Podcast appearances and mentions of charlotte bront

In this episode, we dial in our love for Agatha Christie and Charlotte Brontë, as we discuss Black Orchid. How they were able to pack so much character intertaction AND a self-indulgent cricked match into only two episodes, we will never know.   Join us as we discuss the introduction of our new favourite hero (or villain) in Gurgle Man, Sarah Sutton finally being able to show off her acting chops, the Watchers' new unit of measure: units of Adrics, and Anthony absolutely having a childhood moment with time spent around trains. Yes, in another life, he must have been a train engineer.   We are so happy that we finally have a happy little TARDIS crew, despite the darker direction of the show. We wonder how long it'll last…   If you would like to watch along with us, you can find the this oddity available for streaming on Britbox in the USA (http://www.britbox.com) and BBC iPlayer in the UK (https://bbc.in/48GSaCB). If you're a little old fashioned and prefer physical media (like our very own Anthony), you can also find on the Doctor Who Season 19 Blu Ray box set from Amazon US (https://amzn.to/3RA2Bkl) and Amazon UK (https://amzn.to/43GFZGe)   Other media mentioned in this episode*: Rollerball (Amazon US: https://amzn.to/4lPPiJG | Amazon UK: https://amzn.to/44HPAeD) The James Bond Collection (Amazon US: https://amzn.to/3FWn6kg | Amazon UK: https://amzn.to/3DQB4lR) The Pink Panther (Amazon US: https://amzn.to/3018fEY | Amazon UK: https://amzn.to/3BSvPkh) Tenko (Amazon US: https://amzn.to/44vCOzm | Amazon UK: https://amzn.to/3wtYY8D) Star Trek: The Motion Picture (Amazon US: https://amzn.to/3Bvp4Fy | Amazon UK: https://amzn.to/3lofajC) Bergerac: Series 1 (Amazon US: https://amzn.to/3Imtjf3 | Amazon UK: https://amzn.to/44qT6vb) The Best of EastEnders (Amazon US: https://amzn.to/4lm8miT| Amazon UK: https://amzn.to/3IjteJf) Hotel Babylon: Series 1 (Amazon US: https://amzn.to/44KDuBO | Amazon UK: https://amzn.to/40awdd2) Downton Abbey Complete Collection (Amazon US: https://amzn.to/3PJgpZX | Amazon UK: https://amzn.to/45Z0nAH) Victoria: Complete Seasons 1, 2, and 3 (Amazon US: https://amzn.to/4lpaNRP | Amazon UK: https://amzn.to/4kz1mOo) The Hitchhiker's Guide to the Galaxy (TV version) (Amazon US: https://amzn.to/3G6YCoH | Amazon UK: https://amzn.to/3m0qOSc) Jane Eyre, by Charlotte Brontë (Amazon US: https://amzn.to/4nZ6EpA | Amazon UK: https://amzn.to/4kz1mOo) The World's Favourite Agatha Christie Box Set (Amazon US: https://amzn.to/4eM1vgk | Amazon UK: https://amzn.to/4f58b9D) Peter Pan, by J.M. Barrie (Amazon US: https://amzn.to/3ImB2cX | Amazon UK: https://amzn.to/3TE9Tom)    Finally, you can also follow us and interact with us on Facebook and Instagram. You can also e-mail us at watchers4d@gmail.com. If you're enjoying this podcast, please subscribe to the show, and leave us a rating or review.   *Support Watchers in the Fourth Dimension! We are an Amazon affiliate and earn a small commission from purchases through Amazon links. This goes towards the running costs of the podcast.

Luanna Bernardes fala sobre Jane Eyre, clássico de Charlotte Brontë que revolucionou a literatura do século 19. A obra destaca a força, inteligência e independência de uma protagonista feminina à frente de seu tempo.

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

Could You be Satire? Jo and Adam discuss the weird Netflix show about putting women in cages and quoting literature at them. Along the way, they chat about academia in popular culture, the dangers of quoting out of context, and the representation of Charlotte Brontë in memes and quotations. Then they explore the ways Brontë used her pen-name Curer Bell for satirical purposes, which Jo has written about in a forthcoming chapter - and her love-hate relationship with William Makepeace Thackeray. In a neat coincidence, Adam is about to give a talk at the literary society of The Reform Club in London, which takes its name from Thackeray ("The Thackeray Society"), so the hosts trail that and speculate on the breakfast he might have there.

Écoutez la journaliste Lauren Bastide en conversation avec Adèle Yon, autrice d'un premier roman, « Mon vrai nom est Elisabeth », publié aux Éditions du sous-sol en 2025. Cette enquête familiale hybride, entre exercice documentaire, essai et récit de soi fait entendre la voix d'Elisabeth, dite Betsy, arrière-grand-mère de la narratrice, diagnostiquée schizophrène dans les années 1950. Au cours de cet entretien, Adèle Yon évoque les thèmes de son roman et revient sur sa pratique de la recherche, ses différentes méthodes d'écriture et les liens qu'elle a tissés avec ses lectrices.En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine dans une série imaginée par CHANEL et Charlotte Casiraghi, ambassadrice et porte-parole de la Maison.(00:00) : Introduction (00:55) : Présentation d'Adèle Yon et de « Mon vrai nom est Elisabeth » par Lauren Bastide(02:33) : Sa rencontre avec l'écriture(04:41) : Les romans de son enfance et de son adolescence(06:07) : À propos de la littérature écrite par des femmes(07:21) : Les autrices qui l'ont inspirée(08:40) : Passer d'un roman à un projet de thèse(10:29) : L'écriture comme outil de libération(12:29) : La distance émotionnelle que permet la recherche scientifique(15:00) : Avoir son livre pour la première fois entre les mains(15:38) : Lecture d'un extrait de « Mon vrai nom est Elisabeth » par Adèle Yon(17:32) : À propos du processus d'écriture de son roman(20:09) : La recherche documentaire du livre(22:50) : Son style d'écriture(24:32) : Adopter un regard neutre(27:45) : À propos de la réception du roman(36:33) : Explorer son histoire familiale ainsi que les violences sexistes et sexuelles(38:15) : Le questionnaire de fin du podcast « Les Rencontres »Adèle Yon, Mon vrai nom est Elisabeth © Éditions du Sous-Sol, 2025 Série de livres Tarzan, Edgar Rice Burroughs, 1912-1916Le Cycle de Vénus, Edgar Rice Burroughs, 1932-1964Jean-Paul Sartre, L'âge de raison - Les chemins de la liberté I, © Éditions Gallimard, 1945Marguerite Yourcenar, Mémoires d'Hadrien © Marguerite Yourcenar et Editions Gallimard, 1974© Librairie Plon, 1958, pour la première éditionCéline Minard, Faillir être flingué © Payot & Rivages, 2013, 2015Svetlana Alexievitch La fin de l'homme rouge. Ou le temps du désenchantement © Svetlana Alexievitch, 2013© ACTES SUD, 2013 pour la traduction française de Sophie BenechCinq mains coupées, Sophie Divry © Éditions du Seuil, 2020Jane Eyre, Charlotte Brontë, 1847

Écoutez la journaliste Lauren Bastide en conversation avec Adèle Yon, autrice d'un premier roman, « Mon vrai nom est Elisabeth », publié aux Éditions du sous-sol en 2025. Cette enquête familiale hybride, entre exercice documentaire, essai et récit de soi fait entendre la voix d'Elisabeth, dite Betsy, arrière-grand-mère de la narratrice, diagnostiquée schizophrène dans les années 1950. Au cours de cet entretien, Adèle Yon évoque les thèmes de son roman et revient sur sa pratique de la recherche, ses différentes méthodes d'écriture et les liens qu'elle a tissés avec ses lectrices.En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine dans une série imaginée par CHANEL et Charlotte Casiraghi, ambassadrice et porte-parole de la Maison.(00:00) : Introduction (00:55) : Présentation d'Adèle Yon et de « Mon vrai nom est Elisabeth » par Lauren Bastide(02:33) : Sa rencontre avec l'écriture(04:41) : Les romans de son enfance et de son adolescence(06:07) : À propos de la littérature écrite par des femmes(07:21) : Les autrices qui l'ont inspirée(08:40) : Passer d'un roman à un projet de thèse(10:29) : L'écriture comme outil de libération(12:29) : La distance émotionnelle que permet la recherche scientifique(15:00) : Avoir son livre pour la première fois entre les mains(15:38) : Lecture d'un extrait de « Mon vrai nom est Elisabeth » par Adèle Yon(17:32) : À propos du processus d'écriture de son roman(20:09) : La recherche documentaire du livre(22:50) : Son style d'écriture(24:32) : Adopter un regard neutre(27:45) : À propos de la réception du roman(36:33) : Explorer son histoire familiale ainsi que les violences sexistes et sexuelles(38:15) : Le questionnaire de fin du podcast « Les Rencontres »Adèle Yon, Mon vrai nom est Elisabeth © Éditions du Sous-Sol, 2025 Série de livres Tarzan, Edgar Rice Burroughs, 1912-1916Le Cycle de Vénus, Edgar Rice Burroughs, 1932-1964Jean-Paul Sartre, L'âge de raison - Les chemins de la liberté I, © Éditions Gallimard, 1945Marguerite Yourcenar, Mémoires d'Hadrien © Marguerite Yourcenar et Editions Gallimard, 1974© Librairie Plon, 1958, pour la première éditionCéline Minard, Faillir être flingué © Payot & Rivages, 2013, 2015Svetlana Alexievitch La fin de l'homme rouge. Ou le temps du désenchantement © Svetlana Alexievitch, 2013© ACTES SUD, 2013 pour la traduction française de Sophie BenechCinq mains coupées, Sophie Divry © Éditions du Seuil, 2020Jane Eyre, Charlotte Brontë, 1847

Kvinnen på Wildfell Hall (1848) er en knyttneve av en bok, med temaer og en tone som er langt forut sin tid. Anne Brontë var søsteren til mer berømte Emily og Charlotte Brontë, men forfatterskapet hennes står ikke tilbake for deres. Sølvbergets Tomas Gustafsson og Nina Bachke har lest Kvinnen på Wildfell Hall. Lån den på biblioteket! --- (00:00) Brontë-søstrene (04:32) Hva slags bok er dette? (14:57) Bokens tema (42:32) Feriespesialistene og trivselsfamilien (49:00) TO umulige lesesirkler på Sølvberget (51:53) Et Dag Solstad-løfte

« Si on ne fait pas un épisode sur La Femme de ménage, je crois que les auditeurs de Torchon vont me pendre haut et court. » Oui, à quoi bon avoir un podcast sur la littérature qui fait l'actualité si c'est pour passer à côté de ce phénomène de librairie, ou plutôt de Relay de gare. Vendu à des millions d'exemplaires, La Femme de ménage de Freida McFadden truste depuis des mois les palmarès de vente. Et même si ce phénomène a été décrypté et re-décrypté, eh bien, voici notre décryptage à nous ! Attention, ce sera un épisode qui va dévoiler la fin du livre, pour une raison importante : c'est la fin qui nous rend extrêmement perplexes. Car si le livre, sans surprise, reprend toutes les ficelles du genre pour happer notre attention comme un série addictive qu'on bingewatch, la fin, elle, en dit beaucoup sur une sorte « d'inconscient collectif » auquel on adhèrerait, ou non… Autres oeuvres citées Le journal d'une femme de chambre d'Octave Mirbeau, 1900L'élégance du hérisson de Muriel Barbery, 2006Les femmes du sixième étage de Philippe Le Guay, 2011Mon vrai nom est Elizabeth d'Adèle Yon, 2025 Funny Games (version américaine 2007 et autrichienne 1997) de Michel Hanneke, Jane Eyre de Charlotte Brontë, 1847 Dirty Harry de Don Siegel, 1972 Chanson douce de Leila Slimani, 2016 Un coeur simple de Flaubert, 1877 podcast Thune, « Majordomes et petites bonnes, dans l'intimité des grandes fortunes, » 2023 Servir les riches d'Alizée Delpierre, 2022 Un podcast créé, animé et produit par Léa Bory et distribué par Binge Audio. Contact pub : project@binge.audioCrédit audio : SaâneDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Join us for an in-depth conversation as we explore Charlotte Brontë's classic, Jane Eyre. In this episode, we chat about the unforgettable journey of Jane—from her early struggles as an orphan to her quest for independence and love. We dive into the many layers of social commentary, Gothic atmosphere, and the fierce resilience that makes this novel a timeless favorite.We'll share our insights on the themes of class, gender, and personal freedom, and explore how Brontë's storytelling continues to resonate with readers today. Whether you're revisiting the novel or discovering it for the first time, our discussion offers a fresh take on one of literature's most enduring works.Tune in for a friendly and thoughtful look at Jane Eyre and join us as we celebrate its lasting impact on classic literature.Content WarningsDiscussion of mental health treatment in 1800 EnglandSupport the showRecommend us a Book!If there's a book you want to recommend to us to read, just send us a message/email and we'll pop it on our long list (but please read our review policy on our website first for the books we accept).Social MediaWebsite: https://teachingmycattoread.wordpress.com/Email: teachingmycattoread@gmail.comInstagram: https://www.instagram.com/teachmycat2read/Tumblr: https://teachingmycattoread.tumblr.comYoutube: https://www.youtube.com/channel/UCFXi9LNQv8SBQt8ilgTZXtQListener Surveyhttps://forms.gle/TBZUBH4SK8dez8RP9

Hôm nay BV xin được chia sẻ tới bạn cuốn tiểu thuyết kinh điển “Jane Eyre” của nhà văn người Anh nổi tiếng, Charlotte Brontë. Khi đọc cuốn sách này, bạn sẽ hiểu được rằng một người trưởng thành thực sự không phải là người có thể dẹp được hết chướng ngại cuộc đời, mà là người biết cách chấp nhận mọi đau khổ, khi những điều trái với mong muốn vẫn cứ diễn ra.Nhưng làm thế nào để biết bản thân chúng ta đã có thể chấp nhận một cách tích cực, hay chỉ đang cam chịu một cách tiêu cực và mê muội mà thôi?Làm sao để sống trong “nước sôi” mà vẫn ươm lên được hương thơm cho đời? Jane Eyre sẽ chỉ ra cho chúng ta 3 trí huệ nội tại để làm sao có thể Chấp nhận khổ đau một cách trọn vẹn, giúp bạn tiến tới hành trình trưởng thành thực sự và sống một cuộc đời tự do kiến tạo hạnh phúc trong chính sự bất toàn của mình. Rồi, bây giờ xin mời các bạn cùng lắng nghe.-------------------------Nếu bạn muốn mua sách giấy để đọc, có thể ủng hộ Better Version bằng cách mua qua đường link này nhé, cám ơn các bạn! Link shopee: https://shorten.asia/rYDVWRFpLink Tiki: https://shorten.asia/cqGAPKNh ❤️ Link tổng hợp các cuốn sách trong tất cả video: https://beacons.ai/betterversion.vn/b... ❤️ ỦNG HỘ KÊNH TẠI: https://beacons.ai/betterversion.donate

durée : 00:35:02 - Les Nuits de France Culture - par : Philippe Garbit - Par Raymond Las Vergnas (professeur à la Sorbonne) - réalisation : Virginie Mourthé

« Croyez-vous parce que je suis pauvre, humble, sans agréments, petite, que je sois sans âme et sans cœur ? »Victoire, Pascale et Jeanne comparent le roman de Charlotte Brontë, Jane Eyre, à son adaptation en film réalisée par Cary Fukunaga avec Mia Wasikowska et Michael Fassbender. La vie est difficile pour Jane Eyre : orpheline, maltraitée par sa tante puis au pensionnat, elle grandit tant bien que mal et devient gouvernante au manoir de Thornfield d'une petite française, Adèle. Mais très vite, Jane perçoit une présence inquiétante qui rôde dans le grenier et les couloirs... Et surtout, elle commence malgré elle à développer des sentiments pour le maître des lieux, Mr Rochester.Le film de Cary Fukunaga est-il fidèle au livre dont il est tiré ? Réponse dans l'épisode !3 min 08 : On commence par parler du roman Jane Eyre de Charlotte Brontë, paru en 1847.1 h 19 min 43 : On enchaîne sur l'adaptation en film sortie en 2011 et réalisée par Cary Fukunaga avec Mia Wasikowska et Michael Fassbender.1 h 57 min : On termine sur nos recommandations autour des sœurs Brontë et des romans gothiques.Avez-vous lu ou vu Jane Eyre ?Recommandations :Les Hauts de Hurlevent, écrit par Emily Brontë (1847)Northanger Abbey, écrit par Jane Austen (1817)Les Sœurs Brontë, la force d'exister, écrit par Laura El Makki (2017)L'Affaire Jane Eyre, écrit par Jasper Fforde (2001)

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring actor and filmmaker, Hannah Eakin.Hannah Eakin is an Arkansas-born, New York City-based actress, singer, writer, and filmmaker. She is a member of Actors' Equity Association, holds her BM in Music Theatre from Oklahoma City University, works regularly with the New York Gilbert & Sullivan Players, and has performed roles like Mary Poppins and Irene Molloy in Hello, Dolly! in regional houses and venues throughout New York City. As a creator, she finds inspiration in the intimate, complex, and often overlooked narratives of women throughout history. Her screenplays have garnered recognition from the PAGE International Screenwriting Awards and ScreenCraft Drama Screenplay Competition, her musical adaptation of Charlotte Brontë's classic novel, Jane Eyre, is a recipient of the New York State Council on the Arts FY24 Support for Artists Grant, and her short film The Poet's Daughter received a grant from the Inwood Film Festival Filmmaker Fund. A self-taught director, she delights in studying the styles and techniques of great filmmakers and innovators. Her ongoing work includes The Sara Teasdale Project, an expansive poetry and film history project culminating in 92 short films. www.hannaheakin.com

In this episode Shruti and Neha discuss one of the most beloved classics of all time: Jane Eyre. We discuss Jane's character through the themes of adventure and self-respect, and share our opinions on her romance with Rochester. We get into many other themes and motifs that run through this story, including class, religion, colonialism, gender, and so much more! And we share our (controversial?) thoughts on the ending.Books Mentioned & Shelf Discovery:Wide Sargasso Sea by Jean RhysNorth and South by Elizabeth GaskellWuthering Heights by Emily BrontëThe Eyre Affair by Jasper FfordeIf you would like to get additional behind-the-scenes content related to this and all of our episodes, subscribe to our free newsletter.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

Literary skill ensured Charlotte Brontë's place in the "classics" category, and this audiobook delves deeply into her life and times. AudioFile's Leslie Fine and host Jo Reed discuss how Lucy Scott is the consummate British narrator, with a brisk pace and animated tone that remain consistent through an extensive audio performance. Supporting cast members are used well to voice various primary sources; these moments highlight the quotations and break up considerable blocks of research and explanation. The transitions among the supporting voices are seamless.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike chats with Olivia Laing, winner of a 2017 Windham-Campbell Prize for Nonfiction, about the strange and confounding (and wonderful) pleasures of Charlotte Brontë's Villette. READING LIST: Villette by Charlotte Brontë • Suppose a Sentence by Brian Dillon • Fear and Loathing in Las Vegas by Hunter S. Thompson • The Bell Jar by Sylvia Plath • Anna Karenina by Leo Tolstoy • The Transit of Venus by Shirley Hazzard • Jane Eyre by Charlotte Brontë Olivia Laing is the author of several books of nonfiction and fiction including The Garden Against Time and the forthcoming The Silver Book. The Lonely City (2016) was shortlisted for the Gordon Burn Prize and the National Book Critics Circle Award for Criticism and has been translated into 14 languages. The Trip to Echo Spring (2013) was a finalist for both the Costa Biography Award and the Gordon Burn PrizeLaing lives in Cambridge, England, and writes on art and culture for many publications, including The Guardian, The New Statesman, and The New York Times. Her debut novel Crudo was published by Picador and W. W. Norton & Company in June 2018. The Windham-Campbell Prizes Podcast is a program of The Windham-Campbell Prizes, which are administered by Yale University Library's Beinecke Rare Book and Manuscript Library. The Windham-Campbell Prizes Podcast is a co-production between The Windham-Campbell Prizes and Literary Hub. Music by Dani Lencioni, production by Drew Broussard, hosted by Michael Kelleher. Learn more about your ad choices. Visit megaphone.fm/adchoices

SUMMARY: What if Pride and Prejudice were spooky? What if Mr. Darcy were less handsome, but also more abominable? What if instead of four sisters, Lizzie had no parents and a best friend who dies of tuberculosis? If you love Jane Austen, you'll love this book, assuming you can get on board with some stuff. Today's novel is the incomparable Jane Eyre. Though I guess it can be comparable to Pride and Prejudice.WATCH KELLEN'S NEW COMEDY SPECIAL ON YOUTUBE!https://www.youtube.com/watch?v=JpBt0W1zrDU&t=1237sKELLEN ERSKINE IS IN ON TOUR!MAR 16 New Bremen, OHMAR 20 PittsburghMAR 28 Bakersfield, CAAPR 4 Delray Beach, FLAPR 25-26 IndianaMAY 9-10 DallasMAY 17 St Charles, ILFor tickets go to KellenErskine.com-Get two free tickets to any of Kellen's live shows in 2025 by joining The Book Pile's Patreon at: https://www.patreon.com/TheBookPile-Dave's book / game The Starlings is here: https://www.amazon.com/dp/B0CMBBLGXN?ref=myi_title_dpTHE HOSTS!-Kellen Erskine has appeared on Conan, Comedy Central, Jimmy Kimmel Live!, NBC's America's Got Talent, and the Amazon Original Series Inside Jokes. He has garnered over 200 million views with his clips on Dry Bar Comedy. In 2018 he was selected to perform on the “New Faces” showcase at the Just For Laughs Comedy Festival in Montreal. He currently tours the country www.KellenErskine.com-David Vance's videos have garnered over 1 billion views. He has written viral ads for companies like Squatty Potty, Chatbooks, and Lumē, and sketches for the comedy show Studio C. His work has received two Webby Awards, and appeared on Conan. He currently works as a writer on the sitcom Freelancers.

Daily QuoteThe more solitary, the more friendless, the more unsustained I am, the more I will respect myself. (Charlotte Brontë)Poem of the DayAnd Death Shall Have No DominionDylan ThomasBeauty of Words醒心亭记曾巩

Daily QuoteThe more solitary, the more friendless, the more unsustained I am, the more I will respect myself. (Charlotte Brontë)Poem of the DayAnd Death Shall Have No DominionDylan ThomasBeauty of Words醒心亭记曾巩

Spend a bookish weekend with us in a country manor house! For centuries, nobles and ne'er-do-wells have gathered on country estates for a bit of leisure, a lot of sumptuous food, sparkling conversation, and general good cheer. You're invited to join us at Trevor Hall for a modern take on the traditional manor house weekend. Together, we'll make ourselves at home in this historic Georgian mansion surrounded by the picturesque North Wales countryside. We'll talk about books, share gourmet meals in the Great Hall, play parlor games, ramble in the Welsh hills, listen to stories by candlelight, and be dazzled by an illusionist from London. Our weekend begins in Manchester, England — a UNESCO City of Literature. We'll take over a boutique hotel in the city center where we'll enjoy an evening pub meetup, spend the night, and start our morning with a breakfast fry-up. Then we're off to the Elizabeth Gaskell House for a private tour of the Victorian villa where the author wrote her classic novel ‘North and South' (and entertained literary friends like Charlotte Brontë and Charles Dickens). After a restorative tea-and-cake break, we'll ride together via private motor coach — just over an hour — through the rugged countryside to Llangollen, a charming historic town on the River Dee in North Wales. Our destination: Trevor Hall. The Hall is a Georgian mansion on a wooded hilltop overlooking green slopes dotted with sheep and horses. After a tour of the house and gardens, we'll ease into country living in the Hall's luxurious (and tastefully eclectic) rooms. With literary activities, entertainment, and surprises planned throughout the weekend, you're sure to be delighted — and have plenty of time to connect with old and new bookish friends. For complete details about the weekend and lots of photos, visit strongsenseofplace.com/weekend. For early access to tickets for a Readers' Weekend at Trevor Hall, join our Patreon. To be notified the minute tickets go on sale, join our free Substack newsletter. Parts of the Strong Sense of Place podcast are produced in udio. Some effects are provided by soundly. Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on December 21, 2024. www.poets.org

Ready to get sleepy? Join Geoffrey by the fireside for an excerpt from Charlotte Brontë's beloved classic, Jane Eyre, which follows a young woman into adulthood, through the obstacles that life throws at her. In this excerpt, we follow Jane to her new position as the governess of an estate owned by the mysterious Mr Rochester.   Love Night Falls?

Noelle's birthday episode AND a Special Session?! Double specialness!! And that's why we thought it was time to talk about every literary inspiration behind Taylor's lyrics. Grab your tea and let's dive into some bookish parallels!

Sarah, Erin, and Rachel “close the book” on their latest Lutheran Ladies' Book Club discussion with this episode on Johann Gerhard's Meditations on Divine Mercy, translated by the Rev. Dr. Matthew C. Harrison.   Can a 400-year-old prayerbook help Lutherans grow in their faith today? How can we more faithfully structure and prioritize our prayers to make the most of every moment before the throne of God? And how can such a tiny book take such a lot of time and effort to get through?   At the end of the episode, the Ladies announce their next book club pick: Charlotte Brontë's Jane Eyre.   Connect with the Lutheran Ladies on social media in The Lutheran Ladies' Lounge Facebook discussion group (facebook.com/groups/LutheranLadiesLounge) and on Instagram @lutheranladieslounge. Follow Sarah (@hymnnerd), Rachel (@rachbomberger), and Erin (@erinaltered) on Instagram! Sign up for the Lutheran Ladies' Lounge monthly e-newsletter here, and email the Ladies at lutheranladies@kfuo.org.

While fantasy fall has officially kicked off, it's time to take a step back and dive into the timeless works of classic literary giants like Charlotte Brontë and Jane Austen for those crisp fall days. Karly & Mia explore how these classics encapsulate the essence of autumn, from moody atmospheres to heartwarming romances. Grab your Nicole Kidman cardigan and a steaming cup of hot tea (or sauv blanc) for an autumnal read when you need a cozy night in.  But it's not only about the fall vibes; for today's rant, the girls will unleash several thoughts about how even men written by nineteenth century women were better than what we're working with today. The charm of Mr. Darcy and Mr. Bingley exists because chivalry was alive and well and gentlemen knew how to treat a lady (sidewalk rule anyone?) - today's “sassy man apocalypse” just doesn't hold a candle to the refined characters of the past. Join the girls as they celebrate classic reads and dissect the differences between yesterday's gents and today's woes.

It's October, and you know what that means...

1851 it is, and the Great Exhibition of the Works of Industry of All Nations, also known as the Great Exhibition or the Crystal Palace Exhibition took place in Hyde Park, London, from 1 May to 15 October 1851. It was the first in a series of World's Fairs, exhibitions of culture and industry that became popular in the 19th century. Famous people of the time attended the Great Exhibition, including Charles Darwin, Karl Marx, Michael Faraday, Samuel Colt, writers like Charlotte Brontë, Charles Dickens, Lewis Carroll, George Eliot, Alfred Tennyson, and William Makepeace Thackeray. Schweppes was the official sponsor. The Great Exhibition was a celebration of modern industrial technology and design - mainly for the British who were trying to show how through tech, the world would be a better place - leading the nations in innovations so to speak. Six million people, equivalent to a third of the entire population of Britain at the time, visited the Great Exhibition, averaging over 42 000 visitors a day, sometimes topping 100 000. Thomas Cook managed the travel arrangements for the Exhibition, and made the equivalent of 33.2 million pounds in today's cash - or 186 000 pounds back in 1851, and promptly used the money to found the Victoria and Albert Museum and the Science Museum, as well as the Natural History Museum. Inventor Frederick Bakewell demonstrated a precurser to something that we know as a Fax Machine. The New Zealand exhibit was well liked, featuring Maori crafts such as flax baskets, carved wooden objects, eel traps, mats, fish hooks and the scourge of the British army in Kiwiland, their hand clubs. A couple of conservative politicians let it be known they were not happy about the Exhibition, saying visitors would turn into a revolutionary mob. Considering that Karl Marx was part of the visitors - perhaps not unsurprisingly. But did Karl Marx use the services of Thomas Cook? Not exactly a question destined for a dissertation. This Exhibition went on to become a symbol of the Victorian Era. Meanwhile … a serious War in one of its colonies, the Cape was more than disquietening - it appeared this war was more a Victorian error. AS in mistake. amaNgqika chief Maqoma was causing Harry Smith sleepness nights, and Colonel Fordyce and his colleagues were fighting for their lives along the Amathola mountains. The Waterkloof ridges — in a place to the west of Fort Beaufort — was where the Khoekhoe and coloured marksmen made their greatest impact. The ex-Cape Mounted Rifles members amongst the rebels had other uses. They understood the British bugle calls, having been trained by the British, further exasperating men like Henry Somerset and Colonel Fordyce. The amaXhosa and Khoekhoe rebels were also much more organised than in previous wars against the invaders. They targeted the Messengers reading updates from British commanders intended for Grahamstown and been reading the reports, and some of the rebels were actually being supplied directly from Grahamstown itself. Then Henry seemed to receive an injection of spine - of determination. On November 6th 1851 he massed two large columns, one under Colonel Fordyce, and the other led by Colonel Michel. Unbeknownest to him, this was to be Fordyce's last mission. Michel's column had to advance up the Waterkloof aka Mount Misery, while Fordyce's column would wait above, on the summit. Michel would drive the rebels up the mountain, Fordyce would trap them and voila! Victory. It didn't quite work that way.

Tracy Chevalier is an award-winning American-British novelist of 11 books, including the immensely popular Girl with a Pearl Earring, which has sold over 5 million copies worldwide and was adapted into a film, which was nominated for three Academy Awards.  Tracy has also edited anthologies such as Why Willows Weep, a collection of tales from the woods to raise money for the Woodland Trust, and Reader, I Married Him, a collection of short stories commissioned to mark the 200th anniversary of Charlotte Brontë. In addition to her writing, Tracy has been actively involved with various organisations including the Royal Literary Fund, Patron of the Dorchester Literary Festival and the Woodland Trust. Tracy's latest novel, The Glassmaker, follows a family of Venetian glassmakers from the Renaissance to present day. Tracy's book choices are: **Little House in the Big Woods by Laura Ingalls Wilder ** Song of Solomon by Toni Morrison ** Restoration by Rose Tremain ** Alias Grace by Margaret Atwood ** Life After Life by Kate Atkinson Little House in the Big Woods by Laura Ingalls Wilder was illustrated by Garth Williams. Vick Hope, multi-award winning TV and BBC Radio 1 presenter, author and journalist, is the host of season seven of the Women's Prize for Fiction Podcast. Every week, Vick will be joined by another inspirational woman to discuss the work of incredible female authors. The Women's Prize is one of the most prestigious literary awards in the world, and they continue to champion the very best books written by women. Don't want to miss the rest of season seven? Listen and subscribe now! This podcast is sponsored by Baileys and produced by Bird Lime Media.

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with Pride and Prejudice by Jane Austen on September 9th. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1Support the Show.

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1Support the Show.

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question for the AMA episode, click here: https://docs.google.com/forms/d/e/1FAIpQLSeZ6ktr9WEBGn-jkMMJskuPQpvedEQxfHLzaNPIup-9RC8_5g/viewform?usp=sf_linkTo learn more about today's guest, click here: https://www.claremchugh.com/To find Clare's books, click here: https://www.amazon.com/stores/Clare-McHugh/author/B088P79B64?ref=sr_ntt_srch_lnk_1&qid=1723468854&sr=8-1&isDramIntegrated=true&shoppingPortalEnabled=trueTo submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question for the AMA episode, click here: https://docs.google.com/forms/d/e/1FAIpQLSeZ6ktr9WEBGn-jkMMJskuPQpvedEQxfHLzaNPIup-9RC8_5g/viewform?usp=sf_linkTo submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question for the AMA episode, click here: https://docs.google.com/forms/d/e/1FAIpQLSeZ6ktr9WEBGn-jkMMJskuPQpvedEQxfHLzaNPIup-9RC8_5g/viewform?usp=sf_linkTo learn more about today's guest, Spencer Klavan, click here: https://rejoiceevermore.substack.com/Pre-order Spencer's new book here: https://www.amazon.com/Light-Mind-World-Science-Illuminating/dp/1684515335/ref=sr_1_2?crid=VBD59A5GVYDJ&dib=eyJ2IjoiMSJ9.NlIMQfEyZE-ic3lJ7czrwTi1tCK16BPuPzqXI_vb6o3JFRa3z2EZrCaJdrk129qgRlmXzJbXX8llkqvCcWjiMrANZpSCTCfx9qycuTPkpoP0Ar4XvMfe83CaCXX0wIZwOtZJSH9nYDoS4kJs5ZJCJtJQk4WSw8hHuF_2j8CmqjF6jeutavd58X4wirsjK7ngfVI7Cx0UJa5eK6-ySbGzBLh5FyoWALseBVOPRuiF28I.xlygZ4KYezTMdZzsYqLOPWEqkwTl-RPtWwfYC5xhl84&dib_tag=se&keywords=spencer+klavan&qid=1722435650&sprefix=spencer+klavan%2Caps%2C105&sr=8-2Spencer's podcast: https://podcasts.apple.com/us/podcast/young-heretics/id1513602173The New Jerusalem Substack: https://thenewjerusalem.substack.com/To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.CleanPlates, mentioned in this episode: https://cleanplates.comTo submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To learn more about today's guest, Andrew Klavan, click here: https://www.andrewklavan.com/Andrew's books: https://www.andrewklavan.com/books/Find The Truth and Beauty, mentioned in this episode, here: https://www.amazon.com/Truth-Beauty-Englands-Greatest-Understanding/dp/0310364612/ref=sr_1_1?crid=G88E2VO6H1EW&dib=eyJ2IjoiMSJ9.ea6x0HHNZbcSuGyrfP1o5IJ-bg_C6qSnFOHODzAM4jjR-VSjrG-s-JVNSTmwEzBU6_y3imx9oxdxMOdZ68sMF_QqkfIdB51w38QTBpulARi061InzRkB6-5pDAzGg7ZPm8bLkRvOjs6S1fJMFJTcQg.Eb1YNj4qTs60KC5stbZpGWuEOBzHfrU4TgVO-KdhcCA&dib_tag=se&keywords=the+truth+and+beauty+andrew+klavan&qid=1720572018&sprefix=the+truth+and+b%2Caps%2C111&sr=8-1The New Jerusalem Substack: https://thenewjerusalem.substack.com/To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To learn more about today's guest, Tsh Oxenreider, click here: https://www.tshoxenreider.com/Tsh's books: https://www.tshoxenreider.com/booksTsh's podcast: https://www.tshoxenreider.com/podcastTo submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To pick up a copy of Faith's book Saving Cinderella, mentioned in this episode, click here: https://www.amazon.com/Saving-Cinderella-Feminists-Disney-Princesses/dp/1790657563/ref=sr_1_1?crid=3OSU34Z10W0HB&dib=eyJ2IjoiMSJ9.UvMvJBCzt676PEJ11J_3r5OHyRCSdtDdLzTcRJSSKNc.8yFM0QeHQuyFTrtTc3iRHiQvewzFc5lf7r-_LCjrKlE&dib_tag=se&keywords=saving+cinderella+faith+moore&qid=1718826080&sprefix=saving+cind%2Caps%2C230&sr=8-1To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To read The New Jerusalem substack mentioned in this episode, click here: https://thenewjerusalem.substack.com/p/would-you-like-pralines-n-creme-withTo submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To pick up a copy of Faith's book, Saving Cinderella, click here: https://www.amazon.com/Saving-Cinderella-Feminists-Disney-Princesses/dp/1790657563/ref=sr_1_1?crid=3OSU34Z10W0HB&dib=eyJ2IjoiMSJ9.UvMvJBCzt676PEJ11J_3r5OHyRCSdtDdLzTcRJSSKNc.8yFM0QeHQuyFTrtTc3iRHiQvewzFc5lf7r-_LCjrKlE&dib_tag=se&keywords=saving+cinderella+faith+moore&qid=1718826080&sprefix=saving+cind%2Caps%2C230&sr=8-1To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Subscriber-only episodeSend us a Text Message.Things get weird on the show this week as Amy and Kim commune with some ladies of literature from beyond the veil… with a little bit of help from ChatGPT. Check out our “interview” with Restoration-era author and playwright Aphra Behn, then find out what happens when we play around with prompts for Virginia Woolf, Jane Austen and Charlotte Brontë. The experience leaves our hosts more grateful than ever for real-life guests!For episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51 To pick up a copy of Faith's book Saving Cinderella, mentioned in this episode, click here: https://www.amazon.com/Saving-Cinderella-Feminists-Disney-Princesses/dp/1790657563/ref=sr_1_1?crid=3OSU34Z10W0HB&dib=eyJ2IjoiMSJ9.UvMvJBCzt676PEJ11J_3r5OHyRCSdtDdLzTcRJSSKNc.8yFM0QeHQuyFTrtTc3iRHiQvewzFc5lf7r-_LCjrKlE&dib_tag=se&keywords=saving+cinderella+faith+moore&qid=1718826080&sprefix=saving+cind%2Caps%2C230&sr=8-1To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51 To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome back to The Literary Life Podcast and the continuation of our series on Anne Brontë's Agnes Grey. Angelina and Thomas open with their commonplace quotes which lead into the book discussion. Angelina kicks it off with a comparison between the work of the Brontës and Jane Austen's writing which will continue throughout the conversation. Thomas and Angelina also look at the expectations of Victorians for courtship and marriage, the ways Anne Brontë weaves this tale as a variation on other themes, the true woman versus the false woman, and more! Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In August, Angelina Stanford will guide us through the world of Harry Potter as she shows us its literary influences and its roots in the literary tradition. You can sign up for that class or any of the HHL Summer Classes here. Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: The ideal of education is that we should learn all that it concerns us to know, in order that thereby we may become all that it concerns us to be. In other words, the aim of education is the knowledge not of facts but of values. Values are facts apprehended in their relation to each other, and to ourselves. The wise man is he who knows the relative value of things. William Ralph Inge, from The Church in the World But while Emily Brontë was as unsociable as a storm at midnight, and while Charlotte Brontë was at best like that warmer and more domestic thing, a house on fire–they do connect themselves with the calm of George Eliot, as the forerunners of many later developments of the feminine advance. Many forerunners (if it comes to that) would have felt rather ill if they had seen the things they foreman. This notion of a hazy anticipation of after history has been absurdly overdone: as when men connect Chaucer with the Reformation; which is like connecting Homer with the Syracusan Expedition. But it is to some extent true that all these great Victorian women had a sort of unrest in their souls. And the proof of it is that… it began to be admitted by the great Victorian men. G. K. Chesterton, The Victorian Age in Literature The Recommendation By Richard Crashaw These houres, and that which hovers o're my End, Into thy hands, and hart, lord, I commend. Take Both to Thine Account, that I and mine In that Hour, and in these, may be all thine. That as I dedicate my devoutest Breath To make a kind of Life for my lord's Death, So from his living, and life-giving Death, My dying Life may draw a new, and never fleeting Breath. Book List: Mansfield Park by Jane Austen Jane Eyre by Charlotte Brontë Pride and Prejudice by Jane Austen Emma by Jane Austen Antony and Cleopatra by William Shakespeare The Taming of the Shrew by William Shakespeare Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB  

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

On this week's episode of The Literary Life Podcast, Angelina and Thomas continue their series of discussions on Anne Brontë's novel Agnes Grey. They open the conversation about this novel with some thoughts on the differences between Agnes Grey and Jane Eyre and Anne and Charlotte Brontë. Angelina poses the question as to whether this novel crosses the line into didacticism or if it stays within the purpose of the story and the art. In discussing the education of Agnes' charges in these chapters, Angelina has a chance to expand upon the upbringing of Victorian young women. She and Thomas discuss the position of the curate and Agnes' spiritual seriousness, as well as the characters of Weston and Hatfield as foils for each other. Thomas closes out the conversation with a question as to whether Agnes Grey is as memorable a character as Jane Eyre or Catherine Earnshaw and why that is. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In July, Dr. Jason Baxter will be teaching a class titled “Dostoyevsky's Icon: Brothers Karamazov, The Christian Past, and The Modern World”, and you can sign up for that or any of the HHL Summer Classes here. Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: In wit, as nature, what affects our hearts/ Is not the exactness of peculiar parts;/ ‘Tis not a lip, or eye, we beauty call,/ But the joint force and full result of all. Alexander Pope, from “An Essay on Criticism” In any case, it is Charlotte Brontë who enters Victorian literature. The shortest way of stating her strong contribution is, I think, this: that she reached the highest romance through the lowest realism. She did not set out with Amadis of Gaul in a forest or with Mr. Pickwick in a comic club. She set out with herself, with her own dingy clothes and accidental ugliness, and flat, coarse, provincial household; and forcibly fused all such muddy materials into a spirited fairy-tale. G. K. Chesterton, The Victorian Age in Literature My Heart Leaps Up By William Wordsworth My heart leaps up when I beholdA Rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the man;And I wish my days to beBound each to each by natural piety. Book List: Ten Novels and Their Authors by W. Somerset Maugham 1984 by George Orwell The Jungle by Upton Sinclair Charlotte Mason Hugh Walpole George Eliot Wuthering Heights by Emily Brontë Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome back! Storytime for Grownups concludes with Chapter 38 of Jane Eyre by Charlotte Brontë. This is the final chapter of the book. Join us for Summer Session, starting Monday May 20th!To hear Faith on A Drink with a Friend, click here: https://podcasts.apple.com/us/podcast/making-a-novel-podcast/id1493228410?i=1000655213831If you'd like a summary of the chapter and/or a basic analysis, you can click here (BUT BEWARE OF SPOILERS!!):https://www.cliffsnotes.com/literature/j/jane-eyre/summary-and-analysis/chapter-38conclusionTo submit a question about Jane Eyre chapter 38 click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Welcome back! Storytime for Grownups continues with Chapter 37 of Jane Eyre by Charlotte Brontë.If you'd like a summary of the chapter and/or a basic analysis, you can click here (BUT BEWARE OF SPOILERS!!):https://www.cliffsnotes.com/literature/j/jane-eyre/summary-and-analysis/chapter-37To submit a question about Jane Eyre chapter 37 (for a chance to be featured in episode 38), click here: https://faithkmoore.com/contact/To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1

Merriam-Webster's Word of the Day for March 19, 2024 is: allege • uh-LEJ • verb To allege something is to assert it without proof or before proving it. // Consumer advocates allege that the company knew about the faulty switches but sold the product anyway. See the entry > Examples: "The lawsuit alleges violation of her 4th Amendment rights, false imprisonment, negligent hiring, assault and battery, among other charges." — Erin B. Logan, The Los Angeles Times, 2 Feb. 2024 Did you know? These days, someone alleges something before presenting evidence to prove it (or perhaps without evidence at all). But the word allege comes directly from the Middle English verb alleggen, meaning "to submit (something) in evidence or as justification." (Alleggen traces back to the Anglo-French word aleger, meaning "to lighten, free, or exculpate.") Our word has at times in the past carried a meaning closer to that of its ancestor's: it was once applied when bringing someone or something forward as a source or authority in court, as in "a text alleged in support of the argument." The word has also been used to mean "to bring forward as a reason or excuse," as in these lines from Charlotte Brontë's 1847 novel Jane Eyre: "I did not like to walk at this hour alone with Mr. Rochester in the shadowy orchard; but I could not find a reason to allege for leaving him."