Podcasts about Chatto

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

இனிமை தருமா முதுமை.Old age is gift not grief learn to live happily Engage with thought-provoking stories, audio books, astrology insights, and motivating clips. From senior citizen care to soothing reflections, Channel G brings you uplifting and inspiring content designed to recharge your mind and keep you free from mental stress.Whether it's fun, spirituality, self-development, or entertainment, Channel G is your trusted source for creativiTEA and positive vibes.

வெளி ச்சத்திற்கு வாங்க Engage with thought-provoking stories, audio books, astrology insights, and motivating clips. From senior citizen care to soothing reflections, Channel G brings you uplifting and inspiring content designed to recharge your mind and keep you free from mental stress.Whether it's fun, spirituality, self-development, or entertainment, Channel G is your trusted source for creativiTEA and positive vibes.

In this episode Miles is joined by Frances White and Robert Cremins - both from the Iris Murdoch Research Centre at the University of Chichester - to discuss Murdoch's final novel, Jackson's Dilemma. Frances is the Deputy Director of the IMRC at Chichester and the author of many works on Murdoch, the most recent being the edited collection Iris Murdoch and the Western Theological Imagination (Palgrave, 2025) and Poems from An attic: Selected Poems 1936-1995 (Chatto and Windus, 2025). Robert is a writer and was Senior Lecturer in the Honours College at the University of Houston, and the Faculty Director of Creative Works. A novelist, short story writer and literary critic, Robert has got a lifelong love of Murdoch's fiction. He has recently co-edited North American special edition of the Iris Murdoch Review, published in November 2025, and is writing his PhD thesis at Chichester on the influence of Henry James on Murdoch.

In this episode Miles is joined by Anne Rowe (University of Chichester/Kingston), Rachel Hirschler (Kinston University) and Rosanna Hilyard (Chatto & Windus) to celebrate the publication of 'Poems from An Attic: Selected Poems 1936-1995', published today by Chatto and Windus. https://www.penguin.co.uk/books/470920/poems-from-an-attic-by-murdoch-iris/9781784746124 ANNE ROWE is Visiting Professor at the University of Chichester and Emeritus Research Fellow with the Iris Murdoch Archive Project at Kingston University. She has published widely on Iris Murdoch, including The Visual Arts and the Novels of Iris Murdoch (2002), Iris Murdoch in the Writers and Their Work series (2019) and most recently is Co-Editor of Poems from an Attic: Selected Poems 1936-1995 by Iris Murdoch (2025). Rachel Hirschler works at the Kingston University archives and is lead transcriber for Murdoch's poetry and much else besides. Rosanna Hilyard is Assistant Editor at Chatto and Windus, and has been shepherding Poems from an Attic to publication. Her fiction and non-fiction has appeared in The Isis Magazine, The Northern Echo, and several anthologies including Tactical Reading, Adrift and Outside Of Me.

Send us a textSurprise! We're back again and starting Season Six with a distinctive Black Country jewel from our trove of interviews. Liz Berry delighted us all in April 2023 when she spoke with Robin about her (then) new collection, The Home Child (Vintage). Hear her read from that and also from her Forward Prize-winning Black Country (2014, Chatto & Windus). Well worth hearing again. Stay tuned... There's more to come from Planet Poetry.Support the showPlanet Poetry is a labour of love!If you enjoy the podcast, please show your support and Buy us a Coffee!

In 17th century France a group of nuns described some unsettling visitations at their convent, which developed into a story of possession, political intrigue, and a moment in time that was rife with social tensions. Research: The Editors of Encyclopaedia Britannica. "Wars of Religion". Encyclopedia Britannica, 11 Mar. 2025, https://www.britannica.com/event/Wars-of-Religion “Hawthorn.” National Institute of Health. https://www.nccih.nih.gov/health/hawthorn Cameron, Teagan. “A Diabolical Martyrdom: Urbain Grandier, the Transgressive Outsider, and the Surrogate Victim in The Possession at Loudun.” Constellations. Vol. 13, no. 2. Aug. 2022, doi:10.29173/cons29475 deCerteau, Michel. “The Possession at Loudun.” University of Chicago Press. 2000. Dumas, Alexandre, Pere. “Urbain Grandier – 1634.” 1910. https://www.gutenberg.org/files/2746/2746-h/2746-h.html Ferber, Sarah. “Demonic Possession and Exorcism in Early Modern France.” Routledge. 2013. Hunter, Mary Kate. “Loudun Possessions: Witchcraft Trials at The Jacob Burns Law Library.” Newsletter of the Legal History & Rare Books Special Interest Section of the American Association of Law Libraries. Volume 16 Number 3. Hallowe’en 2010. https://www.aallnet.org/lhrbsis/wp-content/uploads/sites/10/2018/01/lhrb-16-3.pdf Huxley, Aldous. “The Devils of Loudun.” London. Chatto & Windus. 1952. Accessed online: https://ia601400.us.archive.org/3/items/in.ernet.dli.2015.469712/2015.469712.The-Devils_text.pdf Niau, Des and Edmund Goldsmith (tr.) “The history of the devils of Loudun; the alleged possession of the Ursuline nuns, and the trial and execution of Urbain Grandier, told by an eye-witness.” Edinburgh. Private Printing. 1887. Accessed online: https://archive.org/details/historyofdevilso00desn/page/n31/mode/2up Sluhovsky, Moshe. “The Devil in the Convent.” The American Historical Review , Vol. 107, No. 5 (December 2002), pp. 1379-1411. Published by Oxford University Press on behalf of the American Historical Association. https://.www.jstor.org/stable/10.1086/532851 Soth, Amelia. “A Mother Superior’s Demons.” JSTOR Daily. Oct. 31, 2024. https://daily.jstor.org/a-mother-superiors-demons/ See omnystudio.com/listener for privacy information.

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Samantha Ellis shares the story of growing up in London as the daughter of Iraqi Jewish refugees and how language, food, and memory helped shape a strong sense of identity in a world that often didn't understand it. From rediscovering her heritage through writing, to reflecting on what gets passed down (and what doesn't), Samantha invites us into an honest and powerful conversation about exile, legacy, and the things that hold us together.Our GuestSamantha Ellis is a writer and playwright based in London. Born to Iraqi Jewish parents, Samantha explores themes of identity, loss, and cultural preservation in her work — most recently through her powerful memoir, Chopping Onions on My Heart.Key TopicsLanguage as Identity: How Judeo-Iraqi Arabic shaped Samantha's worldview and what it means when a language is no longer passed onExile & Silence: Why some family stories are left untold and what it means to speak anywayGenerational Trauma & Healing: How memory, ritual, and storytelling can carry both pain and repairFood & Inheritance: From black eggs to aubergine sandwiches, how food brings connection across generations — and why recipes may outlast languagesYour GuideShort definitions and terms referenced in this episode:Judeo-Iraqi Arabic: A historically spoken dialect of Arabic used by Jews in Iraq; now highly endangeredBlack eggs (brown eggs): Eggs slow-cooked overnight with onion skins, often served for ShabbatRosh Hashanah Seder: A New Year ritual practised in some Mizrahi communities, involving symbolic foods and blessingsSofér: A Jewish scribe who writes and repairs Torah scrollsWant to learn more?Explore past episodes that also reflect on language, memory, and identity:S1E6 - Other within the Other with Carol Isaacs S1E7 – Identity is Overrated with Ophira GamlielReferences & ResourcesSamantha Ellis, Chopping Onions on My Heart: On Losing and Preserving Culture (2025), Chatto & WindusOxford School of Rare Jewish Languages – Offers online courses in Judeo-Arabic and other endangered Jewish languagesSarah Sassoon, Shoham's Bangle (2022). Kar-Ben Publishing – A children's picture book about an Iraqi Jewish family's migrationKeith Kahn-Harris, Everyday Jews: Why The Jewish People Are Not Who You Think They Are (2025). Icon BooksFind us elsewhere, here!Show creditsHost / Producer: Eylan EzekielPost-production: Communicating for ImpactArtwork: Emily TheodoreMusic: Aleksafor utransndr KarabanovSound effects: Serge Quadrado Hosted on Acast. See acast.com/privacy for more information.

In an extended version of the programme that was broadcast, Melvyn Bragg and guests discuss the influential book John Maynard Keynes wrote in 1919 after he resigned in protest from his role at the Paris Peace Conference. There the victors of World War One were deciding the fate of the defeated, especially Germany and Austria-Hungary, and Keynes wanted the world to know his view that the economic consequences would be disastrous for all. Soon Germany used his book to support their claim that the Treaty was grossly unfair, a sentiment that fed into British appeasement in the 1930s and has since prompted debate over whether Keynes had only warned of disaster or somehow contributed to it. With Margaret MacMillan Emeritus Professor of International History at the University of Oxford Michael Cox Emeritus Professor of International Relations at the London School of Economics and Founding Director of LSE IDEAS And Patricia Clavin Professor of Modern History at the University of Oxford Producer: Simon Tillotson Reading list: Manfred F. Boemeke, Gerald D. Feldman and Elisabeth Glaser (eds.), The Treaty of Versailles: A Reassessment after 75 Years (Cambridge University Press, 1998) Zachary D. Carter, The Price of Peace: Money, Democracy and the Life of John Maynard Keynes (Random House, 2020) Peter Clarke, Keynes: The Twentieth Century's Most Influential Economist (Bloomsbury, 2009) Patricia Clavin et al (eds.), Keynes's Economic Consequences of the Peace after 100 Years: Polemics and Policy (Cambridge University Press, 2023) Patricia Clavin, ‘Britain and the Making of Global Order after 1919: The Ben Pimlott Memorial Lecture' (Twentieth Century British History, Vol. 31:3, 2020) Richard Davenport-Hines, Universal Man; The Seven Lives of John Maynard Keynes (William Collins, 2015) R. F. Harrod, John Maynard Keynes (first published 1951; Pelican, 1972) Jens Holscher and Matthias Klaes (eds), Keynes's Economic Consequences of the Peace: A Reappraisal (Pickering & Chatto, 2014) John Maynard Keynes (with an introduction by Michael Cox), The Economic Consequences of the Peace (Palgrave Macmillan, 2019) Margaret MacMillan, Peacemakers: Six Months that Changed the World (John Murray Publishers, 2001) Etienne Mantoux, The Carthaginian Peace or the Economic Consequences of Mr. Keynes (Oxford University Press, 1946) D. E. Moggridge, Maynard Keynes: An Economist's Biography (Routledge, 1992) Alan Sharp, Versailles 1919: A Centennial Perspective (Haus Publishing Ltd, 2018) Robert Skidelsky, John Maynard Keynes, 1883-1946 (Pan Macmillan, 2004) Jürgen Tampke, A Perfidious Distortion of History: The Versailles Peace Treaty and the Success of the Nazis (Scribe UK, 2017) Adam Tooze, The Deluge: The Great War, America and the Remaking of the Global Order, 1916-1931 (Penguin Books, 2015) Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.

Working for Hope Not Hate, I infiltrated an extremist organisation, befriended its members and got to work investigating their political connections Written and read by Harry Shukman Find more from The Audio Long Read here Read the text version here Adapted from Year of the Rat: Undercover in the British Far Right, published by Chatto & Windus. To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply. Help support our independent journalism at theguardian.com/politicspod

Send us a textJoin Maria in a conversation with Pooja Venkatraman, an executive coach for high-stress high achievers. Pooja and Maria talk all things stress, how to harness that high-achiever energy in a way that's not overwhelming, and in general how to work in a way that's actually fun, rather than exhausting. To get in touch with Pooja:Website: https://poojavcoaching.com/IG: https://www.instagram.com/poojav.coaching/Substack: https://poojav.substack.com/LinkedIn: https://linkedin.com/in/vpoojaPodcast on Spotify: https://open.spotify.com/show/4115SuxkOtcIAXhVblhi4qPodcast on Apple Podcasts: https://podcasts.apple.com/gb/podcast/less-stress-more-flow-with-pooja-v/id1591272309Schedule a consult call to discuss working together in a full coaching engagement: https://poojavcoaching.com/contactSchedule a coffee chat for some one-off coaching and brainstorming about your situation, no strings attached: https://calendly.com/pooja-venkatraman/coffee-chatTo get in touch with Maria:Book a free consult call: restovergrind.com/work-with-meEmail: info@restovergrind.comInstagram and TikTok: @rest_over_grind Download the "Take the Grind Out of Your Work" free workbook: restovergrind.com/save-timeTo get in touch with Natasha: Instagram: @natashatekeste Website: natashatekeste.com

1/4"The Big Hop" is a book by David Rooney about the first non-stop flight across the Atlantic Ocean in 1919 The Big Hop: The First Non-stop Flight Across the Atlantic Ocean and Into the Future: Rooney, David: 9781324050964: Amazon.com: Books. Here are the key details: Book Title: The Big Hop: The First Non-stop Flight Across the Atlantic Ocean and Into the Future Author: David Rooney, a historian and museum curator who worked at the London Science Museum Publication: Released June 3, 2025 THE BIG HOP | Kirkus Reviews by W. W. Norton & Company (US) and Chatto & Windus (UK) Subject: The book tells the story of Britain's John Alcock and Arthur Brown, who made the first transatlantic crossing in 1919 in a modified Vickers Vimy bomber THE BIG HOP | Kirkus Reviews. The journey was part of a race sponsored by a British newspaper, with four teams competing ‘The Big Hop' by David Rooney review | History Today, though only Alcock and Brown completed the crossing successfully after 16 hours in an open cockpit THE BIG HOP | Kirkus Reviews. Reception: The book has received positive reviews, with John Lancaster calling it "a vivid and utterly compelling account" The Big Hop: The First Non-stop Flight Across the Atlantic Ocean and Into the Future: Rooney, David: 9781324050964: Amazon.com: Books and praising Rooney as "an expert storyteller with a big heart" The Big Hop: The First Non-stop Flight Across the Atlantic Ocean and Into the Future: Rooney, David: 9781324050964: Amazon.com: Books. The book aims to restore recognition to these pioneering aviators whose achievement was later overshadowed by Charles Lindbergh's solo flight in 1927.

கங்கை சொல்லும் பாடம் - ஆசிரியர்: விசு அய்யர்

Spies, Lies and Allies is a thrilling tale about two forgotten revolutionaries who led lives that defy belief. It takes the reader on a wild ride through Kolkata, Hyderabad, London, Paris, Berlin, Stockholm, Mexico City and Moscow. One was Virendranath Chattopadhyaya, the brother of Sarojini Naidu. The other was M.N. Roy, the founder of Indian communism. Chatto and Roy met spies, dictators, femme fatales, assassins, revolutionaries and bomb-makers. They encountered Lala Lajpat Rai, Veer Savarkar, Vladimir Lenin, Sun Yat-Sen, Chiang Kai-shek, Joseph Stalin, Mohandas Gandhi and Jawaharlal Nehru. They travelled in disguise and survived assassination attempts by the British secret service. They had tumultuous love affairs with suspected Communist spies. They flirted with anarchism, then became communists, and Roy would eventually end up founding his own philosophy: humanism. Chatto's sister Sarojini would distance herself from his journey, and his friend Nehru would eventually follow the Gandhian path. Roy would be ignored in newly independent India. But if Chatto and Roy were failures, they were magnificent ones. They battled for their ideas, and their ideas lived on, even if the pair died mostly forgotten. Author Kavitha Rao will be in conversation with Historian Vanya Vaidehi Bhargav. A Q&A with the audience will follow. in collaboration with: Westland Non-Fiction In this episode of BIC Talks, Kavitha Rao will be in conversation with Vanya Vaidehi Bhargav. This is an excerpt from a conversation that took place in the BIC premises in April 2025. Subscribe to the BIC Talks Podcast on your favorite podcast app! BIC Talks is available everywhere, including Apple Podcasts, Spotify, Google Podcasts, Castbox, Overcast, Audible, and Amazon Music.

Why is it a task to get research and books funded and published? From acquiring agents, preparing manuscripts, approaching publishers and finally marketing the written word. In this episode of All Things Policy, Leah Govias and Kavitha Rao, the writer and journalist and the author of 'Spies, Lies and Allies: The Extraordinary Lives of Chatto and Roy, discuss the process of funding and publishing books and research. The PGP is a comprehensive 48-week hybrid programme tailored for those aiming to delve deep into the theoretical and practical aspects of public policy. This multidisciplinary course offers a broad and in-depth range of modules, ensuring students get a well-rounded learning experience. The curriculum is delivered online, punctuated with in-person workshops across India.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://school.takshashila.org.in/pgp⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠All Things Policy is a daily podcast on public policy brought to you by the Takshashila Institution, Bengaluru.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find out more on our research and other work here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://takshashila.org.in/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠...⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our public policy courses here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://school.takshashila.org.in⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The most astonishing men lie in the far, forgotten corners of history. Kavitha Rao joins Amit Varma in episode 416 of The Seen and the Unseen to shed light on the life and times of two magnificent failures, Chatto and Roy. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Kavitha Rao on Twitter, Instagram, Amazon and her own website. 2. Spies, Lies and Allies: The Extraordinary Lives of Chatto and Roy -- Kavitha Rao. 3. Lady Doctors : The Untold Stories Of India's First Women In Medicine -- Kavitha Rao. 4. Kavitha Rao and Our Lady Doctors -- Episode 235 of The Seen and the Unseen. 5. Chatto: The Life and Times of an Anti-Imperialist in Europe -- Nirode K Barooah. 6. In Freedom's Quest : A Study of the Life and Works of MN Roy -- Sibnarayan Ray. 7. The collected works of MN Roy. 8. Gods, Guns and Missionaries: The Making of the Modern Hindu Identity — Manu Pillai. 9. The Forces That Shaped Hinduism -- Episode 405 of The Seen and the Unseen (w Manu Pillai). 10. Ira Mukhoty on Instagram. 11. The Difficulty In Dating Good Men -- Aella. 12. Men Are from Mars, Women Are from Venus -- John Gray. 13. Desperately Seeking Shah Rukh — Shrayana Bhattacharya. 14. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 15. The Patient Assassin: A True Tale of Massacre, Revenge and the Raj -- Anita Anand. 16. Rama Bhima Soma: Cultural Investigations into Modern Karnataka -- Srikar Raghavan. 17. Lady Doctors on Goodreads. 18. The Spectacular Life of Prahlad Kakar -- Episode 414 of The Seen and the Unseen. 19. Vinayak Calling Vinayak — Episode 385 of The Seen and the Unseen (w Vinayak Chaturvedi). 20. Daughter of Earth -- Agnes Smedley. 21. The Gilded Age and The White Lotus. 22. Rumours -- Fleetwood Mac. 23. The Day I Became a Runner -- Sohini Chattopadhyay. 24, Brotherless Night -- VV Ganeshananthan. 25. Miss Austen, Wolf Hall and The Traitors. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Lenin Speaks Bengali' by Simahina.

In this special live recording we dive into The Seers, the mesmerising new novel by Sulaiman Addonia. In conversation with Adam Biles, Addonia shares the story behind his bold, unfiltered novel—written as a single, unbroken paragraph—through the voice of Hannah, an Eritrean refugee navigating love, loss, sexuality, and identity on the streets of London. Three powerful readings by Liya Kebede, bringing Hannah's world vividly to lifeThe Seers is a novel that defies definition—sensual, poetic, and politically charged. Addonia's reflections on storytelling, migration, and the search for home will stay with you long after you listen.Buy The Seers: https://www.shakespeareandcompany.com/books/the-seers*Sulaiman Addonia is an Eritrean-Ethiopian-British novelist. He spent his early life in a refugee camp in Sudan, and his early teens in Jeddah, Saudi Arabia. He arrived in London as an underage unaccompanied refugee without a word of English and went on to earn an MA in Development Studies from SOAS and a BSc in Economics from UCL.His first novel, The Consequences of Love (Chatto & Windus, 2008), was shortlisted for the Commonwealth Writers' Prize and translated into more than 20 languages. His second novel, Silence Is My Mother Tongue (Indigo Press, 2019; Graywolf Press, 2020), was a finalist for the 2021 Lambda Literary Awards. His essays appear in LitHub, Granta, Freeman's, The New York Times, De Standaard and Sulaiman Addonia is an Eritrean-Ethiopian-British novelist .Addonia currently lives in Brussels where he founded the Creative Writing Academy for Refugees & Asylum Seekers and the Asmara-Addis Literary Festival In Exile.Liya Kebede is a pioneering model, actress, entrepreneur, and philanthropist. She has worked with top fashion brands like Chanel, Gucci, Yves Saint Laurent, and Estée Lauder, promoting inclusivity in the industry. In 2007, she launched lemlem, a sustainable fashion brand supporting Ethiopian Artisans. Kebede is also a WHO Goodwill Ambassador and founded the lemlem Foundation to improve healthcare and economic opportunities for African women. She promotes literature through her latest endeavour "Liyabraire" and introduced the BB Bookbags collection.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Avec Charlotte Brives, anthropologue. Quand on tombe malade, on sait désormais qu’il ne faut pas “automatiquement” prendre des antibiotiques. Plus on en prend souvent, plus les bactéries y deviennent résistantes et moins les traitements antibiotiques ultérieurs seront efficaces. Aujourd'hui les bactéries résistantes tuent plus de personnes dans le monde que le sida ou le paludisme.  Charlotte Brives est anthropologue au CNRS et dans son dernier livre, “Face à l’antibiorésistance, Une écologie politique des microbes” (Amsterdam, 2022), elle revient sur l’histoire des antibiotiques, sur leur usage massif, bien au-delà de la sphère de la médecine humaine et sur la manière dont ils ont profondément influencé notre économie et notre société. A travers son récit, c’est toute notre perception de la maladie et des microbes qui s’en trouve chamboulée.  Comment va-t-on pouvoir se soigner si les antibiotiques ne fonctionnent plus ? Doit-on chercher à éradiquer les maladies à tout prix ? Faut-il arrêter les antibiotiques ? Un épisode des Idées Larges avec Charlotte Brives, anthropologue. Références : - Anna Tsing, “Proliférations”, Wildproject, 2022- Donna Haraway,  « Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin », Environmental Humanities, vol. 6, no 1- Michelle Murphy, « Chemical Infrastructures of the Saint Clair River », in S. Boudia et N. Jas (dir.), Toxicants, Health and Regulation since 1945, Pickering and Chatto, 2013- Jason Moore, “Capitalism in the Web of Life”, Verso, 2015- Clare Chandler, « Current Accounts of Antimicrobial Resistance: Stabilisation, Individualisation and Antibiotics as Infrastructure », Palgrave Communications, no 5, 2019- Dame Sally Davies, “Infections and the Rise of Antimicrobial Resistance”, 2013- Emily Martin, “Flexible Bodies”, Beacon Press, 1995- Evelyn Fox Keller, “Le Siècle du gène”, Gallimard, 2003- Hannah Landecker, “Culturing Life: How Cells Became Technologies”,Harvard University Press, 2006 Archives sonores : - TF1 - JT -  01/04/2013- Pulsations, avec la participation de France Télévisions/AlloDocteurs.fr - Bernard Faroux - Abus d'antibiotiques - une catastrophe annoncée - 2016- Office national de radiodiffusion télévision française (ORTF)/INA - Maurice Beuchey - Flash sur le passé - 1965- TV5 Monde Info - En Chine, un "hotel à cochons" - 30 octobre 2022- Sky News - Antibiotic resistance "could kill us before climate change" - 29 août 2019- F2 - Caisse Nationale d'Assurance Maladie - Publicite "Les antibiotiques c'est pas automoatique" - Assurance Maladie - 2002- Victoria Denys - Virus bacteriophage - 2022- RTS - 36,9 - Phagothérapie: les virus tueurs de bactéries - 2018- Warner Bros. Pictures, Conundrum Entertainment - Bradley Thomas, Peter Farrelly, Bobby Farrelly, Zak Penn, Dennis Edwards - Osmosis Jones - 2001- INA - 19-20 edition nationale France 3 - 16/03/2020 Musique Générique :« TRAHISON » Musique de Pascal Arbez-Nicolas © Delabel Editions, Artiste : VITALIC,(P) 2005 Citizen Records under Different Recording licence ISRC : BEP010400190,Avec l’aimable autorisation de [PIAS] et Delabel Editions.  Episode vidéo publié le 10 mai 2024 sur arte.tv Autrice Laura Raim Réalisateur Jean Baptiste Mihout Son Nicolas Régent Montage Pauline Chabauty Mixage et sound design Jean-Marc Thurier Une co-production UPIAN Margaux Missika, Alexandre Brachet, Auriane Meilhon, Emma Le Jeune, Karolina Mikos avec l'aide de Nancy-Wangue Moussissa ARTE France Unité société et culture

Melvyn Bragg and guests discuss the poet George Herbert (1593-1633) who, according to the French philosopher Simone Weil, wrote ‘the most beautiful poem in the world'. Herbert gave his poems on his relationship with God to a friend, to be published after his death if they offered comfort to any 'dejected pour soul' but otherwise be burned. They became so popular across the range of Christians in the 17th Century that they were printed several times, somehow uniting those who disliked each other but found a common admiration for Herbert; Charles I read them before his execution, as did his enemies. Herbert also wrote poems prolifically and brilliantly in Latin and these he shared during his lifetime both when he worked as orator at Cambridge University and as a parish priest in Bemerton near Salisbury. He went on to influence poets from Coleridge to Heaney and, in parish churches today, congregations regularly sing his poems set to music as hymns. WithHelen Wilcox Professor Emerita of English Literature at Bangor UniversityVictoria Moul Formerly Professor of Early Modern Latin and English at UCLAndSimon Jackson Director of Music and Director of Studies in English at Peterhouse, University of CambridgeProducer: Simon TillotsonReading list: Amy Charles, A Life of George Herbert (Cornell University Press, 1977)Thomas M. Corns, The Cambridge Companion to English Poetry: Donne to Marvell (Cambridge University Press, 1993) John Drury, Music at Midnight: The Life and Poetry of George Herbert (Penguin, 2014)George Herbert (eds. John Drury and Victoria Moul), The Complete Poetry (Penguin, 2015)George Herbert (ed. Helen Wilcox), The English Poems of George Herbert (Cambridge University Press, 2007)Simon Jackson, George Herbert and Early Modern Musical Culture (Cambridge University Press, 2022)Gary Kuchar, George Herbert and the Mystery of the Word (Palgrave Macmillan, 2017)Cristina Malcolmson, George Herbert: A Literary Life (Palgrave Macmillan, 2004)Victoria Moul, A Literary History of Latin and English Poetry: Bilingual Literary Culture in Early Modern England (Cambridge University Press, 2022)Joseph H. Summers, George Herbert: His Religion and Art (first published by Chatto and Windus, 1954; Center for Medieval and Renaissance Studies, New York, 1981)Helen Vendler, The Poetry of George Herbert (Harvard University Press, 1975)James Boyd White, This Book of Starres: Learning to Read George Herbert (University of Michigan Press, 1995)Helen Wilcox (ed.), George Herbert. 100 Poems (Cambridge University Press, 2021) In Our Time is a BBC Studios Audio production

Todays client highlight episode is a special one. Chatto Monk is one of our OG clients dating back to almost 10 years ago, and today he shares his story from going from a bar manager to an online PT making over $10,000/month consistently.   MY CLOTHING, CHECK OUT: https://amarokaesthetics.com/ CHECK ME OUT ON OTHER SOCIALS: IG = https://www.instagram.com/coleluisdasilva/ TIKTOK = https://www.tiktok.com/@coleluisdasilva/   WAKE UP WITH THE WOLF PODCAST: APPLE = https://podcasts.apple.com/us/podcast/wake-up-with-the-wolf/id1533545890 SPOTIFY = https://open.spotify.com/show/6cOLgWolq6mkOnvNesuTDc?si=8b3c4f153a264e9a

Lisa Finucane reviews Welcome to Glorious Tuga by Francesca Segal published by Chatto and Windus.

Listen to author and critic Erica Wagner in conversation with Lauren Elkin, writer of “Scaffolding”, her first novel published by Chatto & Windus in 2024 which raises questions about marriage, fidelity and abortion. Through this conversation with Erica Wagner, Lauren Elkin discusses her writing process and the influence of her experience as a researcher on her work as a novelist. Together, they also talk about Paris, the city where the story takes place and where Lauren Elkin lived for many years, the feminist movements that inspired her as well as her conception of love.As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Lauren Elkin, Scaffolding © Lauren Elkin, 2024.Excerpt from Scaffolding by Lauren Elkin. Copyright © 2024 by Lauren Elkin. Used by permission of Farrar, Straus and Giroux. All Rights ReservedLauren Elkin, Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, © Lauren Elkin, 2016. Vintage, 2017Lauren Elkin, Flaneuse: Women Walk the City in Paris, New Yok, Tokyo, Venice and London by Lauren Elkin. Copyright © 2016 by Lauren Elkin. Used by permission of Farrar, Straus and Giroux. All Rights Reserved© PEN/Diamonstein-Spielvogel Award for the Art of the EssayMichelle Perrot The Bedroom, An Intimate History, Translation by Lauren Elkin, © Yale University Press, 2018Histoire de chambres, Michelle Perrot © Éditions du Seuil, 2009, Points, 2018Claude Arnaud, Jean Cocteau: A Life, Translation by Lauren Elkin and Charlotte Mandell, © Yale University Press, 2016Claude Arnaud, Jean Cocteau © Éditions Gallimard, 2003© French-American Foundation – United States Translation PrizeLauren Elkin, No 91/92: notes on a Parisian commute, published by Les Fugitives, London, in 2021Lauren Elkin, Art Monsters: Unruly Bodies in Feminist Art, © Lauren Elkin 2023Victor Hugo, Les Misérables, 1862Elizabeth Bowen, The House in Paris, © Elizabeth Cameron, 1935, Copyright © renewed by Elizabeth D. C. Cameron 1963Georges Perrec, Ellis Island, P.O.L, 1995Mayra Davey, Index Cards: Selected Essays, © New Directions, 2020Mary Beard, Women & Power: A Manifesto, © Profile Books, 2017James Wood, How Fiction Works, © Wylie AgencyHow Fiction Works by James Wood, Copyright © 2008 by James Wood. Used by permission of Farrar, Straus and Giroux. All Rights Reserved

Listen to author and critic Erica Wagner in conversation with Lauren Elkin, writer of “Scaffolding”, her first novel published by Chatto & Windus in 2024 which raises questions about marriage, fidelity and abortion. Through this conversation with Erica Wagner, Lauren Elkin discusses her writing process and the influence of her experience as a researcher on her work as a novelist. Together, they also talk about Paris, the city where the story takes place and where Lauren Elkin lived for many years, the feminist movements that inspired her as well as her conception of love.As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Lauren Elkin, Scaffolding © Lauren Elkin, 2024.Excerpt from Scaffolding by Lauren Elkin. Copyright © 2024 by Lauren Elkin. Used by permission of Farrar, Straus and Giroux. All Rights ReservedLauren Elkin, Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, © Lauren Elkin, 2016. Vintage, 2017Lauren Elkin, Flaneuse: Women Walk the City in Paris, New Yok, Tokyo, Venice and London by Lauren Elkin. Copyright © 2016 by Lauren Elkin. Used by permission of Farrar, Straus and Giroux. All Rights Reserved© PEN/Diamonstein-Spielvogel Award for the Art of the EssayMichelle Perrot The Bedroom, An Intimate History, Translation by Lauren Elkin, © Yale University Press, 2018Histoire de chambres, Michelle Perrot © Éditions du Seuil, 2009, Points, 2018Claude Arnaud, Jean Cocteau: A Life, Translation by Lauren Elkin and Charlotte Mandell, © Yale University Press, 2016Claude Arnaud, Jean Cocteau © Éditions Gallimard, 2003© French-American Foundation – United States Translation PrizeLauren Elkin, No 91/92: notes on a Parisian commute, published by Les Fugitives, London, in 2021Lauren Elkin, Art Monsters: Unruly Bodies in Feminist Art, © Lauren Elkin 2023Victor Hugo, Les Misérables, 1862Elizabeth Bowen, The House in Paris, © Elizabeth Cameron, 1935, Copyright © renewed by Elizabeth D. C. Cameron 1963Georges Perrec, Ellis Island, P.O.L, 1995Mayra Davey, Index Cards: Selected Essays, © New Directions, 2020Mary Beard, Women & Power: A Manifesto, © Profile Books, 2017James Wood, How Fiction Works, © Wylie AgencyHow Fiction Works by James Wood, Copyright © 2008 by James Wood. Used by permission of Farrar, Straus and Giroux. All Rights Reserved

So much has been written about the imminent transformation that Artificial Intelligence will bring to our world. But it is often hard to get much of a sense of what that will mean on a personal level—for our work, for our leisure and, perhaps most importantly of all, for our families. What improvements will result? What new tensions will arise? What devastation will be wrought? In HUM, Helen Phillips takes these questions and masterfully dramatises them in the lives of a financially struggling family of four. As we spend time with mother May, father Jem, and kids Lu and Cy, we not only experience the very real, very claustrophobic presence of this invasive, dehumanising technology, but are also forced to reckon with the truly thorny question of whether some of the gifts it offers—foremost among them reassurance concerning the wellbeing of those we love—are a worthy altar upon which to sacrifice…well, pretty everything else. Just as with her much celebrated 2019 novel THE NEED, in HUM Helen Phillips has once again used the lens of deeply compelling speculative fiction to help us better understand the world as it changes around us. *Helen Phillips is the author of six books, including the novel The Need (Simon & Schuster, 2019; Chatto & Windus, 2019), which was long-listed for the National Book Award and named a New York Times Notable Book of 2019. Her novel HUM is forthcoming in August 2024 (Simon & Schuster/Marysue Rucci Books). Helen's short story collection Some Possible Solutions (Henry Holt, 2016) received the 2017 John Gardner Fiction Book Award. Her novel The Beautiful Bureaucrat (Henry Holt, 2015), a New York Times Notable Book of 2015, was a finalist for the New York Public Library's Young Lions Award and the Los Angeles Times Book Prize. Her collection And Yet They Were Happy (Leapfrog Press, 2011) was named a notable collection by The Story Prize and was re-released in 2023. She is also the author of the children's eco-adventure book Here Where the Sunbeams Are Green (Delacorte Press, 2012).Helen has received a Guggenheim Foundation Fellowship, a Rona Jaffe Foundation Writer's Award, the Italo Calvino Prize in Fabulist Fiction, the Iowa Review Nonfiction Award, and the DIAGRAM Innovative Fiction Award.Her work has been featured on Selected Shorts, at the Brooklyn Museum, and in the Atlantic Monthly and the New York Times, among others. Her books have been translated into Chinese, French, German, Italian, Korean, Lithuanian, Polish, and Spanish.A graduate of Yale and the Brooklyn College MFA program, she is an associate professor at Brooklyn College. Born and raised in Colorado, she lives in Brooklyn with artist/cartoonist Adam Douglas Thompson, their children, and their dog.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We meet Mary McCartney, world renowned photographer, film-maker and sustainable food pioneer. As a leading British creative, her work covers multiple disciplines, but is always rooted in her passion for impactful storytelling. We meet at Claridges Art Space in London to explore her joint show 'Double Exposure' with photography legend David Bailey. Unfolding like a conversation between two friends, Double Exposure: David Bailey & Mary McCartney brings two era-defining British photographers into dialogue for the first time. Curated by Brandei Estes, this striking series of works spans the 1960s to the present day – exploring a shared aesthetic of reinvention, play and the art of portraiture itself.Mary McCartney's insightful gaze reveals enigmatic and evocative portraits of celebrity icons, from Kate Moss to Harry Styles. Like Bailey, there's a dash of the theatrical and performative in her photographs. But set alongside everyday moments – a ballet dancer ‘off pointe' or a woman hailing a taxi – she conjures the sense that anything, or anyone, could be a subject. As a portrait and fine art photographer, McCartney's work has been featured globally, with exhibitions taking place in London, New York, France and in 2015 was invited by Buckingham Palace to take the official photograph to mark Queen Elizabeth II becoming the longest reigning Monarch. Her work is held in major private and public permanent collections including the Victoria and Albert Museum, London; the National Portrait Gallery, London; The Royal Academy, London; and the Fondation d'entreprise Hermès, Paris, and has been commissioned by leading publications including National Geographic, British Vogue and GQ. In 2023, McCartney's first feature documentary If These Walls Could Sing, the untold story of the Abbey Road Studios 90 year history, was selected to premiere at The Telluride Film Festival. Streaming globally on Disney, and was nominated for a Critics Choice Documentary Award. McCartney has also been at the forefront of food sustainability for over 25 years, with a history and heritage rooted in her mother's pioneering work and creation of one of the first meat free brands Linda McCartney Food in 1991. In 2009, Mary co-founded the global collective Meat Free Monday with her father and sister, and is a global ambassador for Green Common Foods, a food tech brand in Asia that is focused on plant based meat substitute products. McCartney has also executive produced and presented three seasons of her EMMY nominated plant based cooking show, “Mary McCartney Serves It Up!” for Discovery+.McCartney is a multi-published author, with a range of fine art photography books available from globally renowned publishers including, HENI and Chatto & Windus. Combining her passion for food and publishing, her latest book Feeding Creativity, published by TASCHEN is a unique hybrid coffee table, portrait and recipe book, featuring favourite recipes for friends, family, and members of the creative community.Follow @MaryMcCartneyDouble Exposure: David Bailey & Mary McCartney is open to all, and will run in Claridge's ArtSpace until 19 July 2024. Visit: https://www.claridges.co.uk/claridges-artspace/Thanks to Katy Wick and The Wick. Hosted on Acast. See acast.com/privacy for more information.

Thomas James Wise was well-respected among the rare book fanatics of 1930s London as a consummate collector. But when he began to uncover a surprising amount of valuable first editions in mint condition, things began to look a bit fishy. Speaking to Ellie Cawthorne, academic and author Joseph Hone transports listeners back to the eccentric world of 1930s book collecting, to explore the audacious crimes of an ingenious forger. (Ad) Joseph Hone is the author of The Book Forger: The true story of a literary crime that fooled the world (Chatto & Windus, 2024). Buy it now from Amazon: https://www.amazon.co.uk/Book-Forger-story-literary-fooled/dp/1784744670/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr=&tag=bbchistory045-21&ascsubtag=historyextra-social-histboty. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For February's New Moon, New Book, Scorpio and Gemini talk to Marion Gibson, professor, historian and author of the recently released Witchcraft: A History in 13 Trials. One part delightful conversation, one part book-review-turned-existential-crisis, this is a must hear episode for the witches and witch-adjacent alike!   From the University of Exeter: Marion is a Professor of Renaissance and Magical Literatures, Fellow of the Royal Historical Society, Director of the Flexible Combined Honours degree programme. Her research is about witch trials in history from the Middle Ages to the present.  Recent books: Witchcraft: A History in 13 Trials (Simon and Schuster/Scribner, 2023) and The Witches of St Osyth (Cambridge University Press, 2022). She's also the author of Rediscovering Renaissance Witchcraft (Routledge, 2017), Witchcraft: The Basics (Routledge, 2018), Imagining the Pagan Past: Gods and Goddesses in Literature and History since the Dark Ages. (London and New York: Routledge, 2013), Witchcraft Myths in American Culture (New York: Routledge, 2007). Possession, Puritanism and Print: Darrell, Harsnett, Shakespeare and the Elizabethan Exorcism Controversy (London: Pickering and Chatto, 2006), Reading Witchcraft: Stories of Early English Witches (London and New York: Routledge, 1999), with Garry Tregidga and Shelley Trower, Mysticism, Myth and Celtic Identity (London: and New York: Routledge, 2012) and with Jo Esra, The Arden Shakespeare Dictionary of Shakespeare's Demonology (London: Arden/Bloomsbury, 2014). She is the editor of the Cambridge University Press series Elements in Magic.

Paddington director Paul King returns with Wonka starring Timothée Chalamet in the title role. He talks with Samira about exploring the backstory of Willy Wonka and Roald Dahl's surprising vision for fiction's greatest confectioner.Front Row rounds up the best non-fiction books of 2023 with Caroline Sanderson - non-fiction books editor for The Bookseller and chair of judges for the Baillie Gifford Prize in 2022, Stephanie Merritt - critic and novelist, and John Mitchinson - cofounder of Unbound, the independent crowdfunding publisher and co-presenter of literary podcast, Backlisted.The extraordinary work of the artist Pauline Boty (1938 – 1966) is explored by the curator of a new exhibition, Mila Askarova, and the art historian Lynda Nead.Presenter Samira Ahmed Producer: Paula McGrathFront Row non-fiction recommendations for 2023Toy Fights: A Boyhood by Don Patterson published by Faber and Faber Thunderclap: A Memoir of Art, Life and Sudden Death by Laura Cumming published by Chatto & Windus How To Say Babylon: A Jamaican Memoir by Safiya Sinclair published by Fourth Estate Twelve Words for Moss by Elizabeth-Jane Burnett published by Allen Lane The British Year in 72 Seasons by Kiera Chapman, Rowan Jaines, Lulah Ellgender and Rebecca Warren published by Granta Rural: The Lives of the Working Class Countryside by Rebecca Smith published by William Collins High Caucasus: A Mountain Quest in Russia's Haunted Hinterland by Tom Parfitt published by Headline Eve: How The Female Body Drove 200 Million Years of Human Evolution by Cat Bohannon published by Hutchinson Heinemann Shakespeare's Book: The Intertwined Lives Behind the First Folio by Chris Laoutaris published by Williams Collins

#paganism #pagan #paganhistory The Top 5 Biggest Misconceptions in Paganism, providing a critical, academic perspective based on peer-reviewed sources. This video is a must-watch for anyone interested in Pagan studies, religious studies, or seeking to understand the true nature of modern Pagan practices and beliefs. 1 - The Ancient Religion Hypothesis 2 - The Great Witch Hunt and Pagan Martyrdom 3 - Christian Holidays and Pagan Origins 4 - The Universal Triple Goddess 5 - The Primordial Mother Goddess Archetype 00:00 Support Angela's Symposium 00:24 Introduction: Historical Misconceptions of Paganism 01:45 The Historicity of Paganism 03:17 Margaret Murray – the pagans' survival myth 05:01 The Great Witchhunt 06:01 Feminist Pagan Theology 09:41 The myth that Christians coopted Pagan Festivals for their Holidays 10:25 The History of Samhain 14:02 Complex syncretism between Pagan and Christian religions 15:37 The origins of Christmas and Pagan misconceptions about it 17:41 The origins of the name of Easter from Eostre and Pagan misconceptions 20:53 The concept of the Triple Goddess 23:22 The idea of the Primordial Goddess 25:20 The idea of a Mother Goddess may be patriarchal 28:20 Myth and History in Individual Practice 30:52 The concept of Perennialism 34:47 The importance of differentiating history and mythology in Paganism CONNECT & SUPPORT

In an extended version of the programme that was broadcast, Melvyn Bragg and guests discuss the influential book John Maynard Keynes wrote in 1919 after he resigned in protest from his role at the Paris Peace Conference. There the victors of World War One were deciding the fate of the defeated, especially Germany and Austria-Hungary, and Keynes wanted the world to know his view that the economic consequences would be disastrous for all. Soon Germany used his book to support their claim that the Treaty was grossly unfair, a sentiment that fed into British appeasement in the 1930s and has since prompted debate over whether Keynes had only warned of disaster or somehow contributed to it. With Margaret MacMillan Emeritus Professor of International History at the University of Oxford Michael Cox Emeritus Professor of International Relations at the London School of Economics and Founding Director of LSE IDEAS And Patricia Clavin Professor of Modern History at the University of Oxford Producer: Simon Tillotson Reading list: Manfred F. Boemeke, Gerald D. Feldman and Elisabeth Glaser (eds.), The Treaty of Versailles: A Reassessment after 75 Years (Cambridge University Press, 1998) Zachary D. Carter, The Price of Peace: Money, Democracy and the Life of John Maynard Keynes (Random House, 2020) Peter Clarke, Keynes: The Twentieth Century's Most Influential Economist (Bloomsbury, 2009) Patricia Clavin et al (eds.), Keynes's Economic Consequences of the Peace after 100 Years: Polemics and Policy (Cambridge University Press, 2023) Patricia Clavin, ‘Britain and the Making of Global Order after 1919: The Ben Pimlott Memorial Lecture' (Twentieth Century British History, Vol. 31:3, 2020) Richard Davenport-Hines, Universal Man; The Seven Lives of John Maynard Keynes (William Collins, 2015) R. F. Harrod, John Maynard Keynes (first published 1951; Pelican, 1972) Jens Holscher and Matthias Klaes (eds), Keynes's Economic Consequences of the Peace: A Reappraisal (Pickering & Chatto, 2014) John Maynard Keynes (with an introduction by Michael Cox), The Economic Consequences of the Peace (Palgrave Macmillan, 2019) Margaret MacMillan, Peacemakers: Six Months that Changed the World (John Murray Publishers, 2001) Etienne Mantoux, The Carthaginian Peace or the Economic Consequences of Mr. Keynes (Oxford University Press, 1946) D. E. Moggridge, Maynard Keynes: An Economist's Biography (Routledge, 1992) Alan Sharp, Versailles 1919: A Centennial Perspective (Haus Publishing Ltd, 2018) Robert Skidelsky, John Maynard Keynes, 1883-1946 (Pan Macmillan, 2004) Jürgen Tampke, A Perfidious Distortion of History: The Versailles Peace Treaty and the Success of the Nazis (Scribe UK, 2017) Adam Tooze, The Deluge: The Great War, America and the Remaking of the Global Order, 1916-1931 (Penguin Books, 2015)

In an extended version of the programme that was broadcast, Melvyn Bragg and guests discuss the influential book John Maynard Keynes wrote in 1919 after he resigned in protest from his role at the Paris Peace Conference. There the victors of World War One were deciding the fate of the defeated, especially Germany and Austria-Hungary, and Keynes wanted the world to know his view that the economic consequences would be disastrous for all. Soon Germany used his book to support their claim that the Treaty was grossly unfair, a sentiment that fed into British appeasement in the 1930s and has since prompted debate over whether Keynes had only warned of disaster or somehow contributed to it. With Margaret MacMillan Emeritus Professor of International History at the University of Oxford Michael Cox Emeritus Professor of International Relations at the London School of Economics and Founding Director of LSE IDEAS And Patricia Clavin Professor of Modern History at the University of Oxford Producer: Simon Tillotson Reading list: Manfred F. Boemeke, Gerald D. Feldman and Elisabeth Glaser (eds.), The Treaty of Versailles: A Reassessment after 75 Years (Cambridge University Press, 1998) Zachary D. Carter, The Price of Peace: Money, Democracy and the Life of John Maynard Keynes (Random House, 2020) Peter Clarke, Keynes: The Twentieth Century's Most Influential Economist (Bloomsbury, 2009) Patricia Clavin et al (eds.), Keynes's Economic Consequences of the Peace after 100 Years: Polemics and Policy (Cambridge University Press, 2023) Patricia Clavin, ‘Britain and the Making of Global Order after 1919: The Ben Pimlott Memorial Lecture' (Twentieth Century British History, Vol. 31:3, 2020) Richard Davenport-Hines, Universal Man; The Seven Lives of John Maynard Keynes (William Collins, 2015) R. F. Harrod, John Maynard Keynes (first published 1951; Pelican, 1972) Jens Holscher and Matthias Klaes (eds), Keynes's Economic Consequences of the Peace: A Reappraisal (Pickering & Chatto, 2014) John Maynard Keynes (with an introduction by Michael Cox), The Economic Consequences of the Peace (Palgrave Macmillan, 2019) Margaret MacMillan, Peacemakers: Six Months that Changed the World (John Murray Publishers, 2001) Etienne Mantoux, The Carthaginian Peace or the Economic Consequences of Mr. Keynes (Oxford University Press, 1946) D. E. Moggridge, Maynard Keynes: An Economist's Biography (Routledge, 1992) Alan Sharp, Versailles 1919: A Centennial Perspective (Haus Publishing Ltd, 2018) Robert Skidelsky, John Maynard Keynes, 1883-1946 (Pan Macmillan, 2004) Jürgen Tampke, A Perfidious Distortion of History: The Versailles Peace Treaty and the Success of the Nazis (Scribe UK, 2017) Adam Tooze, The Deluge: The Great War, America and the Remaking of the Global Order, 1916-1931 (Penguin Books, 2015)