Podcasts about courtesans

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

A deadly shooting at London's extravagant Savoy Hotel in 1923 prompted a murder trial that pitted East against West. Was the tragedy the result of a pharaoh's curse or merely the consequence of a lover's quarrel?Sources:Bland, Lucy.  “Mme Fahmy's Vindication: Orientalism, miscegenation fears, and female fantasy,” in Modern Women on Trial: Sexual Transgression in the Age of the Flapper (Manchester: Manchester University Press, 2013). Pp. 132-175Leake, Natasha. “How a beguiling French courtesan captured the heart of a young British prince, in a love affair that scandalised the Royal Family.” The Tatler. 19 February 2023. https://www.tatler.com/article/prince-harrys-memoir-love-affair-edward-viii-and-french-courtesanRose, Andrew. The Woman Before Wallis: Prince Edward, the Parisian Courtesan, and the Perfect Murder (New York: Picador, 2013).“The Perfect Murder.” Royalty Magazine. Vol. 23/01. https://www.royalty-magazine.com/books-film/the-perfect-murder-2.htmlVerdict Press. Crimes of Passion (London: Verdict Press, 1975).Music: Credits to Holizna, Fesilyan Studios & Virginia ListonFor more information, visit www.oldbloodpodcast.com

Send us a textIn this episode, Lady Petra and Saffermaster discuss the conclusion of the Courtesan section discussing how a courtesan negotiates for her services over a Moscow Mule The Kinky cocktail Hour is brought to you by Motorbunny, the best saddle style vibrator on the market today. Save $40 on your Motorbunny purchase with the code LADYPETRAPLAYGROUND at Motorbunny.com You can order the TechRing, "Where health meets pleasure" at http://myfirmtech.com using the code "KINKY" to save 15%. Put a ring on it!Support the showListen on Podurama https://podurama.com

What if rejection wasn't a sign to shut down, collapse or abandon your deepest desires, but an invitation to deepen into your erotic power, seductively refine your strategy and get even more turned on by what's next? In this episode, I share a recent “no” that sent me spiraling until I remembered what the courtesan would do. Spoiler alert: she doesn't crumble. She gets off. If you've ever felt crushed by rejection, ghosted by a client or shut down after making a vulnerable ask, this episode of the Eros Money Power Podcast is your permission slip to seduce power out of every perceived setback. This is where collapse becomes foreplay. And where you rise from the ashes of rejection dripping in eros, not defeat. What We Cover in This Episode: How to turn rejection, disappointment and collapse into erotic energy that fuels your turn on and next move Why you keep asking for crumbs when your soul wants the whole damn cookie jar (and how to stop settling) The #1 mistake women make when they put their desires on one person or option (and how to shift into sourcing from your power instead) A real case study of a client who used seven “no's” to land a 6-figure YES...by getting kinky with rejection The courtesan's secret: how to alchemize rejection into magnetism and make the universe beg for an encore of you If you're ready to reclaim your influence, power and pleasure on your terms...doors to House of the Courtesan are open. https://www.theamberrenee.com/house-of-the-courtesan/ Sign up for my FREE 3-Day Telegram pop-up salon here: https://www.theamberrenee.com/courtesan-pop-up-salon/ Let's get social, sexy: Instagram: https://www.instagram.com/theamberrenee/ TikTok: https://www.tiktok.com/@theamberrenee Threads: https://www.threads.net/@theamberrenee YouTube: https://www.youtube.com/@TheAmberRenee/ Facebook: https://www.facebook.com/share/16E3eSNDNM/?mibextid=wwXIfr

In this episode of the Eros Money Power podcast, I'm reminding you that your erotic power isn't just an energy reserved for the bedroom or a luxury, it's leverage. It's strategy. It's a living, breathing current of influence that changes how you move, how you're received and what you allow into your life. This is the power courtesans mastered and what modern women are reclaiming. When you learn to wield it, the world doesn't just notice…it responds.  Here's what you'll hear inside: Why erotic energy is not just about sex, but your most potent life-force and strategic edge as a woman The secret behind how courtesans used their erotic energy to create wealth, power and influence, without begging, burning out or bending yourself like a pretzel  How the world shifts around you when you're turned on: clients pay faster, rooms respond differently and money flows with ease Why prioritizing pleasure is a radical political and spiritual act...one that liberates not just you, but everyone you touch If you're ready to reclaim your influence, power and pleasure on your terms...doors to House of the Courtesan are open. This is your invitation. Your initiation. Your return to the legacy, lineage and inheritance of the courtesan that every woman carries within her. This is not just history, it's your inheritance. Enter the House of the Courtesan to reclaim it.

LOW-KEY BEST WES ANDERSON?? The Grand Budapest Hotel Full Reaction Watch Along:   / thereelrejects   With The Phoenician Scheme in Theatres NOW, Andrew & Roxy reunite for The Grand Budapest Hotel Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Visit https://www.liquidiv.com & use Promo Code: REJECTS to get 20% off your first order. Join Andrew Gordon & Roxy Striar as they step into the pastel-hued halls of Wes Anderson's 2014 masterwork The Grand Budapest Hotel. When legendary concierge M. Gustave H. (Ralph Fiennes, The English Patient, Harry Potter and the Goblet of Fire) is framed for the murder of dowager Madame D. (Tilda Swinton, Michael Clayton, Snowpiercer), young lobby boy Zero Moustafa (Tony Revolori, Dope, The French Dispatch) embarks on a whirlwind quest across the snowy Republic of Zubrowka to clear his mentor's name. Along the way, they're aided by pastry-chef Agatha (Saoirse Ronan, Lady Bird, Little Women), who crafts the iconic Courtesan au Chocolat, and pursued by the vengeful heir Dmitri (Adrien Brody, The Pianist, Midnight in Paris). The stellar ensemble also features F. Murray Abraham (Yuri, Amadeus, Scarface) as the ruthless jailer who leads the prison break; Willem Dafoe (Jopling, Spider-Man, The Lighthouse) as the cold-blooded henchman; Jeff Goldblum (Deputy Kovacs, Jurassic Park, Thor: Ragnarok) as the skeptical prosecutor; Jude Law (The Author, Sherlock Holmes, Fantastic Beasts) as the narrating novelist; and cameos from Bill Murray, Edward Norton, Harvey Keitel, Lea Seydoux, and Owen Wilson. Aaron & Roxy break down every meticulously framed moment—from the snowy Alpine ski chase and the thrilling jail break to the decadent Mendl's pastry montage and the bittersweet final framing device. Don't miss their take on why The Grand Budapest Hotel remains one of the most highly searched and endlessly rewatchable films of the 2010s! Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this episode, Lady Petra and Saffermaster read and discuss the section on teaching courtesans how to assess and choose which former lovers to get together with over a Vodka Martini.  The Kinky cocktail Hour is brought to you by Motorbunny, the best saddle style vibrator on the market today. Save $40 on your Motorbunny purchase with the code LADYPETRAPLAYGROUND at Motorbunny.com You can order the TechRing, "Where health meets pleasure" at http://myfirmtech.com using the code "KINKY" to save 15%. Put a ring on it!Support the showListen on Podurama https://podurama.com

In this episode of the Eros Money Power podcast, we dive into the seductive brilliance and strategy of the courtesan. How she didn't burn the patriarchy down (though we're here for that in 2025)… she played it like a masterful game of power, strategy, influence and pleasure.  Here's what you'll hear inside: How the courtesan used her sexuality, erotic intelligence and influence as leverage to rise in a man's world Why reclaiming your erotic power is the antidote to good girl conditioning and financial dependence What modern women can learn from courtesans about flipping survival into seduction and scarcity into strategy The real reason courtesans were feared, envied AND worshipped by kings, popes and powerful men alike How to use your erotic intelligence to influence reality and create freedom in a system built to control you Why manipulation, seduction and influence are deeply inherent powers we've been taught to fear as women How to take resources the Patriarchy never wanted you to have...money, land, a voice, power...and make it ALL yours in 2025 The courtesan didn't wait to be chosen. She chose herself. She played the game, seduced the kings, built her wealth and became unforgettable. If you're ready to reclaim your influence, power and pleasure on your terms...doors to House of the Courtesan are open. This is your invitation. Your initiation. Your return to the legacy, lineage and inheritance of the courtesan that every woman carries within her. This is not just history, it's your inheritance. Enter the House of the Courtesan to reclaim it.

Machiavelli guides your relationships, sex work funds your freedom, but loneliness looms. Can calculating hearts learn to love? Welcome to Feedback Friday!And in case you didn't already know it, Jordan Harbinger (@JordanHarbinger) and Gabriel Mizrahi (@GabeMizrahi) banter and take your comments and questions for Feedback Friday right here every week! If you want us to answer your question, register your feedback, or tell your story on one of our upcoming weekly Feedback Friday episodes, drop us a line at friday@jordanharbinger.com. Now let's dive in!Jordan's must reads (including books from this episode): AcceleratEdFull show notes and resources can be found here: jordanharbinger.com/1162On This Week's Feedback Friday:Shiatsu on my shoulder makes me happy.What makes the difference between a storyteller and a snoreyteller?You're a trans woman with Machiavellian traits who craves intimacy but views relationships as cost-benefit transactions. After escaping an unhappy marriage, you're working at a brothel while running a business in rural Asia. Can someone who treats people like "toys" ever find genuine connection?Remember that emotional affair with your coworker Bob while you had a boyfriend in episode 1037? Well, life just served up a delicious plot twist: you landed your dream job only to discover you're now working directly with Bob's girlfriend. She wants to be best friends. What could possibly go wrong?You're a federal power plant operator facing potential job cuts under the new administration. They're offering a resignation package with continued pay through September, but there's a job opportunity in NYC. Do you hedge your bets or roll the dice on government stability? [Thanks to federal employment lawyer Justin Schnitzer for helping us with this one!]Recommendation of the Week: WayfindersGabe attended a two-day dance workshop involving forced vulnerability exercises, portal-walking declarations, and receiving roses for sharing your "truth." He proclaimed "I am available" and felt like he failed at emotional openness. Did the workshop miss the mark, or was he too defended to benefit?Have any questions, comments, or stories you'd like to share with us? Drop us a line at friday@jordanharbinger.com!Connect with Jordan on Twitter at @JordanHarbinger and Instagram at @jordanharbinger.Connect with Gabriel on Twitter at @GabeMizrahi and Instagram @gabrielmizrahi.And if you're still game to support us, please leave a review here — even one sentence helps! Sign up for Six-Minute Networking — our free networking and relationship development mini course — at jordanharbinger.com/course!Subscribe to our once-a-week Wee Bit Wiser newsletter today and start filling your Wednesdays with wisdom!Do you even Reddit, bro? Join us at r/JordanHarbinger!This Episode Is Brought To You By Our Fine Sponsors:DeleteMe: 20% off: joindeleteme.com/jordan, code JORDANOura Ring: 10% off: ouraring.com/jordanShopify: 3 months @ $1/month (select plans): shopify.com/jordanNordVPN: Exclusive deal: nordvpn.com/jordanharbingerLand Rover Defender: landroverusa.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textIn this episode, Lady Petra and Saffermaster read and discuss the conclusion of the section on Courtesans over Sexual Awakening. The Kinky cocktail Hour is brought to you by Motorbunny, the best saddle style vibrator on the market today. Save $40 on your Motorbunny purchase with the code LADYPETRAPLAYGROUND at Motorbunny.com You can order the TechRing, "Where health meets pleasure" at http://myfirmtech.com using the code "KINKY" to save 15%. Put a ring on it!Support the showListen on Podurama https://podurama.com

Send us a textIn this episode, Lady Petra and Saffermaster discuss the conclusion of the chapter on Courtesans over a Green Fairy. Support the showListen on Podurama https://podurama.com

Send us a textIn this episode, Lady Petra and Saffermaster discuss Part 6 About Courtesans over a Negroni. The Kinky cocktail Hour is brought to you by Motorbunny, the best saddle style vibrator on the market today. Save $40 on your Motorbunny purchase with the code LADYPETRAPLAYGROUND at Motorbunny.com You can order the TechRing, "Where health meets pleasure" at http://myfirmtech.com using the code "KINKY" to save 15%. Put a ring on it!Support the showListen on Podurama https://podurama.com

For episode 23 we bring you Rob Town - founder of Stampede Press and ex-bassist for British rock group Panic Cell. Rob has toured the world and shared stages with the likes of Metallica, Papa Roach, Alice in Chains and Alice Cooper. Currently running his PR/Marketing agency Stampede Press, Rob has worked with artists such as Terrorvision, Wayward Sons, The Virginmarys and Winger, as well as helping up and coming artists like The Rocket Dolls, Samarkind, Buffalo Summer, Courtesans and others to establish themselves in the music industry. In 2018, he co-founded music management consultation firm Lightning in a Bottle with Toby Jepson (Planet Rock/Wayward Sons/Little Angels). Rob is also a Tutor and Mentor at WaterBear College of Music. This episode is released during Mental Health Awareness Week 2025, which runs from May 12th to 18th. Danny, Dan Dan and Rob chat about how significant music has been to each of them in supporting their mental well-being.Pick N Licks is presented by musicians Danny Beardsley and Dan Dan Hayes - The Dream Band Podcast where guests create their ultimate dream band. Produced by Heather Beardsley. Hosted on Acast. See acast.com/privacy for more information.

On this episode, Tony Brueski digs into the shadowy past of Portland's Lone Fir Cemetery, tracing its origins from a lone Douglas fir on a stretch of farmland to the sprawling pioneer burial ground it is today. Along the way, he uncovers tales of unsolved murders, forgotten asylum patients, and spectral figures glimpsed in the ever present fog. Listeners will hear how environmental quirks and historical tragedies intertwine to create a site rife with eerie encounters.  

On this episode, Tony Brueski digs into the shadowy past of Portland's Lone Fir Cemetery, tracing its origins from a lone Douglas fir on a stretch of farmland to the sprawling pioneer burial ground it is today. Along the way, he uncovers tales of unsolved murders, forgotten asylum patients, and spectral figures glimpsed in the ever present fog. Listeners will hear how environmental quirks and historical tragedies intertwine to create a site rife with eerie encounters.   

Hey Gorgeous!Are you worried about making other women jealous? I get it! I tend to always trigger women and have had my fair share of sisterhood wounds. The women who were not afraid to make others jealous or trigger other women were the COURTESANS. This energy and archetype is one that i have mastered and is my deepest transmission. Which is why to celebrate my birthday I have put together 3 different Courtesan options!Embody your own inner Courtesan: https://themagneticwoman.com/courtesanAnd if you want to meet me in Greece for a full day intensive you can save 50% : https://themagneticwoman.com/greece

Yes, Sarah has a longtime fantasy of being on the lam, but let's be honest, she'd be caught reading a book in the nearest diner as soon as anyone got serious about looking for her. This week, we're talking about books in which characters are much more serious about being on the run! We break the category into people on the move and people in hiding, but also talk about secrets, about lies, and about how love really is about telling something all the truths you've got. If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.Our next read along is Rachel Reid's Heated Rivalry, which you can get in print, ebook, audiobook or with your monthly subscription to Kindle Unlimited. Find it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books. The Books The Master by Kresley ColeRun Posy Run by Cate WellsClaiming the Courtesan by Anna CampbellBurn Down the Night by M. O'KeefeDragon Bound by Thea HarrisonTycoon by Joanna ShupeSomething Wilder by Christina LaurenIf I Told You, I'd Have to Kiss You by Mae MarvelHunter by Emmy ChandlerStranded by Jennifer D. BokalThe Harpy and the Dragon by Marie LiscombWyoming Double Jeopardy by Juno RushdanBourbon and Lies by Victoria WilderHunted Through Italy by Delaney DiamondDalliances & Devotion by Felicia GrossmanKiss the Girl by Zoraida CordovaUnder Her Skin by Adriana AndersWhiteout by Adriana...

Roy enjoys the courtesans at Sheri's ranch for the past four years and he called in to talk all about It. Tune in to hear all the details including how and why he goes to started going to Sheet's ranch, how believes paying for the courtesans and how and why that works best for him right now, how he picks the courtesans he wants to hook up with, why he thinks it better to go to the bar at the ranch then do a “line up”, how he lost his virginity and his history dating women, the brief stint he had dating and hooking up with guys, how far he went with them,  how and why he decided to stop, how important safe sex is for him and how that is dealt with at the ranch, how he tried a matchmaker at some point and why that didn't work out for him, how going to the ranch became an outlet for him and what he really gets out of going,  what he recommends as the first time experience and how his first experience went down, the type of courtesans he digs when he's there, the specific girls he has been with and what he thought about each one of them, how and why he doesn't have a regular thing with one girl and prefers a variety, the type of things he has tried with the girls, how many times a year he goes to the ranch, how going to the ranch can help others and how and why going shouldn't be stigmatized plus a whole lot more. **To see pics of and my female guests + gain access to my PRIVATE Discord channel where people get super XX naughty + hear anonymous confessions + get all the episodes early and AD FREE, join my Patreon! It's only $7 a month and you can cancel at any time. You can sign up here: https://www.patreon.com/StrictlyAnonymousPodcast MY BOOK IS NOW OUT FOR PRE-ORDER!!!! Strictly Anonymous Confessions: Secret Sex Lives of Total Strangers. A bunch of short, super sexy, TRUE stories. GET YOUR COPY NOW: https://amzn.to/4i7hBCd To Join SDC and get a FREE Trial! click here: https://www.sdc.com/?ref=37712 or go to SDC.com and use my code 37712 Want to be on the show? Email me at strictlyanonymouspodcast@gmail.com or go to http://www.strictlyanonymouspodcast.com and click on "Be on the Show" Have something quick you want to confess while remaining anonymous? Call the CONFESSIONS hotline at 347-420-3579. You can call 24/7. All voices are changed. Sponsors:  https://butterwellness.com/ For 20% off your Butter Wellness perineum massager use code STRICTLY https://bluechew.com Get your first month of the new Blewchew Max FREE! use code: STRICTLYANON https://viia.co/STRICTLYANON Try VIIA and use code STRICTLYANON for great SEX and sleep https://www.dipseastories.com/strictlyanon Hear the hottest stories on Dipsea and get a 30-day FREE trial https://beducate.me/march2025 Use code anonymous to get an additional 10% off the campaign's current discount - that's 60% off Follow me! Instagram https://www.instagram.com/strictanonymous/ Twitter https://twitter.com/strictanonymous?lang=en Website http://www.strictlyanonymouspodcast.com/ Everything else https://linktr.ee/Strictlyanonymouspodcas Learn more about your ad choices. Visit megaphone.fm/adchoices

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. 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

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

What is Hinduism? For centuries, that question was particularly thorny, both for local Indians and for colonial outsiders. People inside and outside the country tried to define what Hinduism was. Missionaries grappled with Hindu practices, finding both similarities and dangerous differences with their own Christian faith. The East India Company adopted several Hindu rituals to keep the peace, much to the chagrin of officials back in London. And, increasingly, Indians began to define what Hinduism meant as part of a broader political awakening. Manu Pillai tells that story in his latest book Gods, Guns and Missionaries: The Making of the Modern Hindu Identity (Allen Lane: 2024) Manu Pillai is the author of the critically acclaimed The Ivory Throne: Chronicles of the House of Travancore (HarperCollins: 2016), Rebels Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), The Courtesan, the Mahatma, and the Italian Brahmin: Tales from Indian History (Context: 2019) and False Allies: India's Maharajahs in the Age of Ravi Varma (Juggernaut: 2021). Former chief of staff to Shashi Tharoor MP, Pillai is also a winner of the Sahitya Akademi Yuva Puraskar (2017) and holds a PhD in history from King's College London. His essays and writings on history have appeared in various national and international publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

The story of Oiran Buchi, also known as "The Courtesan's Bridge," is a chilling legend from Japan, specifically associated with a region in Yamanashi Prefecture. However, its eerie reputation has reached far and wide, including being recounted in places like Sapporo. The tale is a haunting reminder of betrayal, greed, and tragedy. Follow the podcast: Instagram: https://www.instagram.com/supernaturaljapanBluesky: https://bsky.app/profile/madformaple.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61551918404228&mibextid=LQQJ4dX: https://twitter.com/MadForMapleEmail: supernaturaljapan@gmail.com Website:https://supernaturaljapan.buzzsprout.comHere's a link to the Critical Eats Japan video mentioned in the episode:Oiran Buchi Haunted Japan | 花魁淵 https://www.youtube.com/watch?v=35zrIJaPSTE&t=119s

The famous 5th or 6th century courtesan of Hangzhou and all the poetry that's been about her.Support the show

Welcome back to Fright School! This week, we are picking back up with our TALES FROM THE CRYPT franchise deep dive! But first! Please welcome to the stage Miss Nora Virus! What are Joe's thoughts on WICKED, you ask? We chat about our feelings of musical adaptations in general. We watched two episodes of TALES FROM THE CRYPT this week: ONLY SIN DEEP and DEAD RIGHT! We discuss the dubious morality plays of TFTC, fatphobia and further villainization of fat bodies, and the double edged sword at the throats of ambitious women. Also, White people doing Voodoo in the 80s? Groundbreaking. Further Reading: Lessons of Virtue in Tales From The Crypt? by Briana Brucato. Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT JUPITER JETSON Busty stunning tatted redhead MILF Jupiter Jetson's life has definitely been an adventure. She was a dominatrix in her early 20s, made her living as a musician singing and playing guitar in Germany (and still makes music to this day which is on multiple music platforms), and spent the last few years as one of the top-rated models at Sheri's Ranch. 2020 marked Jupiter's leap into Indie porn and working with TROUBLEfilms, which paid off with an AVN Awards nomination for Best Fetish Series for East Bay Brats, which she starred in and co-produced. And one year later, at age 30, Jupiter made her mainstream adult debut with her first shoot for MYLF.com, and has also worked with Brazzers, Girlsway, Pure Taboo, Tushy Raw, Kink.com, Cherry Pimps, Mylf.com, Team Skeet, Mile High, MilfVR, Fake Taxi, Devil's Film, Adam & Eve, New Sensations, Evolved Fights, Throated, Yummy Girl, SexLikeReal, Czech VR, and WankzVR.   Jupiter got into adult under the stage name Nova Sky after reading an article in Cracked magazine, and a light bulb went off and has become known for being highly orgasmic and enjoying every aspect of sex. She's also graced the pages and covers of ASN Magazine, Eroticism Magazine, Hustler's Beaver Hunt and Best of Beaver Hunt, and was in the running for Beaver of the Year. And in 2024, Jupiter received her first AltStar Awards nomination for Best Nerd Cam. Follow all of Jupiter's present and upcoming adventures by following her on Twitter, Instagram, and TikTok @jupiterjetson. Join her newly launched OnlyFans onlyfans.com/jupiterjetson for the best exclusive content, daily updates, and more. Buy her clips à la carte on ManyVids JupiterJetson.ManyVids.com. Talk dirty to her on SextPanther sextpanther.com/JupiterJetson. Find all her links at allmylinks.com/jupiterjetson. And subscribe and “like” her videos on her verified Pornhub at pornhub.com/model/jupiter-jetson. This episode is brought to you by Olipop, a new healthy brand of soda. Go to https://drinkolipop.com/ and use code Marcela15 at checkout to get 15% off your first order. This episode is brought to you by Shopify. Shopify can help you take your business to the next level. Click HERE to set up your Shopify shop today and watch your business soar! This episode is brought to you by BranditScan, the best defese you have against social media fraud. Click HERE to get started with BranditScan today and get your first month for free. There is no better service to protect your social media accounts and your name and likeness. This episode is brought to you by Playboy. Click HERE to get a membership today and unlock a premium Playboy experience like no other. This episode is brought to you by Skillshare. Click HERE to start exploring all the courses Skillshare has to offer, from drawing and music, to graphic design and marketing, start expanding your knowledge today. This episode is brought to you by Fiverr. Click HERE to start hiring professionals to help you in various areas and take your business to the next level. This episode is brought to you by PodMatch. Click HERE to bring your podcasting journey to the next level by getting set up's Only Fans  VIP Membership HERE Free Membership HEREn  

"I do believe that literature is a very important source of knowledge complementary to history, epigraphy and archaeology. It is not easy to read drama at the best of times. It is even more difficult to read Sanskrit drama because it is quite out of the ordinary! But there is a lot of timelessness in these plays, however strange they may seem with their tigers, elephants and tantriks! The human elements are the ones we still completely recognize - love, jealousy and ambition. We haven't changed; we are laughing at the same things that people 2000 years ago were laughing at! One of the criteria for choosing the plays was that all the great playwrights had to be represented. And I didn't want to use plays based on the Ramayana and the Mahabharata because we already know those stories. This is a book about introducing different narratives to a lay public. Also, I wanted people to be aware that the millennium of classical Sanskrit drama does not come out of a Hindu universe alone. It comes out of a universe of political diversity, cultural diversity, religious diversity. But it's true that it is also a common universe however much people might have different ideologies and different religions; there are social mores that hold them all together" - Arshia Sattar, author, Vasanta; Stories from Sanskrit Plays talks to Manjula Narayan on the Books & Authors podcast about ancient plays like Shudraka's Mricchakatika ( The Little Clay Cart), Mahendravarman's The Holy Man and the Courtesan, and Harsha's Nagananda, among others, that continue to appeal to us  

Manu S. Pillai is a historian and the author of the critically acclaimed The Ivory Throne (2015), Rebel Sultans (2018), The Courtesan, the Mahatma and the Italian Brahmin (2019) and False Allies (2021). His latest book 'Gods Guns & Missionaries: The Making of the Modern Hindu Identity' is now out. Order your copy here: https://amzn.in/d/clf4b4c

Welcome Alice Little, one of our favorite guests who has returned for a second episode on the pod! Alice is one of America's most successful courtesans and an intimate companionship expert. She is also a fierce advocate for the adult industry, and as a 4 foot 8 redhead, she lives up to her name! Since the pandemic, Alice's life has pivoted to a wholesome goat farm vibe and working at The Chicken Ranch – we get a juicy inside scoop on this Nevada brothel! Alice also discusses challenges faced by sex workers, concerns stemming from the election, and how moms want their sons to just get laid! Happy holidays, folks! And remember, always verify social accounts before sending money!! BlueChew is a unique online service that delivers the same active ingredients as Viagra, Cialis, and Levitra -- but in CHEWABLE tablets and at a fraction of the cost! Try BlueChew for FREE, just pay $5 in shipping when you use code HOLLY at https://bluechew.com/ Our Sponsor, FLESHLIGHT, can help you reach new heights with your self-pleasure. FLESHLIGHT is the #1 selling male sex toy in the world. Fleshlight Code: HOLLY Fleshlight URL: fleshlight.sjv.io/HollyRandallUnfiltered  __________________________________________________________________________________________________________ Want more from this podcast? Get access to tons of perks by joining my Patreon! We have exclusive bonus content such as live streams of our interviews, early releases, exclusive Q&As, access to my fine art photography and video, plus so much more! Join our community now at http://Patreon.com/hollyrandallunfiltered Connect with Alice online: https://www.thealicelittle.com/ Adult Industry Mental Health Support: https://pineapplesupport.org/ Visit my Official Podcast site: https://www.hollyrandallunfiltered.com/ Follow Holly on all the platforms: https://link.me/hollyrandall Sign up for Patreon Access!! https://www.patreon.com/hollyrandallunfiltered To make a one time donation: https://www.paypal.me/hollyrandall78 Fan mail: 26500 Agoura Road, Suite 102-838, Calabasas CA 91302 

Today we're talking about Megillus, a trans-masculine character in the 2nd-century text Dialogues of the Courtesans. Tune in for three separate queer characters, the complexities of discussing transness in the ancient world, and a whole host of mythological examples of ways to be queer. If you want to listen to the episode on Roman women for some background, you can check it out here.  If you want to read the dialogue we're discussing, you can find it here.  Check out our website, where you can find our sources, as well as everything there is to know about Queer as Fact. If you enjoy our content, consider supporting us on Patreon, checking out our merch, and following us on Instagram, Tumblr and Bluesky. [Image: text in Greek from the Dialogues of the Courtesans, centering on the name 'Megillus'.

Happy anniversary, Firebirds! Seven years ago this week, we launched Fated Mates with our first Episode, "A Wolf Without a Foot," in which we planned a tight 18 episode series, here and gone before you'd know it. Seven years later, we're still here, and we're celebrating by doing the obvious: Talking about Sin! We've taken the seven deadly sins and assigned a great romance novel to each one, and we've dug deep into the dark recesses of our minds, our bookshelves and our psyches to do it. This is a long one (obviously), and full of some real "abandon all hope, ye who enter here" vibes. Thanks for being with us new listeners and longstanding ones...we love you! If you want more romance content, maybe you want to join our Patreon, where you get another episode from us each month, and access to the incredible readers and listeners and brilliant people on the Fated Mates discord! Support us and learn more at fatedmates.net/patreon. Also! We stay phonebanking! Join us this Saturday and next to phonebank with fellow romance lovers. Jen & Sarah are joined by special guests who will knock your socks off! Learn more and register at fatedmates.net/fatedstates. If phonebanking isn't your thing, we're also raising money for downticket house and senate races, because state legislatures may not be sexy, but they sure hold all the power. Learn more, and give what you can at fatedmates.net/givingcircle. The BooksEnvyBarbarian's Taming by Ruby DixonSin and Ink by Naima SimoneStaying in Vegas by Sam MarianoThe Earl Takes All by Lorraine HeathLustUncivilized by Sawyer BennettBass-Ackwards by Eris AdderlyStolen Desire by Robin LovettGluttonyFury on Fire by Sophie JordanCajun Hot by Nikita BlackBeautiful Stranger by Christina LaurenGreedClaiming the Courtesan by Anna CampbellWelcome to Temptation by Jennifer CrusieOne and Done by Cynthia SaxSlothHook, Line, and Sinker by Tessa BaileyFan Service by Rosie DananDon't Let Your Dukes Grow Up to be Scoundrels by Louisa DarlingScandalous Desires by Elizabeth HoytWrath

The practice of "sugaring," where a younger woman, the "sugar baby," forms a relationship with an older, wealthy man, the "sugar daddy," in exchange for monetary gifts and other forms of material support, occupies a controversial space at the intersection of modern relationships and ancient transactional paradigms. This phenomenon, often likened to high-class escort culture, challenges traditional notions of intimacy, power, and gender roles, blurring the lines between affection and economic exchange. As sugaring gains visibility, it warrants a deeper exploration beyond its surface-level dynamics. By integrating insights from spiritual teachings, psychological theories, and metaphysical frameworks, we can begin to unravel the complexities and implications of sugaring within the context of modern relational practices.

Wouldn't you love to be a fly on the wall at a high-end brothel and watch what goes on during a day in the life of a successful Courtesan? That would be so enlightening, educational and could help to normalize conversations about sex work. Join us as we chat with America's longest-serving female legal brothel owner, Madam Bella Cummins, who is the proprietor of Bella's Hacienda Ranch, a licensed brothel in Wells, Nevada. She has owned and operated the brothel for over 30 years and can speak at length about the ins-and-outs of legalized prostitution in Nevada and what it's like to manage one of these unique businesses. Bella is always advocating for sex workers including her current fight about replacing derogatory terms like ‘prostitute' which perpetuate social stigmas and stereotypes which lead to further discrimination and marginalization of sex workers.

Alice Little​ is America's most successful legal sex worker in the books! At 4'8", you might not think you'd be able to spot this red-headed Irish-American farmer in a crowd, but you'd quickly notice as her charm parts seas of people for her. Her genuine kindness is magnetic and it's not hard to see why her success is credited to her personality and ability to connect with people. Bryde and Jeremie chat with Alice about her life between work at the Chicken Ranch and her home on her horse farm. She talks about her values, and about her roles as a mentor to other industry colleagues and as an advocate for the rights and healthcare of sex workers. Jeremie bring up sex robots and sex work as recently discussed with guest Delphine, and the hosts get some insightful thoughts straight from a professional source about what she predicts will happen. The conversation weaves through topics from Alice's curious past careers to the commodification of intimacy​ to the role of AI in amplifying or hindering human connection. Connect with Alice Little via her website for all the right social links, or email her directly to set up an appointment: alicelittle@thealicelittle.comWebsite: https://thealicelittle.com/ Hosted on Acast. See acast.com/privacy for more information.

The Gilded Age West was a place to disappear for some. For Ray Hamilton and Jake Sargent - men from distinguished eastern families that sought privacy after scandals turned their lives apart - the West could not shield them from ongoing intrigue. Dr. Maura Jane Farrelly joins the show to talk about her latest book Compliments of Hamilton and Sargent, which detail these men's lives and those around them in Jackson, Wyoming. Essential Reading: Maura Jane Farrelly, Compliments of Hamilton and Sargent (2024).Recommended Reading: Wendy Gonaver, The Peculiar Institution and the Making of Modern Psychiatry, 1840-1880 (2019).Aaron Freundschuh, The Courtesan and the Gigolo: The Murders in the Rue Montaigne and the Dark Side of Empire in Nineteenth Century Paris (2017).Julie Miller, Abandoned: Foundlings in Nineteenth-Century New York City (2008).Stephen O'Connor, Orphan Trains: The Story of Charles Loring Brace and the Children he Saved and Failed (2001). Hosted on Acast. See acast.com/privacy for more information.

At a time the serial Heeramandi is making waves, Manish Gaekwad - who wrote the 'The Last Courtesan' - talks about chronicling his mother's life, the death of kothas in Mumbai and how his mother adapted to life after leaving the kotha.

Cute as a fluffy bunny, energetic as Tigger on speed and single-minded as a sex-starved sailor on leave (I stole that from her website) it's the one… the only... Fou Fou Kaboom!I was lucky enough to see the UK's Burlesque Idol of 2022 in action before we sat down and had a chat, and let me tell you - she's one ridiculously talented human being. We speak about a lot of stuff – from the history of Burlesque and Fou Fou's introduction to the artform, to her creative process, being a woman in the entertainment industry and misconceptions about the scene.I hope you enjoy this conversation as much as I did. Follow Fou Fou Kaboom here:INSTAGRAM: @foufou.kaboomWEBSITE: https://www.foufoukaboom.com/Photo by @atomic.tangerineCheck out the Courtesan here:https://thecourtesan.co.ukINSTAGRAM: @courtesanbrixtonGet in touch if you'd like to suggest an idea for an episode or just to say G'day

Her tomb probably, In Jerusalem. Thank you for listening! Please leave a 5 star review, share and subscribe! A special at the end on ancient cannibalistic funerary practices in Europe.

Kyoto-based geisha culture guru Peter Macintosh joins the Krewe to take a look at geisha culture, reality vs. perception, how societal changes impact the geisha scene today & much more. If you are a fan of traditional Japanese culture, this episode is for you!  ------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, YouTube, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode (timestamps [hh:mm:ss] where you can find the code)!Liquid IV Offer Link  to save 20% Off your Entire Order! (00:03:28)Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  (00:53:00)------ Links about Peter Macintosh ------Peter's WebsitePeter on IGReal Geisha, Real Women on IGReal Geisha, Real Women Documentary on YouTubeReal Geisha, Real Women WebsitePeter's YouTube Channel------ JSNO Upcoming Events ------JSNO Event Calendar2024 Matsue-New Orleans Sister City Exchange Program Application

Topics discussed on today's show: National Unicorn Day and Gin and Tonic Day, Dying on your Birthday, The Eclipse Yesterday, Student Loan Relief, Sports, Science, Morgan Wallen Arrested, AI Absorbing the Internet, Birthdays, History Quiz, Sausage, The Trendmill, Kids Getting Older Faster, Bus on Tracks, Immigration Scam, Stranger Encounters, Leslie Zemeckis, Courtesans, and Apologies.

Tune in to Ask Nyomi on Thursday, March 28th for a special live show featuring Guest Courtesan Remy Martin. Join us as Remy shares her fascinating journey and experiences from her life at the iconic Bunny Ranch, offering a unique perspective on the world of sex work and breaking stigmas surrounding this industry. Explore Remy's inspiring story as she delves into the realities, challenges, and triumphs of her profession, shedding light on the misconceptions and stereotypes often associated with sex workers. Gain insight into the human side of the industry as Remy opens up about her personal journey, motivations, and mission to empower and educate others. Join Nyomi and Remy for an engaging and thought-provoking discussion that aims to foster understanding, compassion, and empathy towards sex workers. Be part of the conversation that seeks to bridge gaps in perception and promote positive dialogue around complex social issues. Don't miss this opportunity to hear Remy's story and participate in a meaningful conversation that challenges beliefs and encourages inclusivity. Turn on your notifications to stay updated on this enlightening live show and be a part of breaking barriers and changing narratives. #AskNyomi #LiveShow #CourtesanRemyMartin #BridgingTheGap #BreakingStigmas #SexWork #Empowerment #HumanizeTheIndustry #BunnyRanch #ThursdayShow #SexWorkerRights #InclusiveDialogue

Homework. Cheerleading practice. Killing vampires. No one said podcasting would be easy. Quick Facts Directed by Fran Rubel Kuzui - produced the Trey Parker / Matt Stone “Orgazmo”. Written by Joss Whedon Distributed by 20th Century Fox A Kuzui Enterprises / Sandollar Production Released on July 31, 1992 Budget: $7 million Box Office: $16.6 million Rotten Tomatoes: 36% Tomatometer / 43% Audience Score Starring Kristy Swanson as Buffy Summers Luke Perry as Oliver Pike Rutger Hauer as Lothos Donald Sutherland as Merrick Jamison-Smythe Paul Reubens as Amilyn - the Paramour, Courtesan? Hilary Swank as Kimberly Hannah David Arquette as Benny Jacks - former WCW world champion Steven Root as Principal Gary Murray Tom Jane as Zeph Ben Affleck, Seth Green, Ricki Lake (uncredited)  How to listen and reach Analog Jones and the Temple of Film Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, iHeartRADIO, Podbean, Spotify, and Youtube! Please email us at analogjonestof@gmail.com with any comments or questions!

Help keep our podcast going by contributing to our Patreon! In our last few episodes on sex workers in ancient Greece, we tried to paint a picture of a group of women, in some cases, with more freedom and independence than most in the ancient Greek world could dream of. But that freedom came at a price. Now, we're going to tell you about the lives of some of ancient Greece's most famous Hetaerae. Sponsors and Advertising This podcast is a member of Airwave Media podcast network. Want to advertise on our show? Please direct advertising inquiries to advertising@airwavemedia.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Regency courtesan Harriette Wilson exposed in her memoirs the names of royal, aristocratic, and political men, whom she then blackmailed to keep their names out of those memoirs. Arthur Wellesley, Duke of Wellington, was, famously, one of those influential names. Arthur was a national hero and wasn't the kind of man who was easily intimidated; and when Harriette threatened to name his name, he was outraged, leading him to roar the now-famous quote: "Publish and be damned!" Let's talk about what happened next.See omnystudio.com/listener for privacy information.

How does understanding Jesus Christ's ultimate victory over sin and death build your faith? Dr. Richard Drapers delves into profound insights into the final chapters of the Book of Revelation. Explore the triumphant narrative of Jesus Christ as the Lion and the Lamb.Show Notes (English, French, Spanish, Portuguese): https://followhim.co/new-testament-episodes-41-52/Apple Podcasts: https://podcasts.apple.com/us/podcast/follow-him-a-come-follow-me-podcast/id1545433056YouTube: https://youtu.be/CcsL6euW3O0Instagram: https://www.instagram.com/followhimpodcastSpotify: https://open.spotify.com/show/15G9TTz8yLp0dQyEcBQ8BYPlease rate and review the podcast!00:00 Part 1–Dr. Richard Draper00:59 Review of Revelation 1-1401:27 Bio of Dr. Richard Draper03:36 Dr. Draper shares his background with Revelation08:26 Zooming out12:05 Seals as a model and limits14:40 Who will survive?16:37 The sealing of the Saints19:01 Final plagues22:50 God's wrath27:50 Does the Lord get angry or jealous?28:30 Everything in God's control31:49 Fifth angel pours his vial35:16 Will there be time to prepare?39:57 Armageddon or Megiddo42:30 Divine intervention and many miracles46:11 The Courtesan and the Beast50:24 Babylon and people as commodities54:26 Immorality and idolatry58:34 The Beast 1:01:37 An Interlude1:04:38 Why Babylon falls1:08:20 End of Part 1–Dr. Richard DraperThanks to the followHIM team:Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignAnnabelle Sorensen: Creative Project ManagerWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Madam Bella Cummins has reigned in the small city of Wells, Nevada, USA for 37 years - the longest-standing Madam in rural Nevada's legal brothels, and is a mentor to women seeking to evolve naturally in the courtesan industry, as well as an advocate for licensed establishments and workers in the industry. Bella's Hacienda Ranch sits in a town of just over 1,200 people that sees thousands of travelers every day at the intersection of Route 93 and Interstate 80 in Nevada. The hosts chat with Bella about how language and labels affect how we perceive professionalism and quality service, the importance of the destination as part of the draw, and how Nevada's legal brothel blueprints could help other small communities prosper from the destigmatization of sex work. Find the ranch at https://bellas.us/ Hosted on Acast. See acast.com/privacy for more information.