Podcasts about dickens

Long before Dickens penned A Christmas Carol, our ancestors gathered around midwinter fires to tell tales of spirits and monsters lurking in the darkness. Tonight, we explore why Christmas and ghost stories have been intertwined for thousands of years — then share true accounts that prove the tradition is very much alive. #HolidayHorrorsIN THIS EPISODE: Earlier this month I shared some true reports of people seeing Kris Kringle – or what appeared to be Kris Kringle – in real life. But there are many more of those strange sightings to share! (More Real Santa Sightings) *** Christmas has been celebrated for centuries, and gift-giving has been around in America since well before the Civil War. But how we celebrate and what we give changes depending on the time. We'll take a look at what Christmas was like for American pioneers in the 1800s. (Christmas in The Old West) *** At a Christmas party the revelers heard a horrifying scream from outside. They rushed out to hear the screams were coming from the sky, at least above the rooftops. But how could that be? It was then that they learned Oliver Lerch had disappeared – never to be seen again. (The Christmas Disappearance of Oliver Lerch) *** Nothing says Christmas like a poisonous weed! Well… you explain mistletoe! We'll look at why we're supposed to kiss under this deadly plant during the holidays. (A Kiss Under the Mistletoe) *** A horrible fire breaks out at an Oklahoma school during the holidays of 1924 – and the ghosts of the children still linger at the site. (Ghosts of the Babbs Switch School Christmas Fire) *** You might be celebrating Christmas like a viking and not even realize it. From the holiday ham to the evergreen in your living room, we'll look at how the pagan celebration of Yule influenced modern Christmas traditions. (How To Celebrate Christmas Like a Viking) *** Kids in America anxiously await the arrival of Santa Claus bounding down the chimney with gifts and candy for the good little boys and girls. But that's America. What comes down the chimney of Irish and Scottish kids may not be so jolly, plump, and loving. Some Gaelic children have to watch out for the Bodach. (Beware the Bodach at Christmas) *** It's something we're trying to revive here on Weird Darkness… the lost tradition of telling ghost stories at Christmas. (The Lost Tradition of Telling Ghost Stories) *** (Originally aired December 16, 2021)SOURCES AND ESSENTIAL WEB LINKS…“The Lost Tradition of Christmas Ghost Stories” from Conspiracy Journal: https://weirddarkness.tiny.us/36dxj4kt, Sally O'Reilly for Ancient Pages: https://weirddarkness.tiny.us/2mfh29mk, YourGhostStories.com: https://weirddarkness.tiny.us/2p93r34c, LiveAbout.com: https://weirddarkness.tiny.us/539cmfv6“The Christmas Disappearance of Oliver Lerch” from AnomalyInfo.com: https://weirddarkness.tiny.us/59t2mysv“How To Celebrate Christmas Like a Viking” by Morgan Dunn for All That's Interesting: https://weirddarkness.tiny.us/2p88mev7“More Real Santa Sightings” by Rob Schwarz for Stranger Dimensions: https://weirddarkness.tiny.us/yvdt2ww6“Ghosts of the Babbs Switch School Christmas Fire” by Troy Taylor: https://weirddarkness.tiny.us/dnmhehha“Beware the Bodach at Christmas” by Ellen Lloyd for Ancient Pages: https://weirddarkness.tiny.us/2p85afxx“Christmas in The Old West” by Kathy Weiser for Legends of America: https://weirddarkness.tiny.us/bddzbyfk“A Kiss Under the Mistletoe” by Troy Taylor: https://weirddarkness.tiny.us/2jv3u98aVisit our Sponsors & Friends: https://weirddarkness.com/sponsorsJoin the Weird Darkness Syndicate: https://weirddarkness.com/syndicateAdvertise in the Weird Darkness podcast or syndicated radio show: https://weirddarkness.com/advertise= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =https://weirddarkness.com/ChristmasGhostStoriesABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all things strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.DISCLAIMER: Ads heard during the podcast that are not in my voice are placed by third party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. *** Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.#WeirdDarkness #ChristmasGhostStories #TrueScaryStories #HolidayHorror #VictorianGhostStories #ParanormalStories #YuletideHorror #GhostStories #ChristmasTradition #HauntedChristmas

Today, on Karl and Crew, we kicked off All-Star week. We're inviting some of your favorite guests back to discuss key updates in their ministries and work. Plus, we are asking them, and you, an important question this season: "If the birth of Christ never happened, what part of your life would be most different? Dr. Drew Dickens joined us to talk about the latest in AI. He is an AI expert, author, and visionary leader. His podcast is called the AI and Spirituality Podcast. Greg Dempster is the Founder and Director of ChristLife Ministries. He shared a powerful exercise to help you recognize and overcome unresolved inner issues and strive for renewal. Finally, Dr. Michael Rydelnik joined us with an update and commentary on the Sydney, Australia tragedy. He also has a new book called "How Should Christians Think About Israel?" You can listen to the highlights of today's program on the Karl and Crew Showcast. If you're looking to listen to a particular segment from the show, look at the following time stamps: Dr. Drew Dickens [07:00] Greg Dempster [19:35] Dr. Michael Rydelnik [38:07] Karl and Crew airs live weekday mornings from 5-9 a.m. Central Time. Click this link for ways to listen in your area! https://www.moodyradio.org/ways-to-listen/Donate to Moody Radio: http://moodyradio.org/donateto/morningshowSee omnystudio.com/listener for privacy information.

Today, on Karl and Crew, we kicked off All-Star week. We're inviting some of your favorite guests back to discuss key updates in their ministries and work. Plus, we are asking them, and you, an important question this season: "If the birth of Christ never happened, what part of your life would be most different? Dr. Drew Dickens joined us to talk about the latest in AI. He is an AI expert, author, and visionary leader. His podcast is called the AI and Spirituality Podcast. Greg Dempster is the Founder and Director of ChristLife Ministries. He shared a powerful exercise to help you recognize and overcome unresolved inner issues and strive for renewal. Finally, Dr. Michael Rydelnik joined us with an update and commentary on the Sydney, Australia tragedy. He also has a new book called "How Should Christians Think About Israel?" You can listen to the highlights of today's program on the Karl and Crew Showcast. If you're looking to listen to a particular segment from the show, look at the following time stamps: Dr. Drew Dickens [07:00] Greg Dempster [19:35] Dr. Michael Rydelnik [38:07] Karl and Crew airs live weekday mornings from 5-9 a.m. Central Time. Click this link for ways to listen in your area! https://www.moodyradio.org/ways-to-listen/Donate to Moody Radio: http://moodyradio.org/donateto/morningshowSee omnystudio.com/listener for privacy information.

Today, on Karl and Crew, we kicked off All-Star week. We're inviting some of your favorite guests back to discuss key updates in their ministries and work. Plus, we are asking them, and you, an important question this season: "If the birth of Christ never happened, what part of your life would be most different? Dr. Drew Dickens joined us to talk about the latest in AI. He is an AI expert, author, and visionary leader. His podcast is called the AI and Spirituality Podcast. Greg Dempster is the Founder and Director of ChristLife Ministries. He shared a powerful exercise to help you recognize and overcome unresolved inner issues and strive for renewal. Finally, Dr. Michael Rydelnik joined us with an update and commentary on the Sydney, Australia tragedy. He also has a new book called "How Should Christians Think About Israel?" You can listen to the highlights of today's program on the Karl and Crew Showcast. If you're looking to listen to a particular segment from the show, look at the following time stamps: Dr. Drew Dickens [07:00] Greg Dempster [19:35] Dr. Michael Rydelnik [38:07] Karl and Crew airs live weekday mornings from 5-9 a.m. Central Time. Click this link for ways to listen in your area! https://www.moodyradio.org/ways-to-listen/Donate to Moody Radio: http://moodyradio.org/donateto/morningshowSee omnystudio.com/listener for privacy information.

Dickens' hope that the Christmas spirit be lived throughout the year. Get all the news you need by listening to WBZ - Boston's News Radio! We're here for you, 24/7. See omnystudio.com/listener for privacy information.

This week, Patrick and JT dive into the past, present and future of 1992's, 'The Muppet Christmas Carol'. This beloved holiday classic gives us Dickens, divas and high-camp drama. The boys unpack the film's bittersweet production history, Brian Henson's heartfelt direction, and how Michael Cain and the Muppets managed to turn a Victorian tale or morality and mortality into one of the most heartfelt and joyful Holiday traditions of all time. Plus, get the full tea behind  disappearing / reappearing act that is: "When Love is Gone".  Grab your figgy pudding and join us for a trip through (in our opinion) the greatest adaptation of 'A Christmas Carol,' ever made.   Contact us: info@gaysdothed.com LEARN MORE & JOIN OUR PATREON: gaysdothed.com Purchase Your GDTD Candles Here: GDTD Candle Pack at Luxillume!

A Christmas Gift, From Your Hosts, Jim and Kit Caren!Back by Popular Demand:On this episode, we feature our Seventh presentation of the 1939 radio broadcast of "A Christmas Carol", by Charles Dickens, featuring the voices of Orson Welles and Lionel Barrymore. Complete, and uncut.ENJOY !!!Merry Christmas!  ⁠Support this podcast⁠====HISTORICAL REFERENCES:A Christmas Carol, The Campbell Playhouse, CBS Radio Network, December 24, 1939 (radio play, audio).⁠O'Leary, Dorothy, Barrymore's Scrooge, New York Times, December 21, 1947 (interview with Lionel Barrymore).Chesteron, G.K., ⁠⁠The Wrong Books at Christmas⁠⁠, Illustrated London News, January 09, 1909 (column / commentary).Dickens, Charles, ⁠⁠A Christmas Carol⁠⁠ (1843) (complete text of book). PLEASE NOTE: The radio play is a shortened and adapted version of the book. We claim NO ownership interest in any of the above material - whether audio or print.====GUEST VOICES:Lionel Barrymore - Pete Lutz, voice artist and producer, ⁠⁠Narada Radio Company⁠⁠, an audiodrama podcast.G.K. Chesterton - ⁠⁠Logan Smith⁠⁠ - free-lance professional voice actor.====MISCELLANEOUS:Exit Aphorism (voice) – Kit Caren, co-host ⁠⁠Forgotten News Podcast⁠⁠.Host Intro – Nina Innsted, host of the ⁠⁠Already Gone⁠⁠ podcast.Exit Aphorism - Source:⁠⁠ ⁠⁠ Author Unknown====MUSIC:Kevin MacLeod  of⁠⁠ Incompetech.com⁠⁠ – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At RestAt RestI Knew A GuyAll Sound Effects & Short Instrumentals Are From ⁠⁠Freesound.org⁠ , Or the Public Domain.⁠ ⁠⁠====HEY!  CONTACT US!E-Mail:  ⁠⁠⁠⁠⁠⁠ForgottenNewsPodcast@gmail.com ⁠⁠⁠⁠⁠⁠FNP Facebook page:⁠⁠⁠⁠⁠⁠https://www.facebook.com/Forgotten-News-Podcast ⁠⁠⁠⁠⁠⁠Kit Caren's Facebook page:⁠⁠⁠⁠⁠⁠https://www.facebook.com/people/Kit-Caren/100085459732466⁠⁠⁠⁠⁠⁠X - formerly known as Twitter:⁠⁠⁠⁠⁠⁠@NewsForgotten⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KitCaren ⁠⁠⁠⁠⁠⁠

Kitty Reads Lit for Peace: Charles Dickens – A Christmas Carol plus The Next Peacelands In today's holiday edition, Kitty O'Compost reads a short, seasonally grounded passage from Charles Dickens' A Christmas Carol—his mid-career meditation on generosity, personal transformation, and the moral imagination required to change one's life. Kitty offers only a brief excerpt, enough to settle listeners into the thoughtful clarity Dickens brought to questions of compassion and social responsibility. These December readings are part of Kitty's warm-up for The Peace Experiments: Experiment Zero, the new Peace Is Here series launching on New Year's Day. The episode closes with a special holiday version of The Next Peacelands. Instead of the usual real-time list of warzones and weapons suppliers, this month's practice offers the names of spiritual and humanitarian organizations working quietly and steadily for peace around the world—an invitation to join your intention with theirs during this reflective season. Get the books: www.AvisKalfsbeek.com Contact Avis to say hello or let her know how to say “Peace is Here” in your language: Contact Me Here The Next Peacelands source: Armed Conflict Location & Event Data Project (ACLED) and the Stockholm Internation Peace Research Institute's Arms Transfers Database [as updated on Wikipedia. Music: "The Red Kite" by Javier "Peke" Rodriguez Bandcamp: https://javierpekerodriguez.bandcamp.com Spotify: https://open.spotify.com/artist/3QuyqfXEKzrpUl6b12I3KW?si=uszJs37sTFyPbXK4AeQvow Intro Music: PulseBox on Pixabay Peace is Here podcast series Coming Soon!: The Peace Experiments (Season Zero) Charles Dickens – A Christmas Carol  on Gutenberg: https://www.gutenberg.org/ebooks/19337 

The curator and executive director of the AKC Museum of the Dog recalls one owned by Charles Dickens. "It was a Maltese that was so flea-ridden, they regularly had to shave him and bathe him to get rid of all the fleas." The dog, not Dickens. I think. Dogs in art, ethics, and history.  Music: Dorian's Room—Jonathan Stutz, Madeline Nickerson, Fae Hartt.

We answer your calls with Vaughn Vreeland (of New York Times Cookie Week fame) to help you bake the best cookies of the season; historian Pen Vogler breaks down classic Christmas dishes featured in Charles Dickens' stories, from turkey to plum pudding; author Kat Lieu shares her recipe for Old-Fashioned Cantonese Shortbread; and reporter Mackenzie Martin shares the true story of a Wisconsin holiday tradition, the wildcat sandwich.Get Kat Lieu's recipe for Old-Fashioned Cantonese Shortbread here. Listen to Milk Street Radio on: Apple Podcasts | Spotify

This week, a poet and musician draws inspiration from a distant family connection to the Grand Ole Opry's Little Jimmy Dickens.Also, for 15 years, a Virginia library has been hosting a weekly Dungeons & Dragons game for teens. It can get wacky.And, a taxidermist in Yadkin County, North Carolina found her calling before she could drive a car. 

A lot of people who came of age listening to the Grand Ole Opry know Little Jimmy Dickens. With his clever songs and his rhinestone-studded outfits, the West Virginia native influenced a generation of performers. Now he's remembered in a new book of poetry. The post State Employee Pay Raises And Little Jimmy Dickens, This West Virginia Morning appeared first on West Virginia Public Broadcasting.

On the second Wednesday in December, the Dickens Pickwick Club gathers at the ancient George & Vulture – an 18th-century warren of port, oak panels, and old City gossip – for its annual feast of camaraderie, Stilton, steak-and-kidney pie, and booming speeches. This year, my turn arrived: I had to deliver the Himself in the guise of Count Smorltork, Dickens's “famous foreigner” and virtuoso mangler of the English tongue. What followed was a night of uncommon joviality, literary lineage, personal history, and a foreign Count's triumphant but catastrophic attempt at English.

In this conversation, we dive into the magic and evolution of the Indiana Repertory Theatre's beloved A Christmas Carol, from its imaginative Tom Haas staging—where actors and minimal props bring Dickens' world to life on a snowy, sloped stage—to the behind-the-scenes realities of trap doors, rehearsal challenges, and mountains of fake snow. Former director Richard shares the pressure and pride of guiding a production that everyone else in the room had performed for years, the subtle artistic updates made over time, and the influence of new directors like Cara Hihn, whose own childhood experiences at IRT helped shape her inclusive vision. The discussion expands into how theater has long championed representation, diversity, and authenticity in casting, the collaborative joy of working with artists, and the importance of leadership in setting a positive creative environment. We talk about the casting process in the age of Zoom, the resilience of the IRT during COVID—producing streamed productions while many theaters shut down—and the emotional return of audiences craving community. The conversation closes with reflections on the irreplaceable value of live performance, especially in the age of AI, and how theater continues to offer shared human experiences no technology can replicate.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. 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

Jane Austen, die berühmte englische Schriftstellerin, würde am 16. Dezember 250 Jahre alt. Die Faszination für ihr Werk ist bis heute ungebrochen. Nicht nur die romantischen Liebesgeschichten ziehen uns in ihren Bann, sondern auch die humorvollen und entlarvenden Porträts der Figuren. Aber Jane Austen kann noch mehr: Sie ist eine Pionierin des Feminismus und Vorreiterin der modernen Erzählkunst. Sie ist eine Autorin des literarischen Kanons und eine populärkulturelle Ikone. Jane Austen, sagt Barbara Straumann, Professorin für Englische Literaturwissenschaft, habe einen ähnlichen Status wie Shakespeare und Dickens. Und für Adriana Altaras, Theaterregisseurin und Autorin, ist Jane Austen fast wie eine Freundin: «Ich träume, wenn ich Jane Austen lese, es amüsiert mich, es entspannt mich. Immer, wenn ich harte Zeiten habe, gefallen mir ihre Bücher ganz besonders.»

This is a preview of a brand-new audiobook from the Noiser Podcast Network. Join Sir David Suchet as he reads a selection of Charles Dickens's most chilling short works, brought to life with sound design and original music. We'll encounter dark premonitions of disaster experienced by a lonely railway signalman… A Victorian murder trial cast into chaos when the dead man's ghost interrupts proceedings… And a sinister haunted hotel, where twelve identical spirits stalk the corridors… But first, a very special festive gift: Dickens's most beloved ghost story of all, A Christmas Carol. You can listen to Part 2 of A Christmas Carol straight after this. Just search for Charles Dickens Ghost Stories in your podcast app or listen at www.noiser.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

‘The Muppet Christmas Carol' underwhelmed at the box office when it was first released on 11th December, 1992 - but found its audience on video and DVD in the decades later, becoming a gold-plated Christmas classic, re-watched by families, year after year.  There was darkness behind the scenes - from the sudden death of Muppets creator Jim Henson, to the legal wrangling over Disney's acquisition deal for his company, and composer Paul Williams's return from a difficult decade of addiction. But, despite this, or, perhaps, because of it, 28 year-old first-time director Brian Henson delivered a faithful and enduring adaptation of Charles Dickens's novel. In this episode, Arion, Rebecca and Olly discover how Steve Whitmire shouldered the daunting job of playing Kermit for the first time; consider Michael Caine's masterstroke performance as Scrooge (‘as if playing opposite the Royal Shakespeare Company'); and reveal how Jerry Juhl's script shifted from comedy pastiche to heartfelt musical…  Further Reading: • ‘‘You'll never see Michael Caine blink': An oral history of The Muppet Christmas Carol at 30' (The Independent, 2022): https://www.independent.co.uk/arts-entertainment/films/features/the-muppet-christmas-carol-brian-henson-b2243015.html • ‘The Muppet Christmas Carol movie review' (Roger Ebert, 1992): https://www.rogerebert.com/reviews/the-muppet-christmas-carol-1992 • ‘The Muppet Christmas Carol Trailer #1' (Disney, 1992):  https://www.youtube.com/watch?v=pNo-Q0IDJi0 #90s #Film #Christmas #Heartwarming Thanks so much for supporting the show! We massively appreciate it. The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill. Edit producer:  Ollie Peart Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Copyright: Rethink Audio / Olly Mann 2025. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on we're embracing the holiday spirit with a musical twist as we dive into the 2022 modern holiday spectacular, Spirited! We'll talk about Ryan Reynolds as the sardonic yet well-meaning Ghost of Christmas Present and Will Ferrell as the target of his annual redemption effort, Clint Briggs. We'll discuss the catchy original songs, the hilarious spin on the classic Dickens tale, and the unexpected heart that makes this film a new Christmas favorite.To warm us up while we ride along on this ghost-guided journey, we're mixing up a wintery twist on a classic: the Jack Frost Old Fashioned. This cocktail takes the warming base of Bourbon or Rye Whiskey and infuses it with seasonal spices like Cinnamon , using a dash of Maple Syrup instead of plain sugar. It's a comforting and cozy drink that's perfect for settling in to watch a holiday musical.So, put on your dancing shoes, light the fire, and get ready to raise a glass to Spirited!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Shop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.drinkthemovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Please Drink Responsibly*

Dickens' A Christmas Carol stands out strongly from his other works, but not because it's so different, really, in what it hopes to accomplish. Critiquing society, drawing attention to the world outside the doors of the wealthy in Victorian England, hoping to create social change... this was Dickens. But it's in A Christmas Carol that he condenses this message and provides joy in equal measure with distress. I've read a lot of Dickens, though I never did quite manage to finish Bleak House even after carrying it around for months, but it's A Christmas Carol that most stays with me, and that most feels like a doable add to a high school curriculum filled with many voices. At the same time, we can't talk about A Christmas Carol without considering how it centers Christmas. If you're going to teach this book, consider how you can also acknowledge the many other holidays that happen in this season - Diwali, Hanukkah, Eid, Lunar New Year, and more. I recently redid all the imagery in my winter holiday maker project (snag it free here) because I realized that although I had tried to keep Christmas from dominating, it was still too red and green. Take a look at the simple changes I was able to make (below) to create a more inclusive project, featuring imagery from many holiday traditions. And if you'd like to explore more inclusive holiday activities, you can find a bunch in this round up blog post.  But to come back to Dickens, I think it's important to use the vehicle as a book to discuss Dickens' desire to use his art to create change, his context in Victorian England, and the transformation of his character, Scrooge, rather than seeing it as mainly a fun holiday activity, because of course, many students do not celebrate Christmas and so reading a Christmas story won't necessarily feel like a fun holiday activity to them. IKYK. OK, with all this said, let's dive in to five creative activities you can use with this text, whether you choose to read the play, watch the movie, or some combination. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Launch your choice reading program with all my favorite tools and recs, and grab the free toolkit. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the 'gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

Matt Croke, Reed Martin, and Austin Tichenor remember the creation of the RSC's second radio show The Reduced Shakespeare Company Christmas in 1995, and how it paved the way for the RSC's eighth stage show The Ultimate Christmas Show (abridged). Matt, Reed, and Austin reveal their audio inspirations (like Firesign Theatre and 'Weird Al' Yankovic); how the new golden age of radio is called podcasts; how we failed to achieve novelty hit status with "Mrs. Santa Claus;" how we incorporated inside-baseball Ringling Brothers jokes and personal holiday memories; and how the heart the recording is its ten-minute reduction A Little Dickens: The Complete Christmas Carol (abridged); and how Austin went from playing parody Scrooge to playing the real guy for Chicago's Goodman Theatre. (Length 15:02) The post Remembering ‘Little Dickens' appeared first on Reduced Shakespeare Company.

Jesuit Media Lab fellows Mike O'Connell and Renée Roden join host Mike Jordan Laskey to draft their favorite things about Charles Dickens' "A Christmas Carol." It's a celebration in honor of the Jesuit Media Lab's first published book -- a communal read-aloud version of the classic novella, formatted as a play. We're encouraging folks to gather with their friends, family, neighbors or fellow parishioners to read " A Christmas Carol" aloud. More on our version of "A Christmas Carol" and how you can host a read-aloud gathering: https://jesuitmedialab.org/weve-published-a-read-aloud-adaptation-of-a-christmas-carol-here-are-6-tips-for-hosting-your-own-communal-reading-party/ The scan of Dickens' own copy of the novella he used for public readings during his life: https://digitalcollections.nypl.org/items/e1951b10-d507-0136-fa03-60f81dd2b63c More about our Jesuit Media Lab fellows: https://jesuitmedialab.org/meet-the-first-ever-jesuit-media-lab-fellow-michael-oconnell-ph-d/ https://jesuitmedialab.org/meet-our-newest-jesuit-media-lab-fellow-renee-d-roden/ AMDG is a production of the Jesuit Media Lab, which is a project of the Jesuit Conference of Canada and the United States. www.jesuits.org/ www.beajesuit.org/ twitter.com/jesuitnews facebook.com/Jesuits instagram.com/wearethejesuits youtube.com/societyofjesus www.jesuitmedialab.org/

Adrian Wootton, OBE Adrian Wootton OBE is Chief Executive of Film London and the British Film Commission. Adrian is a Programme Advisor to the BFI London Film Festival; Venice Film Festival; Mediterranean Film Festival, Malta and Noir in Fest, Milan; Founding Director of Shots in the Dark Festival, Nottingham and Curator of the annual Cinema Made in Italy programme, London as well as the comprehensive BFI Taviani Brothers retrospective in 2024.. Adrian is a recognised authority in various film/TV and literature subjects (Hollywood, crime and mystery and Italian Cinema amongst others) and regularly lectures, writes broadcasts and curates programmes on them. Adrian co-ordinated the film and television components of the international Dickens 2012 celebrations, of which Film London was a co-ordinating partner with the Charles Dickens Museum. Specifically, Adrian co-curated a large film and television retrospective which toured throughout the world. He also produced, co-wrote and co-narrated the 2012 documentary Dickens on Film for BBC Arena and Film London. In 2016 Adrian wrote and coproduced the BBC Arena Documentary Shakespeare on Screen. In 2012, Adrian received an Honorary Doctorate in the Arts and was appointed Visiting Professor of Film & Media at Norwich University of the Arts. In 2014, Adrian received an Honorary Doctorate of Letters from the University of East Anglia; in 2024 he received an Honorary Doctorate from Middlesex University and in 2017 was awarded an OBE for Services to Film. Screen Heat Miami Screen Heat Miami (SHM) is hosted by veteran Miami based producers Kevin Sharpley and JL Martinez and covers the latest trends in the film, tv, and entertainment industry, including interviews with global and local industry leaders, all told from a "Miami" point of view.

In this episode of Curry Café, hosts Ray Gary and Rick McNamara talk with Joanne Reeves, Rene Murillo, and Jason Liddell about their ambitious rock musical production, An Xmas Carol, a bold, 21st-century adaptation of Dickens' classic featuring Scrooge as a jaded rocker. They discuss the show's creative origins, unique post-psychedelic rock music style, and their grassroots efforts to stage a premiere in Brookings under the direction of Jason Liddell. Their goal is to record the performance for a documentary, “Brookings to Broadway,” to attract investors and eventually bring the production to Broadway. Despite operating on a shoestring budget, the creators emphasize passion, collaboration, and the importance of supporting the arts. We encourage anyone with differing views to participate in future Curry Café discussions. If you would like to join the panel, email contact@kciw.org or call 541-661-4098. Hosts: Ray Gary, Rick McNamer; Producers: Ray Gary, Rick McNamer Intro and end music by Kat Liddell. Used with permission. The opinions expressed here are those of the individual participants. Curry Coast Community Radio takes no position on issues discussed in this program. If you enjoy this program and want to hear more like it, consider supporting Curry Coast Community Radio. Here’s How.

This is a preview of a brand-new audiobook from the Noiser Podcast Network. Join Sir David Suchet as he reads a selection of Charles Dickens's most chilling short works, brought to life with sound design and original music. We'll encounter dark premonitions of disaster experienced by a lonely railway signalman… A Victorian murder trial cast into chaos when the dead man's ghost interrupts proceedings… And a sinister haunted hotel, where twelve identical spirits stalk the corridors… But first, a very special festive gift: Dickens's most beloved ghost story of all, A Christmas Carol. You can listen to Part 2 of A Christmas Carol straight after this. Just search for Charles Dickens Ghost Stories in your podcast app or listen at www.noiser.com. Real Dictators will return on December 17th with the story of Jean-Bédel Bokassa. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This is a preview of a brand-new audiobook from the Noiser Podcast Network. Join Sir David Suchet as he reads a selection of Charles Dickens's most chilling short works, brought to life with sound design and original music. We'll encounter dark premonitions of disaster experienced by a lonely railway signalman… A Victorian murder trial cast into chaos when the dead man's ghost interrupts proceedings… And a sinister haunted hotel, where twelve identical spirits stalk the corridors… But first, a very special festive gift: Dickens's most beloved ghost story of all, A Christmas Carol. You can listen to Part 2 of A Christmas Carol straight after this. Just search for Charles Dickens Ghost Stories in your podcast app or listen at www.noiser.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles Dickens' 'A Christmas Carol' is without a doubt the most well known ghost story ever written. But what most people don't realize is that the book contains references to a variety of paranormal phenomena. So, turn off your lights, sit back and join me as I take a deep dive into the paranormal in Dickens' masterpiece, 'A Christmas Carol'. Website: www.ConnecticutGhostHunter.com Contact: barrypirro@yahoo.com

Is 'A Christmas Carol' really a ghost story?

Jack's Christmas Lights Walk begins here for a reason. Villiers Street is the perfect overture: dense with history, glowing with stories, and sprinkled with festive firsts you won't hear anywhere else. It's London in miniature: short, steep, and overflowing with stories. From dukes and Dickens to Kipling's fog and railway thunder, this narrow chute between the Strand and the river is a backstage entrance to five centuries of drama. Let alone those Christmas Lights. And their stories.

Send us a textDecember can swallow us whole with its glitter and noise, but the rush is exactly why this conversation matters. We start where many homes do—hot chocolate, cozy blankets, and a lineup of beloved Christmas films—then follow the thread from Dickens' Scrooge to the heart of the Gospel story. Dickens chose story over pamphlet to prick the conscience of a divided society; Scrooge's “bah humbug” is more than a meme, it's a mirror. Yet fiction can only nudge. To find a foundation, we turn to John's opening lines, where the Word who made the world steps into it, and light cuts through four centuries of silence.Luke grounds us in names and places; John tells us why. The birth in Bethlehem wasn't a spectacle. No parades. No trumpets. Just a child in a manger and a quiet announcement to working shepherds who had stopped expecting wonder. That humility is the shock. Power often arrives with noise, but love comes close. We explore why God chose a cradle, how expectation of a warrior-king can blind us to a Savior who first came to share our life, and why grace and truth can't be reduced to seasonal sentiment or self-improvement. Scrooge reforms after a haunting. John insists we need more than resolve; we need rescue.Along the way, we connect personal rituals, cultural habits, and ancient hope. We ask what actually changes when light breaks into a dark world and why centering Christ reframes gifts, plans, and even our patience for the season's chaos. If you've felt the holidays blur into errands and empty cheer, this is a gentle reset and a bold claim: the manger is not a metaphor, it's the moment history turned toward hope. Listen, reflect, and share with someone who could use good news today. If this resonated, subscribe, leave a review, and tell us: what's your why for Christmas?

Send us a textWhat if the next chapter of your creative life needed a stage you had to build yourself? We sit down with Steve Furst—comedian, actor, writer, and the man behind cabaret icon Lenny Beige—to share how an eviction notice on a beloved Hampstead room sparked Circle and Star, a new intimate theatre with a big heartbeat. From raising funds at speed to converting favours into an opening season, Steve reveals the practical playbook and the personal resolve it takes to bring a venue back to life.We dig into the why and the how: why Hampstead lost something vital when its small spaces closed, and how a modern theatre can serve both the room and the wider world with streaming, multi-cam capture, and podcast capability. Steve talks candidly about the network that rallied—Matt Lucas, David Walliams, Marcus Brigstocke—and the decision to prioritise community over hype. He also shares the quieter habits that keep him match-fit: Transcendental Meditation as a reset that sharpens presence between shows, and a habit of listening forged by a childhood steeped in classical music.Fans of character comedy will love the peek into his creative toolbox: the Hammond organ's pull (Jimmy Smith, McGriff, McDuff), the communal charge of Northern Soul, and the power of unfussy documentaries that let real people speak. We explore Lenny Beige's continuing life at Circle and Star, including a playful AI assistant voiced as Lenny's mum, and a new project re-examining Fagin—juxtaposing Dickens and Lionel Bart while wrestling with identity and representation. It's part love letter to small theatres, part field guide to building one, and wholly a testament to staying curious, collaborative, and brave.If you care about live arts, new voices, and spaces that make talent possible, this one's for you. Subscribe, share with a friend who loves intimate theatre, and leave a review to help more listeners find the show. Your support keeps stages like this alive.Tune in next week for more stories of 'Distinction & Genius' from The Good Listening To Show 'Clearing'. If you would like to be my Guest too then you can find out HOW via the different 'series strands' at 'The Good Listening To Show' website. Show Website: https://www.thegoodlisteningtoshow.com You can email me about the Show: chris@secondcurve.uk Twitter thatchrisgrimes LinkedIn https://www.linkedin.com/in/chris-grimes-actor-broadcaster-facilitator-coach/ FaceBook Group: https://www.facebook.com/groups/842056403204860 Don't forget to SUBSCRIBE & REVIEW wherever you get your Podcasts :) Thanks for listening!

Total War: Medieval III confirmed! Sony links with Left 4 Dead co-creator for a new shooter, and Amazon is building a "unified universe" for Tomb Raider. Plus, Dan Houser compares open-world games to Dickens. #gameburst

On three occasions, Charles Dickens would speak in Dublin. Each time huge crowds came to hear him speak in the Rotunda, with the crowds spilling out into Sackville Street and well beyond. A Christmas Carol was the highlight of all three tours. Beyond his readings, Dickens also wrote interesting letters from the city, comparing it favourably to London and Edinburgh. There was once a time when Dublin even had street names taken from the world of Dickens.

Magoo & Scrooge BH Sales Kennel Kelp Holistic Healing Hour Podcast "Visualizing Wellness: A Holistic Journey with Grandpa Bill" #SpotifyWellness, #HolisticLiving, #VisualHealing, #GrandpaBill,1.In this adaptation, how does Ebenezer Magoo-Scrooge differ from the traditional Dickens character at the beginning of the story?A.He is already a generous philanthropist giving millions to charity.B.He is a scientist obsessed with experiments.C.He is a miser who refuses to spend a single penny.D.He is a poor man struggling to make ends meet.Think about his interaction with Lumen regarding the Christmas hampers and donations.1.In this adaptation, how does Ebenezer Magoo-Scrooge differ from the traditional Dickens character at the beginning of the story?A.He is already a generous philanthropist giving millions to charity.B.He is a scientist obsessed with experiments.C.He is a miser who refuses to spend a single penny.D.He is a poor man struggling to make ends meet.Think about his interaction with Lumen regarding the Christmas hampers and donations3.Who represents the Ghost of Christmas Past, and what concept do they embody?A.His Mother; Family values.B.Queen Victoria; Imperial History.C.Florence Nightingale; Nursing and Care.D.Madame Curie; Foundational Science.She glows with the light of a specific radioactive element she discovered4.According to Madame Curie, why is 'simple charity' insufficient?A.It is too expensive to maintain long-term.B.it does not generate enough publicity.C.It makes the recipients lazy.D.It fixes the immediate injury but not the systemic flaw in knowledge.Think about the difference between treating a cut and understanding the machine that caused the cut.5.Who is the Ghost of Christmas Present and what is his main lesson?A.Santa Claus; Generosity should be anonymous.B.A News Anchor; Information must be unbiased.C.A Union Leader; Workers must unite.D.P.T. Barnum; Systemic justice requires spectacle and engagement.This ghost is associated with the 'Greatest Show on Earth'.6.What does P.T. Barnum suggest Magoo-Scrooge do with his resources?A.Create a media spectacle to shift policy and public will.B.Invest quietly in blue-chip stocks.C.Build more circuses for entertainment.D.Run for political office.He wants to turn justice into the 'Main Event' to influence lawmakers.7.Who is the Ghost of Christmas Yet to Come?A.An elderly environmentalist.B.Adah, a college freshman and Java expert.C.A futuristic robot.D.The Grim Reaper.She carries a laptop and represents the digital youth.8.What is the 'Structural Secret' advocated by the Ghost of Christmas Yet to Come?A.Deploying secure, scalable, autonomous systems like open-source models.B.Waiting for the future to fix itself.C.Banning all technology to return to nature.D.Asking the government to take over all charity.Think about modern tech buzzwords like 'blockchain', 'open-source', and 'scalability'.9.What is the name of the new institution Magoo-Scrooge founds?A.The Global Circus of Science.B.The Magoo-Scrooge Institute for Foundational Structural Change.C.The Ebenezer Benevolence Society.D.The Christmas Spirit Foundation.The name combines his identity with the core concept of fixing the system's roots.10.How does the final ambition of Magoo-Scrooge evolve regarding the 'fish' analogy?A.From giving fish to teaching men to fish.B.From eating fish to becoming a vegetarian.C.From catching fish to buying a fish market.D.From giving fish to building a sustainable ocean.It's not just about the food (fish) or the skill (fishing), but the ecosystem itself.

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Send us a textThis holiday story gets new gears. We sit down with the Riverside Community Players team bringing a steampunk A Christmas Carol to life—complete with in‑the‑round staging, layered costumes, and a cast that looks and sounds like Riverside. From the first “God bless us” to the final curtain, the conversation uncovers how a first-time director balances reverence for Dickens with the courage to reimagine the world he wrote.We talk through Sage's path back to the stage, the decision to lean into steampunk aesthetics, and the practical realities of building a show where minimal sets and 360-degree sightlines demand bold blocking and clean storytelling. Kit Wilson shares his approach to Ebenezer Scrooge—mining classic performances without echoing them, researching 1843 London to ground the character's arc, and finding the moment where regret turns into change. We also spotlight Tiny Tim, played by Jasper, whose enthusiasm and resilience bring rare authenticity to a role that carries the play's soul.Behind the scenes, the creative engine hums: meticulous costume design that fuses Victorian texture with industrial flair; prop choices that do the heavy lifting when scenery stays lean; and a rising scenic designer crafting a modular world that moves as fast as the story. An assistant director with movement training helps the ensemble build truthful relationships, so every corner of the house sees intentions as clearly as words. Expanding the cast unlocks fresh voices and sharper narration, while a commitment to diversity ensures the stage reflects the Inland Empire community it serves.If you love theater that honors tradition and still surprises, this one's for you. Hit play, get inspired, then grab your tickets to A Christmas Carol at Riverside Community Players. Subscribe, share with a friend who needs a spark of holiday spirit, and leave a quick review to help more listeners find the show.December 5-14 Riverside Community Players: 4026 14th St. Riverside, CA 92501Box Office: 951-686-4030www.riversidecommunityplayers.com Find STTS:Steps To The Stage (@stepstothestage) | InstagramFacebookSteps To The Stage (buzzsprout.com)Steps To The Stage - YouTubePlease follow on your favorite podcast platform and we appreciate 5 Star ratings and positive reviews!

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We begin with a trigger warning, this week we talk about the results of people apparently catching fire spontaneously and the gruesome remains that sometimes leaves behind.  We attempt to go easy but still if you find yourself challenged by some of these descriptions, feel free to skip the episode.  You matter.  What a week!  This week we tackle the burning subject (quite literally( of spontaneous human combustion.  We dig into historic cases both fairly mundane and incredibly strange.  We discuss cases and theories from ancient to modern, including the wick effect and how it literally demands the person sit in one place, unmoving while they burn to mostly ash.  We discuss the very strange case of Mary Reeser and so much more and we also talk to author, and friend of the show, Dan B. Fierce about his upcoming plans.  Check it out!https://linktr.ee/danbfiercehttps://a.co/d/2wRgwvcBecome a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

Gurinder Chadha's new film, Christmas Karma, reimagines Charles Dickens' classic Christmas story with The Big Bang Theory's Kunal Nayyar in the lead. How does it stack up to the best previous adaptations? Can it measure up to the Muppets? And why is Dickens still relevant?  Your host, Helen O'Hara, assesses the results with the help of comedian and author Marc Burrows. Marc's new book, The Story of the Christmas Number One: Mistletoe & Vinyl, is out now, and you can learn more about launch dates here: Marc Burrows.com For more from Helen, you can find her on Bluesky @HelenLOHara, or at helenohara.com. Her new books, 50 Film Ideas You Really Need To Know and A Quentin Tarantino Dictionary are available now. This podcast is produced and edited by Helen O'Hara with Stripped Media. For more on this podcast, and others produced by Stripped Media, please visit www.stripped.media or email producers@stripped.media. Learn more about your ad choices. Visit megaphone.fm/adchoices

While the Bay Area doesn't see much snow, one place you CAN find some right now is.. Southeast San Francisco! An annual tradition is taking place these days in a transformed arena off Geneva Street. In a space once reserved for livestock and cowboys, the streets of Victorian England come alive. It's the Great Dickens Christmas Fair at the Cow Palace!

Every time Disney adapts A Christmas Carol, it's a ghost story—but it's not just about Scrooge. It's a story about the Walt Disney Company itself. CHECK OUT THIS EPISODE IN VIDEO FOR THE FULL EXPERIENCE @ https://youtu.be/pCARpdjm0rk From the hand-drawn rebirth of Mickey Mouse in the 80s to the felt-and-friendship of the Muppets in the 90s, and the high-stakes digital ambition of the 2000s, each adaptation of Dickens' classic reveals exactly where Disney was as a company, what it was struggling with, and what kind of "spirit" was guiding its decisions. Join Eric as we unwrap the surprising corporate history hidden inside three holiday classics: The Ghost of Ink and Paint (1983) Mickey's Christmas Carol was more than a cute holiday short; it was a desperate sign of life from a struggling animation studio. We explore how this small project became a proving ground for the next generation of Disney legends (Keane, Lasseter) and marked the grand return of Mickey Mouse during Ron Miller's uncertain tenure. The Ghost of Felt and Friendship (1992) The Muppet Christmas Carol was the first Muppet film made without Jim Henson—and the first under the Walt Disney Pictures banner. It's a story of legacy, loss, and how Brian Henson fought to keep the heart in the story (and why a certain song was controversially cut by Jeffrey Katzenberg). The Ghost of Digital Ambition (2009) Robert Zemeckis' motion-capture version starring Jim Carrey was designed to be the ultimate A Christmas Carol. Instead, it became a cautionary tale about the high cost of innovation, the "uncanny valley," and why Disney's $200 million experiment (ImageMovers Digital) shuttered just two years later. These films are a timeline of Disney's struggles, expansions, and triumphs. Watch now to discover the surprising synergy of art, commerce, and Christmas spirit! Subscribe for more Disney connections: https://www.youtube.com/@SynergyLovesCompany?sub_confirmation=1 Podcast: Listen to Synergy Loves Company → https://synergylovescompany.com Support the Show: Shop official Synergy Loves Company merch → https://shop.synergylovescompany.com Affiliate Disclosure: Some links above may be affiliate links. If you click and purchase, I may receive a small commission at no extra cost to you. Thank you for supporting the channel! Connect with Me: Instagram → https://www.instagram.com/synergylovescompany Bluesky → https://bsky.app/profile/erichsynergy.bsky.social Facebook → https://www.facebook.com/synergylovescompany Credits / Resources: • Music licensed via Melod.ie • Synergy Loves Company is not affiliated with The Walt Disney Company or any of its subsidiaries. • Images and clips are used under fair use for commentary, criticism, and education.

On this week's episode, Sarah and Peter travel to St Peter's College, Oxford, where Peter ruminates on an increasingly unlikely peace deal in Ukraine, and Sarah begins by asking why Christmas starts earlier each year before regaling the student audience with tales of Christmas past more woeful that Dickens' A Christmas Carol. Plus, Peter and Sarah take on all comers, and each other, with questions from the floor including the evolution of women's role in the workplace (which goes off like a cheap firework), what they both really think of President Donald Trump and Peter's Moscow goose (it's not a cocktail). On our reading and watch list this week: · In The Wet – Nevil Shute· When Women Lead – Julia Boorstin· Moscow Christmas: A Diary. December 1966 – Peter Pears, Benjamin Britten· Brideshead Revisited - Evelyn WaughPlease do get in touch, email: Alas@dailymail.co.uk you can leave a comment on Spotify or even send us a voice note on Whatsapp – on 07796 657512, start your message with the word ‘alas'. Presenters: Sarah Vine & Peter HitchensProducer: Philip WildingEditor: Chelsey MooreProduction Manager: Vittoria CecchiniExecutive Producer: Jamie East A Daily Mail production. Seriously Popular Hosted on Acast. See acast.com/privacy for more information.

Welcome to The Portal, the newest show from Ninjas Are Butterflies where we interview guests from across the world through the digital void of remote viewing. In this episode we sit down with the creator of the hit show The Telepathy Tapes to explore the shocking results of telepathic experiments conducted with children, the potential implications of her research, and the controversy surrounding alleged interference from intelligence agencies including rumored CIA tampering. We dig into the science, the ethics, the dangers, and what her findings could mean for the future of communication, consciousness, and national security. We also talk about the production of her new season and what mysteries viewers should be prepared for as the story escalates. Is telepathy real Have governments already weaponized psychic ability Why are whistleblowers suddenly appearing now What are they trying to hide Strap in and step through The Portal as we uncover the truth piece by piece. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this re-release special episode, host Jason Blitman dives into the world of Wicked. Joined by legendary author Gregory Maguire, Guest Gay Reader is comedian and host of That's a Gay Ass Podcast, Eric Williams, and Gays Reading's first Guest Gay Icon, Broadway powerhouse Eden Espinosa. Highlights include:

You know Dasher, and Dancer, and Prancer, and Vixen.  Santa, and Frosty, and Rudolph, and Dickens.  But do you know? The Alluring Dark Spirits of old?   In this episode, you can meet three of the Dark Spirits of the Christmas with my guest Tania Yager. Tania is the author of the book The Allure of the Dark Spirits (which will be available Dec. 5, 2025 on Lulu). We talk about the process of getting the book written and about the three topics of the book: Krampus, La Befana, and the Mari Lwyd. The book "is a whimsical, bombastic, and deeply heartfelt journey into the shadowy magic of winter folklore. Part memoir, part shamanic exploration, and part folklore celebration, Yager invites readers to walk beside her as she meets the Alpine Krampus in the snowy streets of Munich, seeks out the Italian witch La Befana, and revisits her own bittersweet ties to Wales through the ghostly Mari Lwyd." We had a great discussion (one of the longer I've done) talking about her journey and about the spirits.  The book will be available for order on Dec. 5, 2025 (Krampusnacht) in time for the holiday season. A gift for yourself and that special friend in your life who also enjoys the spirits of winter.  This is a longer episode, so here is a bit of a show flow: 0:00:00 Introduction and background of Tania and developing the book 0:35:28 Frau Perchta/Frau Holle 0:47:33 Krampus 1:02:00 La Befana 1:11:20 Mari Lwyd - Mari Beast 1:37:56 New Projects, closing   Yager is a multifaceted visual/ performance artist, writer, holistic educator, and shamanic practitioner. She has dedicated her life to the art of storytelling in all forms and strives to put the education at the forefront of her work. She is the creative director of Twisted Heart Puppetworks and founder of The Wild Hunt of Vista Krampus Run and The Dark X-mas Market of Vista. Through her works, she aims to inspire others to explore folklore, fantasy, myth and magic.  Order the book beginning Dec. 5, 2025 on Lulu. Find the link at The Wild Hunt of Vista.com Check out the Dark X-mas Market in Vista California on Dec .13 2025.  Follow Tania on IG & FB: @twistedheartpuppetworks  and IG: @wildhuntersvista The Dark Market on IG & FB: @thedarkxmasmarket    # # # Create your podcast today! #madeonzencastr Subscribe to Substack: https://giftsofthewyrd.substack.com/ Instagram: @wyrdgifts1 Facebook: @GiftsoftheWyrd Email: giftsofthwyrd@gmail.com Order The Christmas Oracle Deck created by me and artist Vinnora at https://feniksshop.etsy.com follow FB/IG: @thechristmasoracle  This product was sent to me by the publisher. I have not been compensated for this interview or review, and my opinions are my own.  Music. Royalty free music from https://www.fesliyanstudios.com  Intro: Land of 8 Bits. Outro: The Night Before Christmas.   Gifts of the Wyrd Logo Created by Xan Folmer.  Logo based on the Vanic boar created by Vanatru Priestess Ember of the Vanic Conspiracy. Studio recordings using Zencastr and Audacity.  

Just dropping by with a quick hello, now that the season is in full swing. Today, I share an announcement about this season of Christmas Past, as well as share highlights from my annual visit to the Great Dickens Christmas Fair in San Francisco. Plus...a surprise guest appearance!Music in this Episode"Working Time - Soft Acoustic Guitar" — Dream Protocol, via PixabayOrder your copy today! Of Christmases Long, Long AgoConnect with Me Links to all the things https://christmaspastpodcast.com/links Email: christmaspastpodcast@gmail.com BooksOf Christmases Long, Long Ago: Surprising Traditions from Christmas Past (2025, Lyons Press and Recorded Books) It's Christmas as you've never seen it before, and it makes a great gift for all the Christmas lovers in your life. Christmas Past: The Fascinating Stories Behind Our Favorite Holiday's Traditions (2022, Lyons Press and Recorded Books)

Timestamp: (10:19) In the US, an average of 450 children are murdered by their parents each year, with mothers more likely to kill infants and fathers more likely to kill older children. North Carolina man Wellington Dickens called 911 in October 2025.  He confessed to killing four of his children over the period of a few months.  He also told authorities that another child of his had previously passed and police are searching for the remains of that baby. In November 2025, New Zealand man Dean Field allegedly killed his three young children August, Hugo and Goldie before setting their home on fire.  Dean perished along with the children. Ohio man Ryan Eagon and his wife Raven had a tumultuous relationship.  Raven believed that Ryan was away for work and she enlisted the help of a previous partner, Dustin Willey, to help her move her two children and their belongings out of the home.  Ryan ambushed the family, killing Dustin and the two young boys, before taking his own life. Read our blog for these tragic cases - https://truecrimesocietyblog.com/2025/11/24/deadly-dads-november-2025/ If you are in an abusive relationship, we have helpful resources on our Instagram highlight section - Instagram.com/truecrimesociety Join us on Patreon for weekly, exclusive content - Patreon.com/truecrimesociety This episode is sponsored by: Mood - Head to mood.com, find the functional gummy that matches exactly what you're looking for, and let Mood help you discover YOUR perfect mood. And don't forget to use promo code [TCS] when you check out to save 20% on your first order.