates why the 1988 measurement was incorrect. In reality, the shroud dates from the first century AD. Similarly, Fr. Spitzer takes on the critics of the Tilma of Juan Diego in the 16th century, the Miracle of the Sun at Fatima in the 20th century, and several Eucharistic miracles in the modern age where scientific evidence shows that there is NO naturalistic explanation. In all cases, what differentiates this book from other authors is Fr. Spitzer's commitment to following the Scientific Method to test each hypothesis and his excellent knowledge of both the capability and the limitations of science. Consequently, “Christ, Science, and Reason” is a major contribution to our understanding of miracles and gives the reader great confidence that the asserted claims of the Catholic Church are the most reasonable and responsible position to hold. Once again, Newman's “informal inference” is that Catholicism is verified by these miracles.

Guest host Vanessa Denha Garmo speaks with Jonathan Strate of Ascension, which made Fortune's list of best small workplaces. Kelly Salomon with the Cardinal Newman Society promotes their annual Virtual College Fair.

Guest host Vanessa Denha Garmo speaks with Jonathan Strate of Ascension, which made Fortune's list of best small workplaces. Kelly Salomon with the Cardinal Newman Society promotes their annual Virtual College Fair.

Today's Topics: 1, 2, 3, 4) Gospel - Mt 13:36-43 - Jesus dismissed the crowds and went into the house. His disciples approached Him and said, "Explain to us the parable of the weeds in the field." He said in reply, "He who sows good seed is the Son of Man, the field is the world, the good seed the children of the Kingdom. The weeds are the children of the Evil One, and the enemy who sows them is the Devil. The harvest is the end of the age, and the harvesters are angels. Just as weeds are collected and burned up with fire, so will it be at the end of the age. The Son of Man will send His angels, and they will collect out of His Kingdom all who cause others to sin and all evildoers. They will throw them into the fiery furnace, where there will be wailing and grinding of teeth. Then the righteous will shine like the sun in the Kingdom of their Father. Whoever has ears ought to hear."

Meet Bob Laird, senior counselor to the president of The Cardinal Newman Society, as he shares his journey from West Point graduate to nuclear engineering, to family life work at the Arlington diocese, to spearheading our Task Force for Eucharistic Education, a program designed to revive Eucharistic understanding and devotion. What is the thread that draws this varied background together? Bob's deep commitment to his Catholic faith. 

UMary Catholic graduate programs are being recommended by the Cardinal Newman Society & one of those programs endorsed by Cardinal Newman, bioethics, has excepted an invitation by the world-renown Jerome Lejeune Foundation in Italy to partner with them.

Matt Anderson welcomes in Phil Deter, Head Basketball Coach for Cardinal Newman. They talk some ball and the challenges of being a SCISA program as well as some thoughts on the current Gamecocks team. Matt breaks things down for the final four games on the court in the regular season, and gets into the scenarios regarding bracketology. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Cardinal Newman alum Jacoby Ford joins Brian Rowitz to talk about being inducted into the PB County Sports Hall of Fame, West Boca football, the Raiders and more.

Dr. Paul Shrimpton joins to discuss the history of the White Rose and how the group was inspired by Catholic thinkers like Cardinal Newman and St. Augustine among others.

Dr. Paul Shrimpton joins to discuss the history of the White Rose and how the group was inspired by Catholic thinkers like Cardinal Newman and St. Augustine among others.

Patrick addresses the struggle of regret and how it can impact individuals despite the knowledge of God's forgiveness through confession. Drawing inspiration from Cardinal Newman's teachings, we discuss attaining perfection in ordinary aspects of life and the transformative power of gratitude. Cardinal Newman's Simple Rule of Life (00:35)- https://catholicgentleman.com/2017/03/cardinal-newmans-simple-rule-of-life/ Lunden Stallings apologizes for comments from 10 years ago. Does and should an adult need to apologize for the dumb things they said as a child? Jess (email) – Is there a resource to know what is sinful in regards to marital sex Mary (email) – Should I allow my 12-year-old son take the “Alpha” course? Richard (email) – (42:33) Comment about Tombstone references and having a hole in your heart that will never be filled

In this episode, we continue our conversation with Patrick Reilly as he discusses the vision of Catholic Education and where it's going, how The Cardinal Newman Society and The Newman Guide prepares young people to encounter the culture of the real world, the state of Catholic education, and embracing the faith with positivity. The Cardinal Newman Society aims to promote and defend faithful Catholic education.  However, most Catholics have not experienced a faithful Catholic education, therefore CNS needs to fill in the blank. What does this look like? What does it entail? How would one know it? What should one look for to determine if their Catholic school is faithfully Catholic? Too often, parents rely on the “like meter”— I like so and so (insert administrator or teacher name), therefore I think they are doing a good job. Or perhaps they have Mass once a week and wear uniforms so they appear Catholic. Is that enough to be called a faithful Catholic education? Join us to learn the beauty of a faithful Catholic education, how it counters the culture, serves as an antidote for the pandemic of woke indoctrination assailing the Catholic educational system, and, in turn, highlights the Catholic education heroes engaged in this battle daily. Visit cardinalnewmansociety.org to learn more.   The Vision of Catholic Education and Where It's Going Patrick Reilly discusses the impact of the Newman Guide on students, parents, grandparents, and Catholic schooling as a lifelong process. He discusses The Cardinal Newman Society's commitment to the Catholic continuum that begins with K12 schooling and the unity of Newman Guide institutions that are committed to the renewal and reformation of Catholic education. Preparing Young People for the Real World Patrick Reilly discusses Catholic education as the Church's most effective means of evangelization through the perspective of Cardinal Newman, intellectual formation, and integration of faith and reason. He stresses the critical role of forming young people to be prepared to encounter the culture of the real world, become intellectually strong, and to go out to the world to persuade others to Christ. Is Catholic Education Lost? Patrick Reilly discusses the positive message and the great signs of renewal of Catholic education that is present within Newman Guide institutions and the lessons learned over the years. He talks about how The Cardinal Newman Society continues to find new ways of forming students in truth in line with God's universal call for the human person. Embracing the Faith with Positivity Patrick Reilly discusses ways faithful Catholics can engage with The Cardinal Newman Society to take a part in on the mission of renewing faithful Catholic education and impact the culture. He then uncovers the deep meaning of the new logo as a means of recapturing the foundation of The Cardinal Newman Society and Saint Cardinal Newman's vision of faithful Catholic education. Despite the many threats to Catholic education, he discusses the myriad of Newman Guide institutions that are embracing change and reform to be truly faithfully Catholic that so many parents are excited about.

In this episode of The Cardinal Newman Society Podcast, Kevin sits down with Patrick Reilly, President and Founder of Cardinal Newman Society, to discuss the state of Catholic education today, how story behind how the Cardinal Newman Society got started, the mission behind it, and the importance of faithful Catholic Education. The Cardinal Newman Society aims to promote and defend faithful Catholic education.  However, most Catholics have not experienced a faithful Catholic education, therefore CNS needs to fill in the blank. What does this look like? What does it entail? How would one know it? What should one look for to determine if their Catholic school is faithfully Catholic? Too often, parents rely on the “like meter”— I like so and so (insert administrator or teacher name), therefore I think they are doing a good job. Or perhaps they have Mass once a week and wear uniforms so they appear Catholic. Is that enough to be called a faithful Catholic education? Join us to learn the beauty of a faithful Catholic education, how it counters the culture, serves as an antidote for the pandemic of woke indoctrination assailing the Catholic educational system, and, in turn, highlights the Catholic education heroes engaged in this battle daily. Visit cardinalnewmansociety.org to learn more.

Patrick addresses the struggle of regret and how it can impact individuals despite the knowledge of God's forgiveness through confession. Drawing inspiration from Cardinal Newman's teachings, we discuss attaining perfection in ordinary aspects of life and the transformative power of gratitude. Cardinal Newman's Simple Rule of Life (00:35)- https://catholicgentleman.com/2017/03/cardinal-newmans-simple-rule-of-life/ Lunden Stallings apologizes for comments from 10 years ago. Does and should an adult need to apologize for the dumb things they said as a child? Jess (email) – Is there a resource to know what is sinful in regards to marital sex Mary (email) – Should I allow my 12-year-old son take the “Alpha” course? Richard (email) – (42:33) Comment about Tombstone references and having a hole in your heart that will never be filled

We preview our upcoming podcast season in The Cardinal Newman Society Podcast trailer.

Cal Crucis joins Andrew today to discuss Cal's article "My Kingdom is Not of This World: A Critique of Cardinal Newman's Development of Doctrine" from The North American Anglican. We get into the Tractarian, Ritualist, and Anglo-Catholic movements that caused a tectonic shift in Anglicanism, and the role Newman played in this shift. Cal presents Newman on Newman's own terms and then gets into what some of the problems he sees in his theory. Links to more work from Cal: Cal's blog Cal's podcast Cal's articles at North American Anglican The quote from Mark Chapman that Andrew shared was from p. 89 of Anglicanism- A Very Short Introduction Link to book: https://global.oup.com/academic/product/anglicanism-a-very-short-introduction-9780192806932?cc=us&lang=en&

Joan interviews Patrick Reilly, president and founder of the Cardinal Newman Society, whose mission is to promote and defend faithful Catholic education. They discuss the work and outreach and challenges of the Society, including the many court challenges to faith-based institutions in the United States.

Joan interviews Patrick Reilly, president and founder of the Cardinal Newman Society, whose mission is to promote and defend faithful Catholic education. They discuss the work and outreach and challenges of the Society, including the many court challenges to faith-based institutions in the United States.

From the very start, the founders of The Heights understood Education to consist in the communication of a culture. As culture often enters a boy's mind through his eyes, an important means of this transmission is the art and architecture of a school. Indeed, in many ways buildings embody the ideals of an institution.  This week, Joe Cardenas, head of mentoring and long-time art history teacher, joins us for a conversation on the importance of beauty in education. Rooting the conversation in the American tradition, Joe helps us see why and how the art and architecture of schools is as important as the lists of books in its curriculum.  As we hear from Joe, the art on a school's walls becomes the images adorning a student's soul. If we want to help our boys be at home in their very selves, the art of schools is an indispensable means to this end. Chapters 1:25 An evening of art for parents at The Hawthorn School 4:40 Art and beauty in the American tradition  5:35 Washington's leadership at Valley Forge 7:23 Why does beauty matter? 9:00 The museum of our soul and the archive of our experiences 10:43 What is the role of beauty in a school building? 14:13 Pope Benedict XVI on Beauty 16:00 Cardinal Newman on Beauty 17:22 Beauty and the daily reality of boys 21:25 Beauty in business 24:00 Robert Jackson and the early years of The Heights 28:30 Churchill's Speech on rebuilding the House of Commons  Additional Resources  Winston Churchill's Speech on the Rebuilding of the House of Commons  Steve Jobs by Walter Isaacson  The Feeling of Things, the Contemplation of Beauty by Joseph Ratzinger  A Catholic Eton? by Paul Shrimpton  Also on the Forum  School Tone, the Most Powerful Teacher with Alvaro de Vicente Building Little Houses: Why Random Art Projects are Awesome by Joe Bissex Manners: The Art of Happiness by Robert Greving Why Our Politics Needs Poetry with Dr. Matthew Mehan  Five Fruits of a Poetic Education by Nate Gadiano

St Teresa formulated a specifically Catholic version of contemplative religion in response to the 16th-century Protestant Reformation; Vivekananda was a Hindu holy man who articulated a religious path that set the template for much 20th-century spiritual thinking; Friedrich Nietzsche set out to subvert 1,800 years of religious thinking in his iconoclastic book Thus Spoke Zarathustra, which has been newly translated by poet Michael Hulse. Rana Mitter is joined by New Generation Thinker Dafydd Mills Daniel, historian Ruth Harris, and philosopher Katrina Mitcheson to discuss. Producer: Luke Mulhall. On the Free Thinking progamme website you can find a collection of Free Thinking episodes exploring religious belief including programmes about Cardinal Newman, early Buddhism, the links between Judaism and Christianity, Islam Mecca and the Quaran and a collection exploring philosophy

This is Episode #172 of the Seeking Excellence Podcast Hosted by Nathan Crankfield In today's episode, we take a look at a few clips from Andrew Tate and discuss his ideas, his style, and his recent experience of being banned on basically all social media platforms. We listen part of a clip from Andrew Tate's interview on Tucker Carlson Tonight, as well as a montage of videos that Candace Owens put together. Lastly, we listen to part of a recent Jordan Peterson Interview and deep dive into Cardinal Newman's definition of a gentlemen.

On August 11, 1890, John Henry Cardinal Newman dies. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Cardinal Newman is loved by the Modernists but he's not on the same page with them on ecumenism, according to Cardinal Muller RtT's official Sponsor: https://praylatin.com https://www.charitymobile.com/rtt.php https://www.devoutdecals.com/ https://www.blessedbegodboutique.com Sources: https://www.returntotradition.org Contact Me: Email: return2catholictradition@gmail.com Support My Work: Patreon https://www.patreon.com/AnthonyStine SubscribeStar https://www.subscribestar.net/return-to-tradition Buy Me A Coffee https://www.buymeacoffee.com/AnthonyStine Physical Mail: Anthony Stine PO Box 3048 Shawnee, OK 74802 Follow me on the following social media: https://www.youtube.com/channel/UCbgdypwXSo0GzWSVTaiMPJg https://www.facebook.com/ReturnToCatholicTradition/ https://twitter.com/pontificatormax https://www.minds.com/PiusXIII https://gloria.tv/Return%20To%20Tradition mewe.com/i/anthonystine Back Up https://www.bitchute.com/channel/9wK5iFcen7Wt/ anchonr.fm/anthony-stine +JMJ+ --- Support this podcast: https://anchor.fm/anthony-stine/support

KRISTEN VAN UDEN, a spokesperson for Sophia Institute Press, is currently writing a book about the persecution of Catholics under Communism. About THE ANTICHRIST: THE FINAL CAMPAIGN AGAINST THE SAVIOR. FR. VINCETN MICELI (Sophia Institute Press) Fiction and nonfiction books and movies speculate about end-of-the-world scenarios, proposing a rogue's gallery of corrupt leaders and a host of chilling, apocalyptic theories. Disillusioned by the crippled state of our Church and our world, people are increasingly placing faith in prophecies that claim to know details and dates about upcoming chastisements. Will the “final confrontation” include unprecedented bloodshed or the subtle trickery of seduction (or both)? Have the current intellectual, political, and sexual “liberation” movements — including within the Church — created the platform required for the Antichrist to emerge? In an age of diabolical disorientation, this captivating book provides much-needed clarity on relevant biblical prophecies — from Old Testament times to St. Paul and Revelation — and writings of early Church Fathers and Doctors of the Church, including Sts. Augustine, Gregory the Great, Jerome, and Thomas Aquinas. This prescient book will enlighten you on whether there is more than one Antichrist, the types of leaders and societies that Cardinal Newman believed would be forerunners of the Antichrist, and how long the Antichrist will reign. You will also explore the Church's teaching on millenarianism and the prospect that the reign of the Antichrist is drawing closer. A valuable and timely resource, this book will aid you in understanding views on the Antichrist through history and how they are linked to predictions about the end of the world, the Second Coming of Christ, the role of false prophets, and the devices the evil one uses to cultivate apostasy. You will also discover: What the persecution of the Antichrist will entail and events foretelling his coming How to avoid being deceived by the Antichrist Our Lady's role in the End Times The significance of sacrilege, idolatry, and the “abomination of desolation” The consequences of attacks on the Holy Eucharist, the Sacred Liturgy, and the Blessed Mother The correlation (if any) between Rome and the Antichrist How contemporary heresies, occultism, and immorality plant the seeds for evil This book will empower and encourage you to hold fast to your beliefs, bear witness to the truth, and defend against false teachings that subvert the fortitude of the faithful. https://www.sophiainstitute.com/products/item/the-antichrist --- Support this podcast: https://anchor.fm/john-aidan-byrne0/support