Podcasts about coleridge

In this episode of Chronicles, Luca begins to discuss The Rime of the Ancient Mariner by Samuel Taylor Coleridge. He explores the life and times of Coleridge, before presenting a reading of the entire poem. (This episode has been made freemium, you can watch the next episode here)

In her diary entry for 20 November 1797, Dorothy Wordsworth describes a late afternoon walk with her brother William and Samuel Taylor Coleridge. ‘ We went eight miles in the dark,' she wrote, ‘William and Coleridge employing themselves in laying the plan of a ballad.' This was the origin of the opening poem of the 'Lyrical Ballads', published the following year – the book often seen as marking the beginning of Romanticism. In this episode, Seamus and Mark discuss the strange hallucinatory power of ‘The Rime of the Ancient Mariner' and Coleridge's search for a meter that could capture the force of his imagination. They also consider some of the poem's many interpretations, from the influence of abolitionist writing to William Empson's reading of the shooting of the albatross, and consider whether it's best understood as a terrible encounter at a wedding reception. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: ⁠https://lrb.me/applesignupnp⁠ Other podcast apps: ⁠https://lrb.me/scsignupnp Read more in the LRB: Barbara Everett on Coleridge the modernist: https://lrb.me/npep601 Susan Eilenberg on the life of Coleridge: https://lrb.me/npep602 Marilyn Butler on the Lyrical Ballads: https://lrb.me/npep603 Learn more about your ad choices. Visit megaphone.fm/adchoices

In lieu of a new episode this week, we're revisiting last year's conversation Malcolm Guite: poet, priest, and theologian. Chris leads off the conversation with Mariner, Guite’s biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge’s life and work as a jumping off point to move on to other topics, including Lewis’s concept of joy and the nature and importance of imagination. It’s a fascinating discussion with a fascinating individual, and we think you’ll find it as stimulating as we did. Find Malcolm Guite’s Arthuriad: https://www.rabbitroom.com/merlinsisle Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

In lieu of a new episode this week, we're revisiting last year's conversation Malcolm Guite: poet, priest, and theologian. Chris leads off the conversation with Mariner, Guite's biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge's life and work as a jumping off point to move on to other topics, including Lewis's concept of joy and the nature and importance of imagination. It's a fascinating discussion with a fascinating individual, and we think you'll find it as stimulating as we did.Find Malcolm Guite's Arthuriad:https://www.rabbitroom.com/merlinsisleSupport the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8Learn more about First Pres. Battle Ground: https://www.solochristo.org/Connect with WileyCraft Productions: https://wileycraftproductions.com/

In lieu of a new episode this week, we're revisiting last year's conversation Malcolm Guite: poet, priest, and theologian. Chris leads off the conversation with Mariner, Guite’s biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge’s life and work as a jumping off point to move on to other topics, including Lewis’s concept of joy and the nature and importance of imagination. It’s a fascinating discussion with a fascinating individual, and we think you’ll find it as stimulating as we did. Find Malcolm Guite’s Arthuriad: https://www.rabbitroom.com/merlinsisle Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

In lieu of a new episode this week, we're revisiting last year's conversation Malcolm Guite: poet, priest, and theologian. Chris leads off the conversation with Mariner, Guite’s biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge’s life and work as a jumping off point to move on to other topics, including Lewis’s concept of joy and the nature and importance of imagination. It’s a fascinating discussion with a fascinating individual, and we think you’ll find it as stimulating as we did. Find Malcolm Guite’s Arthuriad: https://www.rabbitroom.com/merlinsisle Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

"Of Ghosts And Gods" The New Jersey-born, Harvard educated David Berkeley is one of modern music's true renaissance men. Now, people throw that term out a tad lazily but in the case of Berkeley, it truly fits. Aside from releasing close to ten perfect albums, including The Confluence, Some Kind Of Cure and Oh Quiet World, Berkeley is an author, a label owner, and he's been a river rafting guide, a band manager, a travel writer and a creative writing teacher. A writer of tremendous depth, focus and sensitivity, much like Paul Simon or Nick Drake, Berkeley has the uncanny ability to slow the world down and hold it still. Informed by actual geography as well as the geography of loss and emotional reconstruction, Berkeley's songbook is a wondrous collection of compositions that gaze out at the map of the human heart with effortless poeticism and grace. He's toured with Billy Bragg, Ben Lee and Gary Jules, appeared on This American Life and played South By Southwest and he's one of the most consistently critically-acclaimed musicians around. He's also one half of the aforementioned transatlantic folk duo Sons Of Town Hall. Along with singer/songwriter Ben Parker, Sons Of Town Hall are hard to describe, but I'm going to try. Under the guises of Parker's George Ulysses Brown and Berkeley's Josiah Chester Jones, Sons Of Town Hall are fictitious 19th Century Victorian-era vagabonds who sing about their travels by way of a kind of magical hand-built raft. Falling somewhere between Coleridge, Lord Byron by way of Simon and Garfunkel's Wednesday Morning, 3AM, Sons Of Town Hall's new album Of Ghosts and Gods is a stirring collection of songs about travel, friendship, following your heart and staying afloat while doing it. www.davidberkeley.com (http://www.davidberkeley.com) www.sonsoftownhall.com (http://www.sonsoftownhall.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast: IG + BLUESKY + THREADS: @emberspodcast

In this episode of Chronicles, Luca begins to discuss The Rime of the Ancient Mariner by Samuel Taylor Coleridge. He explores the life and times of Coleridge, before presenting a reading of the entire poem.

London's Dracula Connections: Victorian Vampires, Penny Dreadfuls & the Lyceum Theatre (World Dracula Day Special)On World Dracula Day (26 May), London History Podcast host Hazel Baker speaks with Lambeth tour guide and Gothic novelist David Turnbull about how a century of Gothic writing and London locations shaped Bram Stoker's Dracula. They trace early vampire traits through Coleridge's Christabel, Byron's circle and the Villa Diodati summer, Polidori's The Vampyre, and the influence of penny dreadfuls like Varney the Vampire and Lloyd's publications, before moving to Fleet Street magazines and Sheridan Le Fanu's Carmilla. The conversation highlights Stoker's Lyceum Theatre work under Henry Irving, the Beefsteak Room's literary influences (including Burton and Vambéry), Stoker's research at the British Museum and London Library, and Dracula's London settings from Piccadilly and King's Cross to Hampstead. They discuss Dracula's slow initial success, rivalry with The Beetle, and its 20th-century rise via Hamilton Deane and Bela Lugosi, ending with Turnbull's Dracula-influenced novel The Hurdy Gurdy Man and related London tours.00:00 Introduction05:39 The Romantic Poets & Vampire Origins17:17 Penny Dreadfuls & Fleet Street31:57 Dracula's London Locations36:19 Dracula's Rise to FameSee Show Notes

In previous episodes we've talked about Lewis being "the last of the Romantics". It's time to return to this literary movement with Dr. Weber and learn about the poet Samuel Taylor Coleridge.[Show Notes]

‘Tam o' Shanter' first appeared as a lengthy footnote in Francis Grose's Antiquities of Scotland (1791) after Robert Burns convinced Grose to include the ruined Alloway Kirk in his volume, and its supernatural associations (invented by Burns). Its story of the drunken Tam's encounter with witches in the stormy Ayrshire landscape has served as both a celebration and chastisement of Scottish masculinity ever since its publication, but the attitude of its narrator remains elusive throughout. In this episode, Seamus and Mark discuss the poem's moral and stylistic turns, its influence on Wordsworth and Coleridge, and what it owes to the Augustan perfectionism of Pope. They then turn to a much darker example of Romantic narrative poetry, George Crabbe's ‘Peter Grimes' (published in his collection The Borough in 1810), and explore the bracing realism and psychological insight in the story of a cruel Suffolk fisherman who destroys the apprentices placed in his care. This episode also features a bonus conversation with Andrew O'Hagan, who reads extracts from 'Tam o' Shanter' and explains why the poem's reliably contradictory narrative voice is so useful for anyone learning to write stories. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applesignupnp Other podcast apps: https://lrb.me/scsignupnp Read more in the LRB: Karl Miller: Peeping Tam: ⁠https://lrb.me/npep501⁠ Neal Ascherson on Burns's life: ⁠https://lrb.me/npep502

Prinzessin der Haie: Fast ein richtiges Buch, findet Thomas mäkelig, auf jeden Fall einer der guten und interessanten Bände der Reihe. Thomas Burnett Swann lässt in der Karibik einen Delphin erzählen und viel Wordsworth und Browning zitieren - aber wieso nie Coleridge?

Prinzessin der Haie: Fast ein richtiges Buch, findet Thomas mäkelig, auf jeden Fall einer der guten und interessanten Bände der Reihe. Thomas Burnett Swann lässt in der Karibik einen Delphin erzählen und viel Wordsworth und Browning zitieren - aber wieso nie Coleridge?

This Postmodern Realities episode is a conversation with JOURNAL author Stephen Mitchell about his article, “A Dim Light in Man: Moral Responsibility in Faulkner's ‘Intruder in the Dust''”.  [Editor's Note: This essay contains spoilers for Intruder in the Dust.] This is also part of Literary Apologetics Column. https://www.equip.org/articles/a-dim-light-in-man-moral-responsibility-in-faulkners-intruder-in-the-dust/One way you can support our online articles and podcasts is by leaving us a tip. A tip is just a small amount, like $3, $5, or $10, which is the cost of a latte, lunch out, or coffee drink. To leave a tip, click here.Related articles and podcasts: Episode 464: Opening-out Delight: Romantic Love as Divine Sign in the Novels of Walker Percy“Opening-out Delight: Romantic Love as Divine Sign in the Novels of Walker Percy”Episode 432: Love (Not Rocks) All the Way Down: Horror and Hospitality in Coleridge's ‘The Rime of the Ancient Mariner'“Love (Not Rocks) All the Way Down: Horror and Hospitality in Coleridge's The Rime of the Ancient Mariner“.Episode 410: The Just Man Justices: A Review of D. C. Schindler's ‘Retrieving Freedom: The Christian Appropriation of Classical Tradition'The Just Man Justices: A Review of D. C. Schindler's ‘Retrieving Freedom: The Christian Appropriation of Classical Tradition'Episode 357 Christian Faithfulness Via the Agrarianism of Wendell Berry“How to Love a Neighbor in the Anthropocene: Christian Faithfulness Via the Unsettling Agrarianism of Wendell Berry” Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

What if poetry is not optional to human flourishing, but essential to it? In this second dialogue, John Vervaeke and Adam Walker explore poetry as a way of knowing reality rather than merely describing it. Their conversation moves through imagination, inexhaustible meaning, beauty, sacredness, freedom, embodiment, and the possibility of a new renaissance in culture. Along the way, they discuss voluntary necessity, spiritual senses, participatory knowing, and why modern notions of freedom can become hollow when detached from gratitude, devotion, and love. This is a rich and wide-ranging episode for listeners interested in philosophy, literature, spirituality, and the future of meaning. Adam Walker is a public scholar and recent Harvard PhD graduate whose work explores the spiritual dimensions of poetry. After stepping away from the traditional academy, he founded Versed, a platform devoted to making serious literary study accessible to everyday readers through teaching, close reading, and conversation. Adam Walker Website: https://www.adamgagewalker.com/ YouTube: https://www.youtube.com/@closereadingpoetry Versed: https://versedcommunity.mn.co/ Support The Lectern Patreon: https://www.patreon.com/johnvervaeke Teachable: https://lectern.teachable.com/p/lectern-lounge Follow John Vervaeke Website: https://johnvervaeke.com/ X: https://x.com/DrJohnVervaeke YouTube: https://www.youtube.com/@johnvervaeke/videos Timecodes 00:00 Introduction 01:27 "The imaginal is not about entertainment. It's about attainment." 02:20 Poetry as a practical path to meaning 04:40 Why poetry is quietly subversive 05:30 Inexhaustible meaning and the sacred 08:20 Is imagination a way of knowing reality? 12:40 Why great poetry turns toward infinity 15:00 The landscape of intelligibility 20:20 Can poetry educate wisdom? 21:30 Coleridge and the power of symbol 24:20 Voluntary necessity explained 30:20 The modern misunderstanding of freedom 31:30 How digital culture exploits the will 34:40 The advent of the sacred 36:20 Wordsworth and awakening through nature 41:20 What are the spiritual senses? 52:20 Beyond the religion vs. secular binary 58:20 Why renaissances need shared language 1:02:20 Symbolic thought and Meditations on the Tarot 1:16:20 Meaning crisis, madness, and sanity 1:18:30 Closing reflections

We continue the London story, this time catching up with Coleridge and learning all about what went down behind the scenes when we were only seeing things from the perspective of Underwood and Flinch and friends.Music on the podcast:Hitman Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

Wat heeft het werk van Goethe, Blake, Marsman, Süskind en Coleridge gemeen? Precies: ze vormden allemaal inspiratie voor de metalscene. Politiek tekstschrijver Daan de Neef legt het als een officieus hoogleraar literaire metal uit. En ga stemmen de 18e! Goed goed, wat een gemiddelde grunter in een microfoon schreeuwt, daar versta je natuurlijk helemaal niets van. Maar wie de songteksten erbij pakt, komt erachter dat veel metalbands zeer succesvol schatduiken in de wereld van de literatuur. Om beter te begrijpen wat literatuur precies voor de metal betekent, is vandaag Daan de Neef te gast. Je kent Daan mogelijk als oud-kamerlid, voormalig tekstschrijver van Mark Rutte en het tekstuele geweten van Rotterdams burgemeester Carola Schouten. Minder bekend is dat deze boomlange metalhead officieus hoogleraar literaire metal is. In deze editie van Dood & Verderf legt Daan uit hoe bands als Iron Maiden, Moonspell en Terzij De Horde leunen op de letteren. Zij brengen namelijk vergeten en gevierde schrijvers als William Blake, Patrick Suskind en Hendrik Marsman onder de aandacht bij een compleet nieuw publiek. Vind je dit tof? Abonneer je dan op de nieuwsbrief of de podcast. En ben je al fan? Geef dan een vijf-sterren-rating aan de show op je favoriete podcastplatform, zodat zoveel mogelijke andere mensen de show ook kunnen vinden. Playlist Iron Maiden - Rime of the ancient mariner (Powerslave, 1984) Samuel Taylor Coleridge (1772-1834) was een Engels dichter, filosoof en literair criticus. Hij is vooral bekend om zijn romantische poëzie, met name om zijn gedichten The Rime of the Ancient Mariner, Christabel en Kubla Khan. Moonspell - Herr Spiegelmann (Irreligious, 1997) Het parfum is de bekendste roman van de Duitse auteur Patrick Süskind. Het boek verscheen in 1985 en was een wereldwijde bestseller. De single "Du riechst so gut" van de Duitse rockband Rammstein en het nummer "Herr Spiegelmann" van de Portugese gothicmetalband Moonspell zijn naar verluidt beïnvloed door de roman. Terzij de Horde - Wacht / Lex Barbarorum (idem, 2015) Hendrik Marsman (Zeist, 30 september 1899 - Golf van Biskaje, 21 juni 1940) was een Nederlands dichter, vertaler en literair criticus. Marsman behoorde tot het vitalisme en het expressionisme. Skyclad - Great blow for a day job (Oui Avant-Garde a Chance, 1996) Faust is het belangrijkste werk van de Duitse schrijver Johann Wolfgang von Goethe (1749–1832). Hierin laat Faust zich verleiden tot een pact met de duivel om al zijn wensen te laten uitkomen. Ulver - The Argument, Plate 2 (Themes From William Blake's The Marriage Of Heaven And Hell, 1998) William Blake's The Marriage Of Heaven And Hell is een serie teksten die bijbelse profetie imiteren, maar Blake's persoonlijke romantische en revolutionaire overtuigingen uitdrukken. Het werk bevat de beroemde Proverbs of Hell, provocatieve en paradoxale uitspraken ontworpen om gedachten te stimuleren. Zwaar Aanbevolen Miserere Luminis - les fleurs de l'exil (Sidera, 2026) Vanuit de bibliotheek van het online magazine Zware Metalen krijg je als lees- en luistertip Sidera, het nieuwe album van de Canadese blackmetalband Miserere Luminis. Sidera kreeg bijna een 10 van de recensenten. Zo schreef eindredacteur Patrick over het album: “Voor mij is muzikale volmaaktheid een illusie, een onbereikbare utopie… slechts uitzonderlijk voelt een album zo dicht bij die perfecte harmonie als Sidera van Miserere Luminis.” Dat is mede dankzij de teksten, die vaak diepe, emotionele thema's aansnijden. Dat hoor je ook écht terug in de zang, ook al is die in het Frans. Lees de recensie op Zware Metalen

Has conservatism really defeated utilitarianism? Or are modern conservatives just utilitarians at their core? Find out as we discuss Jeremy Bentham, James Mill, John Stuart Mill, Walter Scott, George Canning, and Samuel Coleridge in their war for English politics!Follow us on X!Give us your opinions here!

In this episode, we discuss how Coleridge's poem "Kubla Khan" relates to the victory of Romanticism. That, and we giggle sometimes.

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Rockett and Figgy break down the Texans' disappointing loss to the Patriots in the Divisional round of the playoffs and CJ Stroud's performance, plus Figgy's thought on A$AP Rocky's new album, Sinners receiving record-breaking Oscar nominations, TI's last album, Lebron/Lakers drama and much more!

A scrap of Coleridge's handwriting. The sugar that Wordsworth stirred into his teacup. A bracelet made of Mary Shelley's hair... In this episode, Jacke talks to award-winning scholar and literary sleuth Mathelinda Nabugodi (The Trembling Hand: Reflections of a Black Woman in the Romantic Archive) about what she found in the Romantic archive - and why it matters. PLUS Richard Kopley (Edgar Allan Poe: A Life) stops by to discuss his choice for the last book he will ever read. Will this biographer of Edgar Allan Poe choose one of Poe's works? Or opt for something else? Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act soon - there are limited spots available! The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Romans Overview The Question of Sin (3:23) The Question of Salvation (4:5) The Question of Sanctification (6:16) The Question of Sovereignty (11:33-36) The Question of Service (12:1-2) More to Consider Rome As early as the second century b.c., a Jewish colony existed in Rome. After 63 b.c., when Judea became a part of the Roman Empire, this colony grew. By 59 b.c. Cicero wrote of it as powerful and influential. At times the Jews suffered expulsion from Rome, and as in an a.d. 19 financial scandal. Yet, within a few years the Jews would drift back again to this center of finance, trade, and political power. In a.d. 49 Claudius expelled the Jews from Rome in an act mentioned in Acts 18:2. Strikingly, the historian Suetonius said that the cause of Claudius' action was the "constant indulgence of the Jews in riots at the instigation of one Chrestus." Apparently the message of Christ divided the Jewish community at Rome and, as it did in the cities to which Paul journeyed on his missions, provoked bitter and violent controversy! Priscilla and Aquila, whom we meet later in this letter and who are mentioned in Acts 18, were apparently converted at this time. They were already believers when Paul met them. Claudius' expulsion edict, like the earlier ones, had no lasting effect. A few years later the Jewish colony again flourished and, as before, included Jewish believers in Christ. By the time Paul wrote this letter to the Romans, a large number of Gentile and Jewish Christians comprised a typical church. Paul had longed to go to Rome, both to minister to the believers there and to be encouraged by them. But he was not able to go just then. So instead Paul sent a lengthy letter. In his letter we have our most careful, thorough, and detailed explanation of that Gospel which God called Paul to preach. In Galatians we catch glimpses of themes that Paul now fully develops. As we study Romans, we see that in Christ, God has truly taken a new and dynamic approach to the question of righteousness. The cage of the Law was designed to restrain unrighteousness. The freedom of the Gospel is designed to produce in man the righteousness of God. "In the Gospel a righteousness from God is revealed, a righteousness that is by faith from first to last" Teacher's Commentary Chrysostom, one of the early church fathers, had the epistle read to him twice a week. And it was Coleridge who said that the Epistle to the Romans was the most profound writing that exists. Further, we find that one of the great scientists turned to this book, and he found that it gave a real faith. This man, Michael Faraday, was asked on his deathbed by a reporter, "What are your speculations now?" Faraday said, "I have no speculations. My faith is firmly fixed in Christ my Savior who died for me, and who has made a way for me to go to heaven." Thru The Bible with J. Vernon McGee. On May 24, 1738, a discouraged missionary went "very unwillingly" to a religious meeting in London. There a miracle took place. "About a quarter before nine," he wrote in his journal, "I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me that He had taken away my sins, even mine, and saved me from the law of sin and death." That missionary was John Wesley. The message he heard that evening was the preface to Martin Luther's commentary on Romans. Bible Exposition Commentary New Testament, Volume 1.

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. 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Stuart Maconie presents the Loose Ends festive Christmas special, recorded in front of an audience in the BBC's Philharmonic Studio at MediaCity. King of the Christmas jumper, Gyles Brandreth brings his book 'Somewhere, A Boy And A Bear' - a biography of AA Milne and Winnie-the-Pooh. He regales us with stories of Christopher Robin and of a surprising encounter with a Rolling Stone.Carrie Grant tells us all about the book she's written with her husband David, 'Joy To The World', which explores the stories behind iconic Christmas songs, including Stay Another Day, Last Christmas and Gaudete.Lisa Faulkner is returning to the stage for the first time in 21 years, as she's about to star in new stage adaptation of the hit 90s movie Single White Female alongside Kym Marsh. We hear about her upcoming epic tour, as well as her controversial take on the role of Yorkshire Puddings on a Christmas dinner.Comedian Simon Evans takes a break from his current tour 'Staring At The Sun' to talk Coleridge, James Joyce and, of course, Bernard Manning...There's music from The Unthanks as they perform 'The Cherry Tree Carol' and the beautiful winter song 'Hawthorn'.Presenter: Stuart Maconie Producer: Elizabeth Foster

John Granger Attempts to Convince Nick (and You!) That The Hallmarked Man will be Considered the Best of the Series.We review our take-away impressions from our initial reading of The Hallmarked Man. Although we enjoyed it, especially John's incredible prediction of Robin's ectopic pregnancy, neither of us came away thinking this was the finest book in the series. For Nick, this was a surprise, as enthusiastic J. K. Rowling fan that he is other than Career of Evil every book he has read has been his favourite. Using an innovative analysis of the character pairs surrounding both Cormoran and Robin, John argues that we can't really appreciate the artistry of book number eight until we consider its place in the series. Join John and Nick as they review the mysteries that remain to be resolved and how The Hallmarked Man sets readers up for shocking reveals in Strike 9 and 10!Why Troubled Blood is the Best Strike Novel:* The Pillar Post Collection of Troubled Blood Posts at HogwartsProfessor by John Granger, Elizabeth Baird-Hardy, Louise Freeman, Beatrice Groves, and Nick JefferyTroubled Blood and Faerie Queene: The Kanreki ConversationBut What If We Judge Strike Novels by a Different Standard than Shed Artifice? What About Setting Up the ‘Biggest Twist' in Detective Fiction History?* If Rowling is to be judged by the ‘shock' of the reveals in Strike 10, then The Hallmarked Man, the most disappointing book in the series even to many Serious Strikers, will almost certainly be remembered as the book that set up the finale with the greatest technical misdirection while playing fair.* The ending must be a shock, one that readers do not see coming, BUT* The author must provide the necessary clues and pointers repeatedly and emphatically lest the reader feel cheated at the point of revelation.* If the Big Mysteries of the series are to be solved with the necessary shock per both Russian Formalist and Perennialist understanding, then the answers to be revealed in the final two Strike novels, Books Two and Three of the finale trilogy, should be embedded in The Hallmarked Man.* Rowling on Playing Fair with Readers:The writer says that she wanted to extend the shelf of detective fiction without breaking it. “Part of the appeal and fascination of the genre is that it has clear rules. I'm intrigued by those rules and I like playing with them. Your detective should always lay out the information fairly for the reader, but he will always be ahead of the game. In terms of creating a character, I think Cormoran Strike conforms to certain universal rules but he is very much of this time.* On the Virtue of ‘Penetration' in Austen, Dickens, and Rowling* Rowling on the Big Twist' in Austen's Emma:“I have never set up a surprise ending in a Harry Potter book without knowing I can never, and will never, do it anywhere near as well as Austen did in Emma.”What are the Key Mysteries of the Strike series?Nancarrow FamilyWhy did Leda and Ted leave home in Cornwall as they did?Why did Ted and Joan not “save” Strike and Lucy?Was Leda murdered or did she commit suicide?If she was murdered, who dunit?If she commited suicide, why did she do it?What happened to Switch Whittaker?Cormoran StrikeIs Jonny Rokeby his biological father?What SIB case was he investigating when he was blown up?Was he the father of Charlotte's lost baby? If not, then who was?Why has he been so unstable in his relations with women post Charlotte Campbell?Charlotte CampbellWhy did her mother hate her so much?What was her relationship with her three step-fathers? Especially Dino LongcasterWho was the father of her lost child?Was the child intentionally aborted or was it a miscarriage?What was written in her “suicide note”?Was Charlotte murdered or did she commit suicide?If she was murdered, who done it?If she committed suicide, why did she do it?What happened to the billionaire lover?What clues do we get in Hallmarked Man that would answer these questions?- Strike 8 - Greatest Hits of Strikes 1-7: compilation, concentration of perumbration in series as whole* Decima/Lion - incest* Rupert's biological father not his father of record (Dino)* Sacha Legard a liar with secrets* Ryan Murphy working a plan off-stage - Charlotte's long gameStrike about ‘Pairings' in Lethal WhiteStrike continued to pore over the list of names as though he might suddenly see something emerging out of his dense, spiky handwriting, the way unfocused eyes may spot the 3D image hidden in a series of brightly colored dots. All that occurred to him, however, was the fact that there was an unusual number of pairs connected to Chiswell's death: couples—Geraint and Della, Jimmy and Flick; pairs of full siblings—Izzy and Fizzy, Jimmy and Billy; the duo of blackmailing collaborators—Jimmy and Geraint; and the subsets of each blackmailer and his deputy—Flick and Aamir. There was even the quasi-parental pairing of Della and Aamir. This left two people who formed a pair in being isolated within the otherwise close-knit family: the widowed Kinvara and Raphael, the unsatisfactory, outsider son.Strike tapped his pen unconsciously against the notebook, thinking. Pairs. The whole business had begun with a pair of crimes: Chiswell's blackmail and Billy's allegation of infanticide. He had been trying to find the connection between them from the start, unable to believe that they could be entirely separate cases, even if on the face of it their only link was in the blood tie between the Knight brothers.Part Two, Chapter 52Key Relationship Pairings in Cormoran Strike:Who Killed Leda Strike?To Rowling-Galbraith's credit, credible arguments in dedicated posts have been made that every person in the list below was the one who murdered Leda Strike. Who do you think did it?* Jonny Rokeby and the Harringay Crime Syndicate (Heroin Dark Lord 2.0),* Ted Nancarrow (Uncle Ted Did It),* Dave Polworth,* Leda Strike (!),* Lucy Fantoni (Lucy and Joan Did It and here),* Sir Randolph Whittaker,* Nick Herbert,* Peter Gillespie, and* Charlotte Campbell-RossScripted Ten Questions:1. So, Nick, back when we first read Hallmarked Man we said that there were four things we knew for sure would be said about Strike 8 in the future. Do you remember what they were?2. And, John, you've been thinking about the ‘Set-Up' idea and how future Rowling Readers will think of Hallmarked Man, even that they will think of it as the best Strike novel. I thought that was Troubled Blood by consensus. What's made you change your mind?3. So, Nick, yes, Troubled Blood I suspect will be ranked as the best of series, even best book written by Rowling ever, but, if looked at as the book that served the most critical place in setting up the finale, I think Hallmarked Man has to be considered better in that crucial way than Strike 5, better than any Strike novel. Can you think of another Strike mystery that reviews specific plot points and raises new aspects of characters and relationships the way Strike 8 does?4. Are you giving Hallmarked Man a specific function with respect to the last three books than any of the others? If so, John, what is that exactly and what evidence do we have that in Rowling's comments about reader-writer obligations and writer ambitions?5. Nick, I think Hallmarked Man sets us up to answer the Key mysteries that remain, that the first seven books left for the final three to answer. I'm going to organize those unresolved questions into three groups and challenge you to think of the ones I'm missing, especially if I'm missing a category.6. If I understand the intention of your listing these remaining questions, John, your saying that the restatement of specific plot points and characters from the first seven Strike novels in Hallmarked Man points to the possible, even probable answers to those questions. What specifically are the hallmarks in this respect of Hallmarked Man?7. If you take those four points, Nick, and revisit the mysteries lists in three categories, do you see how Rowling hits a fairness point with respect to clueing readers into what will no doubt be shocking answers to them if they're not looking for the set-ups?8. That's fun, Nick, but there's another way at reaching the same conclusions, namely, charting the key relationships of Strike and Ellacott to the key family, friends, and foes in their lives and how they run in pairs or parallel couplets (cue PPoint slides).9. Can we review incest and violence against or trafficking of young women in the Strike series? Are those the underpinning of the majority of the mysteries that remain in the books?10. Many Serious Strikers and Gonzo Galbraithians hated Striuke 8 because Hallmarked Man failed to meet expectations. In conclusion, do you think, Nick, that this argument that the most recent Strike-Ellacott adventure is the best because of how it sets us up for the wild finish to come will be persuasive -- or just annoying?On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtThe Neo-Iconoclasm of Film (and Other Screened Adaptations): Justin requested within his question for an expansion of my allusion to story adaptations into screened media as a “neo-iconoclasm.” I can do that here briefly in two parts. First, by urging you to read my review of the first Hunger Games movie adaptation, ‘Gamesmakers Hijack Story: Capitol Wins Again,' in which I discussed at post's end how ‘Watching Movies is a a Near Sure Means to Being Hijacked by Movie Makers.' In that, I explain via an excerpt from Jerry Mander's Four Arguments for the Elimination of Television, the soul corrosive effects of screened images.Second, here is a brief introduction to the substance of the book I am working on.Rowling is a woman of profound contradictions. On the one hand, like all of us she is the walking incarnation of her Freudian family romance per Paglia, the ideas and blindspots of the age in which we live, with the peculiar individual prejudices and preferences and politics of her upbringing, education, and life experiences, especially the experiences we can call crises and consequent core beliefs, aversions, and desires. Rowling acknowledges all this, and, due to her CBT exercises and one assumes further talking therapy, she is more conscious of the elephant she is riding and pretending to steer than most of her readers.She points to this both in asides she make in her tweets and public comments but also in her descriptive metaphor of how she writes. The ‘Lake' of that metaphor, the alocal place within her from her story ideas and inspiration spring, is her “muse,” the word for superconscious rather than subconscious ideas that she used in her 2007 de la Cruz interview. She consciously recognizes that, despite her deliberate reflection on her PTSD, daddy drama, and idiosyncratic likes and dislikes, she still has unresolved issues that her non-conscious mind presents to her as story conflict for imaginative resolution.Her Lake is her persona well, the depths of her individual identity and a mask she wears.The Shed, in contrast, is the metaphorical place where Rowling takes the “stuff” given her by the creature in her Lake, the blobs of molten glass inspiration, to work it into proper story. The tools in this Shed are unusual, to say the least, and are the great markers of what makes Rowling unique among contemporary writers and a departure from, close to a contradiction of the artist you would expect to be born of her life experiences, formative crises, and education.Out of a cauldron potion made from listening to the Smiths, Siouxie and the Banshees, and The Clash, reading and loving Val McDermid, Roddy Doyle, and Jessica Mitford, and surviving a lower middle class upbringing with an emotionally barren homelife and Comprehensive education on the England-Wales border, you'd expect a Voldemort figure at Goblet of Fire's climax to rise rather than a writer who weaves archetypally rich myths of the soul's journey to perfection in the spirit with alchemical coloring and sequences, ornate chiastic structures, and a bevy of symbols visible only to the eye of the Heart.To understand Rowling, as she all but says in her Lake and Shed metaphor, one has to know her life story and experiences to “get” from where her inspiration bubbles up and, as important, you need a strong grasp of the traditionalist worldview and place of literature in it to appreciate the power of the tools she uses, especially how she uses them in combination.The biggest part of that is understanding the Perennialist definition of “Sacred Art.” I touched on this in a post about Rowling's beloved Christmas story, ‘Dante, Sacred Art, and The Christmas Pig.'Rowling has been publicly modest about the aims of her work, allowing that it would be nice to think that readers will be more empathetic after reading her imaginative fiction. Dante was anything but modest or secretive in sharing his self-understanding in the letter he wrote to Cangrande about The Divine Comedy: “The purpose of the whole work is to remove those living in this life from the state of wretchedness and to lead them to the state of blessedness.” His aim, point blank, was to create a work of sacred art, a category of writing and experience that largely exists outside our understanding as profane postmoderns, but, given Rowling's esoteric artistry and clear debts to Dante, deserves serious consideration as what she is writing as well.Sacred art, in brief, is representational work — painting, statuary, liturgical vessels and instruments, and the folk art of theocentric cultures in which even cutlery and furniture are means to reflection and transcendence of the world — that employ revealed forms and symbols to bring the noetic faculty or heart into contact with the supra-sensible realities each depicts. It is not synonymous with religious art; most of the art today that has a religious subject is naturalist and sentimental rather than noetic and iconographic, which is to say, contemporary artists imitate the creation of God as perceived by human senses rather than the operation of God in creation or, worse, create abstractions of their own internally or infernally generated ideas.Story as sacred art, in black to white contrast, is edifying literature and drama in which the soul's journey to spiritual perfection is portrayed for the reader or the audience's participation within for transformation from wretchedness to blessedness, as Dante said. As with the plastic arts, these stories employ traditional symbols of the revealed traditions in conformity with their understanding of cosmology, soteriology, and spiritual anthropology. The myths and folklore of the world's various traditions, ancient Greek drama, the epic poetry of Greece, Rome, and Medieval Europe, the parables of Christ, the plays of Shakespeare's later period, and the English high fantasy tradition from Coleridge to the Inklings speak this same symbolic language and relay the psychomachia experience of the human victory over death.Dante is a sacred artist of this type. As difficult as it may be to understand Rowling as a writer akin to Dante, Shakespeare, Homer, Virgil, Aeschylus, Spenser, Lewis, and Tolkien, her deployment of traditional symbolism and the success she enjoys almost uniquely in engaging and edifying readers of all ages, beliefs, and circumstances suggests this is the best way of understanding her work. Christmas Pig is the most obviously sacred art piece that Rowling has created to date. It is the marriage of Dantean depths and the Estecean lightness of Lewis Carroll's Alice books, about which more later.[For an introduction to reading poems, plays, and stories as sacred art, that is, allegorical depictions of the soul's journey to spiritual perfection that are rich in traditional symbolism, Ray Livingston's The Traditional Theory of Literature is the only book length text in print. Kenneth Oldmeadow's ‘Symbolism and Sacred Art' in his Traditionalism: Religion in the light of the Perennial Philosophy(102-113), ‘Traditional Art' in The Essential Seyyed Hossein Nasr(203-214), and ‘The Christian and Oriental, or True Philosophy of Art' in The Essential Ananda K. Coomaraswamy(123-152) explain in depth the distinctions between sacred and religious, natural, and humanist art. Martin Lings' The Sacred Art of Shakespeare: To Take Upon Us the Mystery of Things and Jennifer Doane Upton's two books on The Divine Comedy, Dark Way to Paradise and The Ordeal of Mercy are the best examples I know of reading specific works of literature as sacred art rather than as ‘stories with symbolic meaning' read through a profane and analytic lens.]‘Profane Art' from this view is “art for art's sake,” an expression of individual genius and subjective meaning that is more or less powerful. The Perennialist concern with art is less about gauging an artist's success in expressing his or her perception or its audience's response than with its conformity to traditional rules and its utility, both in the sense of practical everyday use and in being a means by which to be more human. Insofar as a work of art is good with respect to this conformity and edifying utility, it is “sacred art;” so much as it fails, it is “profane.” The best of modern art, even that with religious subject matter or superficially beautiful and in that respect edifying, is from this view necessarily profane.Sacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”The original iconoclasts or “icon bashers” were believers who treasured sacred art but did not believe it could use images of what is divine without necessarily being blasphemous; after the incarnation of God as Man, this was no longer true, but traditional Christian iconography is anything but naturalistic. It could not be without becoming subjective and profane rather than being a means to spiritual growth and encounters. Western religious art from the Renaissance and Reformation forward, however, embraces profane imitation of the sense perceived world, which is to say naturalistic and as such the antithesis of sacred art. Film making, on religious and non-religious subjects, is the apogee of this profane art which is a denial of any and all of the parameters of Sacred art per Aquinas, traditional civilizations, and the Perennialists.It is a neo-iconoclasm and a much more pervasive and successful destruction of the traditional world-view, so much so that to even point out the profanity inherent to film making is to insure dismissal as some kind of “fundamentalist,” “Puritan,” or “religious fanatic.”Screened images, then, are a type of iconoclasm, albeit the inverse and much more subtle kind than the relatively traditional and theocentric denial of sacred images (the iconoclasm still prevalent in certain Reform Church cults, Judaism, and Islam). This neo-iconoclasm of moving pictures depicts everything in realistic, life-like images, everything, that is, except the sacred which cannot be depicted as we see and experience things. This exclusion of the sacred turns upside down the anti-naturalistic depictions of sacred persons and events in iconography and sacred art. The effect of this flood of natural pictures akin to what we see with our eyes is to compel the flooded mind to accept time and space created nature as the ‘most real,' even ‘the only real.' The sacred, by never being depicted in conformity with accepted supernatural forms, is effectively denied.Few of us spend much time in live drama theaters today. Everyone watches screened images on cineplex screens, home computers, and smart phones. And we are all, consequently, iconoclasts and de facto agnostics, I'm afraid, to greater and lesser degrees because of this immersion and repetitive learning from the predominant art of our secular culture and its implicit atheism.Contrast that with the imaginative experience of a novel that is not pornographic or primarily a vehicle of perversion and violence. We are obliged to generate images of the story in the transpersonal faculty within each of us called the imagination, one I think that is very much akin to conscience or the biblical ‘heart.' This is in essence an edifying exercise, unlike viewing photographic images on screens. That the novel appears at the dawn of the Modern Age and the beginning of the end of Western corporate spirituality, I think is no accident but a providential advent. Moving pictures, the de facto regime artistry of the materialist civilization in which we live, are the counter-blow to the novel's spiritual oxygen.That's the best I can manage tonight to offer something to Justin in response to more about the “neo-iconoclasm” of film This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

In this episode I am once again joined by Duncan Barford, occult practitioner, counsellor, and author of “Occult Experiments in the Home”. Duncan begins with an analysis of the 2016 film, “A Dark Song”, which he believes is the most accurate depiction of occult practice in cinema. Duncan details the plot, breaks down its depictions of ritual, and shares his own emotional reaction to the film's climax. Duncan then shifts gear and gives a detailed explanation of the infamous Abramelin ritual, a multi-month ritual considered by many to be the most ambitious working a magician can attempt. Duncan gives a survey of the major written accounts of those who have attempted it including Aleister Crowley, Lionel Snell, and William Bloom; reveals why the ritual has such a high failure rate; and shares what he believes is the key to success. Duncan also analyses the esoteric structure of Coleridge's poem “Rime of the Ancient Mariner” and interprets it as a description of the spiritual path, proposes an equivalency between success in the Abramelin and Buddhist stream entry, and reveals why he believes the study of history is an obstacle to magickal success. … Video version: https://www.guruviking.com/podcast/ep336-the-magick-of-abramelin-duncan-barford-3 Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'. … Topics include: 00:00 - Intro 01:28 - The Magick of A Dark Song 02:45 - The film 04:41 - The Abramelin Ritual 07:23 - Cinematic depictions of magick 08:04 - Spoiler warnings and the plot 08:24 - Hiring the magician 10:03 - Sophia's motive for the ritual 11:36 - A deep understanding of how ritual works 14:40 - Describing the magickal working 17:04 - Meeting the Holy Guardian Angel 21:01 - The practitioner's journey 25:58 - Characer arcs 30:03 - The key of devotion 33:02 - The esoteric structure of Coleridge's “Rime of the Ancient Mariner” 33:34 - The cycle of insight 38:37 - Crisis, breakthrough, ordeal, union 43:38 - Unsettling themes 44:12 - Interventus Caninus 44:57 - What next after absolution? 45:33 - What is the point of the Abramelin Ritual? 46:46 - Reflecting on the ending of the film 49:39 - Crowley, Snell, Bloom, and Katz - those who attempted the Abramelin 49:54 - Mysterious history of the Abramelin Ritual 52:39 - Recensions of the Abramelin 53:56 - Duncan describes the Abramelin text and ritual 01:00:20 - Why does the Abramelin ritual have such a high failure rate? 01:02:12 - Meeting Lionel Snell 01:04:51 - A tarot reading and why history is an obstacle to real magick 01:06:53 - Daniel Ingram's revision of traditional fire kasina meditation 01:11:00 - Crowley's attempts at the Abramelin ritual 01:14:37 - Other accounts 01:16:40 - William Bloom's attempt 01:20:45 - Secret to success with the Abramelin Ritual 01:24:13 - How to increase the success rate of rituals 01:29:18 - Are you ready to attempt the Abramelin? 01:31:52 - Stream entry and Abramelin 01:34:35 - Duncan reflects on his past claims to attainment 01:37:16 - Questioning pragmatic dharma assumptions and the vogue of stream entry 01:41:00 - Insider vs outsider views 01:42:13 - Does magick really work? 01:43:31 - A story of powerful magickal effects 
… Watch previous episodes with Duncan Barford: - https://www.guruviking.com/search?q=barford To find our more about Duncan Barford, visit: - https://www.duncanbarford.uk/ … For more interviews, videos, and more visit: - https://www.guruviking.com Music ‘Deva Dasi' by Steve James

When "stigmatizing" has become a bad word and a bad thing everywhere and for every one, one brave British curmudgeon dares to demand it's return!  Romancing Opiates: Pharmacological Lies and the Addiction Bureaucracy By: Theodore Dalrymple Published: 2006 160 Pages Briefly, what is this book about? This book aims to shatter some of the myths around opioid addiction. The first part covers the myth that stopping opioids cold turkey is both painful and dangerous. The second part dissects the myths propagated by literature, primarily Coleridge and De Quincey. The final part ties it into an addiction bureaucracy, though that part still references De Quincey an awful lot.  What's the author's angle? Dalrymple worked as a prison doctor and psychiatrist for many years. Accordingly, he has a lot of experience with addicts. But he's also very culturally conservative. The combination of the two leads him to strongly oppose coddling addicts, arguing instead that they should be stigmatized. Who should read this book? I'm a fan of Dalrymple. I've enjoyed his columns over the years, and I appreciate his curmudgeonly British insight. I previously enjoyed and reviewed his book Life at the Bottom. I would definitely recommend that book before this book. Actually, I would not recommend this book period, unless, for some reason, you want a really deep dive into Coleridge and De Quincey's writings about opium.  Specific thoughts: Opioid addiction is not a disease?

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

On the last four episodes of the Profile, we have discussed the importance of understanding and living in accordance with the fact that we as human beings are intentionally created by God, in His image. When we lose sight of this central truth about our humanity, much moral and societal confusion and many evils will soon follow. If naturalism is true, then morality and virtue are mere sentiments, not anything objectively true or real. Literary scholar and Christian apologist C.S. Lewis recognized what individual and cultural consequences would follow in the wake of moral relativism. On this episode of Apologetics Profile, we discuss C.S. Lewis's The Abolition of Man with Lewis scholar and author Dr. Michael Ward and how Lewis's thoughts are still very much relevant for our time. From michaelward.netMichael Ward is an English literary critic and theologian. He works at the University of Oxford where he is an associate member of the Faculty of Theology and Religion. He is the author of the award-winning and best-selling Planet Narnia: The Seven Heavens in the Imagination of C.S. Lewis (Oxford University Press) and of After Humanity: A Guide to C.S. Lewis's The Abolition of Man (Word on Fire Academic); he is the co-editor of The Cambridge Companion to C.S. Lewis (Cambridge University Press). Though based at Oxford in his native England, Dr Ward is also employed as Professor of Apologetics at Houston Christian University, Texas, teaching one course per semester as part of the online MA program in Christian Apologetics.Free Four-Page Articles From Watchman FellowshipCharles Darwin Carl Sagan's CosmosNaturalism Deconstruction FREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.PROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (over 600 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/notebook. SUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

In this episode I join Charles Manson in Oxford, England to visit the Bodleian Library (Oxford University) where he is the specialist librarian for its Tibetan Collections. Charles leads us through the streets of Oxford to visit the old Bodleian Library, founded in 1602. Then we arrive at the Weston Library to explore its collection of Tibetan manuscripts. Charles guides us through gold lettered texts about Lamdre and expiation, describes the process of textual revelation known as “terma”, and shares a warning based on his own experiences of dark retreat. Charles explains the Tibetan doctrines of the afterlife while showing a rare copy of the Tibetan Book of the Dead, muses on Coleridge's advice for visiting a library, and reflects on why he believes converts to Tibetan Buddhism should attempt to learn the Tibetan language. Charles also details his working routine as a librarian and archivist, reflects on his own academic journey from SOAS to Harvard and Oxford, and considers the role his religious faith plays in his work with Tibetan texts. … Video version: https://www.guruviking.com/podcast/ep332-oxford-librarian-of-tibet-charles-manson Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'.
 … Topics include: 00:00 - Intro 01:16 - The old Bodleian 03:25 - Entering the Weston Library 06:13 - Retrieving the texts 06:48 - The Driver collection 08:29 - Close look at a Lamdre text 12:33 - Features of a terma treasure text 13:14 - Mind vs earth termas 15:15 - How termas are composed 15:51 - Charles' terma experience 16:54 - 4 ways of changing the mind 17:30 - Expanding a terma 18:02 - The Driver collection 19:00 - Dakini script and images 20:52 - Manuscript care 21:20 - Unwrapping a text, discovering a washing prayer 22:30 - More texts 24:50 - The Tibetan Book of the Dead 26:03 - Bardo doctrine of 49 days between lives 26:24 - Opportunities for liberation at and after death 27:43 - How to use the Tibetan Book of the Dead 28:39 - The process of rebirth 29:48 - Liberation upon hearing 30:18 - Phowa practice for the dead 33:16 - Dark retreat as preparation for death 34:11 - Dark retreat warnings 35:40 - Charles' studies at SOAS, Harvard, and Oxford 38:45 - Beginning at the Bodleian Library 39:58 - Coleridge on libraries 41:15 - Work at the British Library 41:46 - Why Charles would like more time 43:06 - First days at the Bodleian Library 44:36 - Initial work on the collection 45:27 - The Library of Congress and other partnerships 50:59 - Range of acquisitions 52:46 - Tibetan medical writing 53:41 - Access and the goals of Charles' library acquisitions 57:14 - What would Charles do with more funding 01:01:41 - Providing online access for the world 01:03:32 - Day in the life at the Bodleian Library 01:06:33 - Importance of specialist knowledge 01:09:19 - Charles' religious devotion 01:13:45 - Separation of religion and scholarship 01:14:53 - Why converts should learn the Tibetan language 01:16:43 - Scholar practitioners and the importance of study 01:18:17 - Teaching the Tibetan language 01:19:02 - Curation as religious service 01:19:17 - Charles' invitation to viewers … Previous episode with Charles Manson: - https://www.guruviking.com/podcast/ep243-scholar-practitioner-charles-manson To find our more about Charles Manson, visit: - https://www.shambhala.com/authors/the-second-karmapa-karma-pakshi.html - https://uk.linkedin.com/in/charles-manson-07420911 - charles.manson@bodleian.ox.ac.uk … 
For more interviews, videos, and more visit: - www.guruviking.com … Music ‘Deva Dasi' by Steve James

Gummies, gummies, everywhere, and more each time we blink! Sure, it's not as poetic as Coleridge, but Trader Joe's really has upped the ante in our Gummy game – and we are here for it! Do you like the classics? We have those. You're more the sour sort? Saunter on in and get ready to pucker! Is a filled gummy your jam? We truly understand, and we're filling that void. Thanks to a visit from our resident Gummy Guru (aka, our Candy Category Manager), this episode is downright bouncy, packed with fun info about the wide variety of gummies at Trader Joe's, and a look into the wider world of gummy invention – we'll admit we were unaware of just how wide that world was, and this conversation opened our eyes and tingled our tastebuds. What's YOUR favorite Trader Joe's Gummy? Transcript (PDF)

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Claire and Rachel are joined today by Dr. James Smoker, the Registrar at Regent College and the original instigator of the Regent College Podcast. We talk about his PhD research, which focused on the thought and theology of the Romantic poet Samuel Taylor Coleridge. A close friend of William Wordsworth, Coleridge is renowned for observing and learning from the natural world, grappling with life's profound questions through fairy tale, and incorporating theological reflection into his work. As James shares, Coleridge has become a companion on his journey in a faith that holds questions. If this conversation piques your interest, consider joining James's Fall class: “Imagining Being Human: The Theology and Poetry of Samuel Taylor Coleridge.” Listen to the end for an announcement about a short break in broadcasting! We'll be back with more good conversations on a biweekly release schedule from September 12. James's BioDr. James Smoker serves as the Registrar at Regent College where he also contributes as a sessional lecturer. He holds both an MA and ThM from Regent College and earned his PhD from the University of St Andrews. James's doctoral research focused on the works of Samuel Taylor Coleridge (1772–1834), exploring how imagination intersects with theological concepts such as knowing God, faith, and doubt. His academic interests also encompass the writings of Sara Coleridge (1802–1852), the interplay between popular culture and theology, and the role of imagination in environmental stewardship. He has contributed to scholarly journals and popular publications. James will be teaching a class on Coleridge this Fall, “Imagining Being Human: The Theology and Poetry of Samuel Taylor Coleridge.”Regent College Podcast Thanks for listening. Please like, rate and review us on your podcast platform of choice and share this episode with a friend. Follow Us on Social Media Facebook Instagram Youtube Keep in Touch Regent College Summer Programs Regent College Newsletter

On today's episode of The Literary Life podcast, Angelina, Cindy, and Thomas wrap up their discussion of The Jungle Book by Rudyard Kipling with the final Mowgli story–“Tiger, Tiger.” Before beginning to talk about the story, the chat a little about Kipling's other works and his place in literary history and what sort of writer he was. In this section, Angelina points out the parallels to the first story, as well as the mythic qualities of the whole tale. Together they cover the various ideas in this section, including the ideas of belonging, freedom and boundaries, and heroism. Join is next week for an episode on “Literary Milestones” in the life of a reader. After that we will begin a new series on Edith Wharton's The Age of Innocence. Over at House of Humane Letters, a new webinar is now available for registration. It is taught by Heather Goodman and is titled “Coleridge's Imagination: Restoring the Chain of Being.” Also, check out this year's Back to School Online Conference, “Educating the Freeborn,” over at MorningTimeforMoms.com to get registered and hear all of this year's amazing speakers! To view the full show notes for this episode, please visit https://theliterary.life/287. 

Welcome back to our ongoing conversation on Susanna Clarke's Piranesi. This week we're discussing the book's genre-bending nature, Clarke's extremely allusive approach (from Coleridge to Lewis and others in between), whether the house of a dark place or a peaceful place, and much more. Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

This week, the Pugsters are excited to welcome poet, priest, and theologian Malcolm Guite to the show. Chris leads off the conversation with Mariner, Guite’s biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge’s life and work as a jumping off point to move on to other topics, including Lewis’s concept of joy and the nature and importance of imagination. It’s a fascinating discussion with a fascinating individual, and we think you’ll find it as stimulating as we did. Follow Malcolm Guite on Youtube: https://www.youtube.com/@MalcolmGuitespell Support the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

This week, the Pugsters are excited to welcome poet, priest, and theologian Malcolm Guite to the show. Chris leads off the conversation with Mariner, Guite's biography of Samuel Taylor Coleridge which uniquely among studies of Coleridge brings out the importance of his return to Trinitarian Christianity to his life. The conversation uses Coleridge's life and work as a jumping off point to move on to other topics, including Lewis's concept of joy and the nature and importance of imagination. It's a fascinating discussion with a fascinating individual, and we think you'll find it as stimulating as we did.Follow Malcolm Guite on Youtube: https://www.youtube.com/@MalcolmGuitespellSupport the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

While you can count on one hand the poems Coleridge contributed to Lyrical Ballads, they are some of the most memorable in the collection. Today's poem uses an abstract description to conjure a very concrete social evil–the state of British prisons at the end of the long 18th century. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

We begin a week of selections from Lyrical Ballads with today's nostalgic and pastoral poem, “Lines Written a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour, July 13, 1798.” Happy reading!Jonathan Kerr of the Wordsworth Trust writes about the revolutionary context of the Lyrical Ballads and the revolutionary nature of the project itself:“Wordsworth and Coleridge's first major literary undertaking and a pioneering work of English Romanticism – came into being at a tumultuous moment in England's history…Not since the English Revolution had the country faced such alarming upheaval and discord within its borders.On first glance it might not seem like the little collection authored by Wordsworth and Coleridge has much to do with this heady and factional atmosphere. Lyrical Ballads came about in the spring and summer of 1798, when the Coleridge and Wordsworth families lived as neighbours in the secluded village of Holford, Somerset. Wordsworth and Coleridge had only known one another a short time, but they became quick friends and mutually-admiring colleagues. The small village provided both poets with a break from the spirited goings-on of cities like London and Bristol, which could often be dangerous places for young men with unorthodox opinions. Coleridge and Wordsworth, both committed reformers through the early years of the French Revolution, knew this is as well as anybody, and their retreat into the country was motivated as much by concerns for their personal security as anything else.…Whether or not Wordsworth and Coleridge continued to sympathize with the revolution abroad, there can be little doubt that with Lyrical Ballads the two were committed to one kind of revolution at least, a revolution in the sphere of poetry and art. Lyrical Ballads is among other things an attempt to purify poetry of the cold conventions which had come to dominate the literary scene, at least according to both poets; in place of this, Wordsworth and Coleridge wanted to bring poetry back to what is most common and recognizable, and also most important, within our emotional, social, and imaginative lives. If this doesn't seem like such an extraordinary undertaking today, this might owe to the remarkable success of Wordsworth and Coleridge's quiet revolution on the literary front.” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

[This episode originally ran on July 18, 2016. It is presented here without commercial interruption.] In 1797, the poet Samuel Taylor Coleridge took two grains of opium and fell into a stupor. When he awoke, he had in his head the remnants of a marvelous dream, a vivid train of images of the Chinese emperor Kubla Khan and his summer palace, Xanadu. The vision transformed itself into lines of poetry, but as he started writing, he was interrupted by a Person from Porlock, who arrived at Coleridge's cottage on business and stayed for an hour. when Coleridge returned to his work, the vision had been lost, and the fragmentary nature of the poem Kubla Khan has haunted its admirers ever since. The resentment has centered around the bumbling Person from Porlock, whose visit remains shrouded in mystery. The scholar Jonathan Livingston Lowes put it bluntly: “If there is any man in the history of literature who should be hanged, drawn, and quartered,” he wrote, “it is the man on business from Porlock.” Who was this Person from Porlock, and why was he knocking on the door of Coleridge's cottage? How did Coleridge handle the interruption, and what did it mean for him and his art? And finally, what might we take from this vivid legend today? Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Piano Between” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode looks at the early days of Christmas trees, the origin of glass ornaments, and the practice of mounting lit candles on trees before electric bulbs were invented. Research: · “36 Perish as Party Guests Stampede to Flee Flames.” The Minneapolis Star. Dec 25, 1924. https://www.newspapers.com/image/178762039/ · “Accident From a Christmas Tree.” The Morning Post. Jan 11, 1850. https://www.newspapers.com/image/402121758/?match=1&terms=%22christmas%20tree%22%20Victoria · Barnes, Allison. “The First Christmas Tree. History Today. December 12, 2006. https://www.historytoday.com/archive/history-matters/first-christmas-tree · Brittain, J. E. "John R. Crouse and the Society for Electrical Development [Scanning the Past]." Proceedings of the IEEE, vol. 86, no. 12, pp. 2475-2477, Dec. 1998. https://ieeexplore.ieee.org/document/735455 · Britannica, The Editors of Encyclopaedia. "Woolworth Co.." Encyclopedia Britannica, 30 Nov. 2024, https://www.britannica.com/money/Woolworth-Co · “A Christmas tree candle set fire … “ The Jersey City News. Jan. 9, 1892. https://www.newspapers.com/image/856106974/?match=1&terms=christmas%20tree%20candles%20fire · Coleridge, Samuel Taylor, and Ernest Hartley Coleridge, ed. “LETTERS OFSAMUEL TAYLOR COLERIDGE.” London. William Heinemann. 1895. Accessed online: https://gutenberg.org/files/44553/44553-h/44553-h.htm · Flander, Judith. “Christmas: A Biography.” Thomas Dunne Books. 2017. · Foyle, Jonathan. “The Business of Baubles – and the Town That Invented Them.” Financial Times. Dec. 19, 2014. https://www.ft.com/content/ce33a468-812a-11e4-b956-00144feabdc0 · “Glass Christmas Ornaments.” The German Way. https://www.german-way.com/history-and-culture/holidays-and-celebrations/christmas/glass-christmas-ornaments/ · Loud, Nicholas. “The History of Christmas Decorations in America.” Saturday Evening Post. December 2020. https://www.saturdayeveningpost.com/2020/12/the-history-of-christmas-decorations-in-america/ · Lorch, Mark. “The Forgotten Scientist Who Made Modern Christmas Ornaments Possible.” Fast Company. Dec. 21, 2021. https://www.fastcompany.com/90707875/the-forgotten-scientist-who-made-modern-christmas-ornaments-possible · Malanowski, Jamie. “Untangling the History of Christmas Lights.” Smithsonian. December 2016. https://www.smithsonianmag.com/history/untangling-history-christmas-lights-180961140/ · “No Christmas Tree Fires Are Reported Here.” Alton Evening Telegraph. Dec. 28. 1921. https://www.newspapers.com/image/19919324/?match=1&terms=christmas%20tree%20candles%20fire · “A few years ago the caution …” Daily Plainsman. Dec. 12, 1929. https://www.newspapers.com/image/23432095/?match=1&terms=christmas%20tree%20candles%20fire · “Christmas Tree Candles – Fire.” The Courier-Journal of Louisville. Jan. 05, 1909. https://www.newspapers.com/image/119330231/?match=1&terms=christmas%20tree%20candles%20fire · “The Christmas Tree at Windsor Castle.” The Morning Post. Dec. 28, 1848. https://www.newspapers.com/image/402196932/?match=1&terms=%22christmas%20tree%22%20Victoria · “Feiker Takes Commerce Post.” New York Times. July 2, 1931. https://timesmachine.nytimes.com/timesmachine/1931/07/02/113339929.pdf?pdf_redirect=true&ip=0 · “German Hospital, Dalston.” The Morning Post. Jan. 1, 1848. https://www.newspapers.com/image/402129709/?match=1&terms=%22christmas%20tree%22%20Victoria · Prior, Dr. M. Faye. “Trimming the Tree – Glass and metal Christmas tree decorations.” York Museum Trust. https://www.yorkmuseumstrust.org.uk/blog/trimming-the-tree-glass-and-metal-christmas-tree-decorations/ · Roberts, Sam. “Si Spiegel, War Hero Who Modernized Christmas Trees, Dies at 99.” New York Times. Feb. 11, 2024. · Scinto, Madeleine. “Americans Are Spending A Whopping $6 Billion On Christmas Decorations This Year.” Business Insider. Dec. 7, 2011. https://www.businessinsider.com/americans-are-spending-a-record-6-billion-on-christmas-decorations-2011-12 · Shapiro, Laurie Gwen. “He Bombed the Nazis, Outwitted the Soviets and Modernized Christmas.” New York Times. Dec. 17, 2021. https://www.nytimes.com/2021/12/17/nyregion/bomber-pilot-christmas-trees.html · Tikkanen, Amy. "How Did the Tradition of Christmas Trees Start? ". Encyclopedia Britannica, 2 Dec. 2022, https://www.britannica.com/story/how-did-the-tradition-of-christmas-trees-start · Waxman, Olivia B. “How Christmas Trees Became a Holiday Tradition.” TIME. Dec. 21, 2020. https://time.com/5736523/history-of-christmas-trees/ · Waxman, Olivia B. “The Electricity Lobby Was Behind the First National Christmas Tree Lighting.” TIME. Dec. 1, 2016. https://time.com/4580764/national-christmas-tree-lighting-history-origins/ · Waxman, Olivia B. “This Was the First Rockefeller Center Christmas Tree.” TIME. Nov. 30, 2016. https://time.com/4578685/first-rockefeller-center-christmas-tree-lighting/ See omnystudio.com/listener for privacy information.