Podcasts about dorothy sayers

What happens after we realize that education is about far more than information transfer? In this episode of BaseCamp Live, Davies Owens sits down with David Goodwin, president of the Association of Classical Christian Schools and co-author of the New York Times bestselling book Battle for the American Mind. David's newest book, Forging the American Mind, serves as a practical guide for parents and educators who want to understand not only why classical Christian education matters, but how it actually works. Tune in to hear: Why Battle for the American Mind resonated with so many parents and educators What paideia is and why it shapes every child's understanding of truth, identity, and purpose Why the most important question in education is not "What do you know?" but "How do you know?" How Dorothy Sayers and C.S. Lewis continue to influence the classical Christian education movement Practical examples of classical education in action, from great books and handwriting to Socratic discussion and dialectical learning How adults who feel they "missed out" on a classical education can begin pursuing one today Along the way, David offers a compelling vision for recovering the lost tools of learning and cultivating wisdom, virtue, and intellectual freedom in the next generation. Whether you're a parent, educator, school leader, or lifelong learner, this conversation will help you think more deeply about what education is for and how it shapes both individuals and culture. Special Thanks to our partners who make BaseCamp Live possible: Wisdom and EloquenceThe Herzog FoundationLife ArchitectsWisephone by TechlessZipCastWilson Hill Academy Stay tuned for more enlightening discussions on classical Christian education, and join us next time on BaseCamp Live! Remember to subscribe, leave us a review, and reach out to us at info@basecamplive.comDon't forget to visit basecamplive.com for more info and past episodes.

Dorothy Sayers's Lord Peter Wimsey finds himself in the private center of a lethal criminal organization: "The Adventurous Exploit of the Cave of Ali Baba."

Hello Detectives! Today we are delighted to introduce you to The Lion and the Adder, who are wrapping up their crowdfund soon and need our help to produce this season of top-tier historical detective-based audio fiction! (Check out their crowdfund HERE RIGHT HERE.) The Lion and the Adder is the first season of a new audio drama series from Monstrous Productions inspired by the Golden Age of detective fiction.  When a young man disappears in a suspected demonic possession, Robin Sylvester - a physicist specializing in the science of demon summoning - is called in to help solve the case. He's joined by Detective Inspector Nicholas Hawthorn and consulting psychic Evelyn “Bash” Sebastian in a 1920s supernatural detective story that blurs the lines between science, magic and religion. If you love the work of Agatha Christie, Margery Allingham, and Dorothy Sayers and wondered what that style of prose sounded like mixed with plenty of supernatural elements and heart, fully produced with a full voice cast and immersive sound design then head on over to Monstrous Production's Kickstarter to check out more about the show! Thanks so much for listening and enjoy this exclusive preview of The Lion and the Adder.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Sayers wrote the most influential essay on the theology of work in the last century. It's awesome. But it's not perfect. This episode is about the parts I think could use some improvement.https://www.kibbeconsulting.com/https://www.gnu.edu/

Dorothy Sayers wrote a bunch of amazing novels. She also wrote the most influential word on the theology of work in the last one hundred years. https://www.kibbeconsulting.com/https://www.gnu.edu/

Work isn't what's broken. We are. And that changes everything about how we show up on Monday. Tracing the Genesis narrative through the Fall, Noah, and the Noahic covenant, Pastor Jeremy Pace shows that the pain and struggle we experience in work stem from twisted human hearts, not from work itself. Work is our good, not merely a means to good things — it is our specific human contribution to God's ongoing creation and to the common good. The antidote to mis-loving work is Love itself: only when love is put on as our essential nature, not as a feeling or an outcome, can we "work from the soul, as for the Lord." Questions for Reflection: What are we missing in our love(lessness) of work? Where — and from whom — have you witnessed love at work, work from the soul? Scripture References: Psalm 90:14–17 Genesis 2:1–3, 15; 3:17–19; 4:22–23; 5:28–29; 6:5–18; 8:20–22; 9:1–17, 20–25 Colossians 3:10, 14, 17, 23 Voices/Quotes: Irenaeus, Augustine, Julian of Norwich, NT Wright, Dorothy Sayers, Tom Nelson Sermon Notes & Liturgy | Get(ting) Out of Work We take a month or so every year to consider, together, the rhythm of creation according to God's design: Sabbath & Work Christ City Church gathers every Sunday at 10:10 AM at 642 Brookhurst Dr., Dallas, TX 75218; in the chapel at LHB.  Come rest in Jesus. Learn more at christcity.life

In this podcast Rachel is joined by Amy Orr- Ewing to explore the about the life and legacy of Dorothy L. Sayers, a prominent Christian author and public theologian of the 20th century. Amy and Rachel discuss Dorothy's creativity, her commitment to truth and integrity, and her unique ability to bridge faith and culture. Asking what we can learn from her commitment to speaking about Jesus Christ and her belief that there is power in creative expression as a reflection of God's image in humanity.→ Stay Connected Conference 2026 Tickets – [theorchardwomen.com](http://theorchardwomen.com/)Instagram – / theorchardwomenWebsite – https://theorchardwomen.com/#women #conference #church

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

The Lord God took the man and put him in the Garden of Eden to work it and take care of it (Genesis 2:15). In her book, Letters to a Diminished Church, Dorothy Sayers has a few paragraphs about work. She argues that our financial system has subordinated people to economics. Workers are merely part of the machine in which they can earn a paycheque sufficient for living and some leisure time. The worker does not recognize the work as valuable. She quotes a very able surgeon to show the results of this system: "What is happening is that nobody works for the sake of getting the thing done. The result of the work is a by-product; the aim of the work is to make money to do something else. Doctors practice medicine not primarily to relieve suffering, but to make a living—the cure of the patient is something that happens on the way. Lawyers accept briefs not because they have a passion for justice, but because the law is the profession that enables them to live." The modern tendency is to identify work with employment. In this view, work is not the expression of our creative energy in the service of society, but only something we do to obtain money and leisure. Sayers also argues that Christians have been implicit. It might be that we have spent too much time with Genesis 3 in which work is named a hardship and a judgment on sin. We need to recover the Christian understanding of work related to the "doctrines of the creative energy of God and the divine image in humanity". These Monday Avodah meditations are an effort in reclaiming a Christian view of work, which can be summed up simply as: work is sacred. In our society, work and money are woven tightly together. Christians ought to raise the alarm and make efforts to untie the knots. In the Biblical view, work is a good in itself. Many things beyond making money should be considered work. It is not primarily to make a living, but a result of being made in God's image. Thus, to do something well is sufficient, it gives glory to God. Fighting against the economic machine of our society feels futile. But let me make a few suggestions to swim against the stream. First, let us develop and maintain a robust view of humanity and of work. Our value is not in what we earn, but as image bearers of God. Everything that contributes to the flourishing of society ought to be labeled work. Second, wherever we have influence, we should advocate both for proper conditions of employment and for work that we can put our whole heart into. Both the worker and the work need to be valued. Third, treat all people with dignity all the time. These things may appear small and insignificant. But let us remember that we live for a king who uses small things to great ends. Jessus spoke about small seeds. They have great potential. As you journey on, go with the blessing of God: Wherever God takes you today (this week), may He fill you with all joy and peace as you trust in him, so that you may overflow with hope by the power of the Holy Spirit and that you may live carefully—not as unwise but as wise, making the most of every opportunity.

All sin separates us from God. Some sins—pride, envy, wrath, sloth, greed, lust, gluttony—can destroy us. Jesus gives us virtues that overcome these vices.This 8-week series examines the Seven Deadly Sins not to shame, but to reveal our need for grace. Each week shows how these sins infiltrate life, harm relationships, and distance us from God—and how Jesus provides the way out. The final week focuses on virtue and victorious life in Christ.Today we continue our this series with a focus on "sloth" or what today we call "laziness." God made us for work, but He also made us to ENJOY our work! In a culture that worships leisure, its no wonder our population struggles with increasing physical and mental health problems. Learn how a disciplined life and a strong work ethic can be produced through living the Gospel. Let's listen in…LINKS + RESOURCES FROM THIS EPISODE:• Recommended reading for this series• Acedia (Sloth)• Zootopia film, Dorothy Sayers, Lou Holtz, Evagrius of Ponctus, Henry Ford • Download the free study guide, complete transcript, and show notes here.• Scripture References: Proverbs 21, verses 25-26,; chapter 12, verse 27; ch. 19, verse 24; ch. 26, verse 13 & 16; ch. 20, verse 4; ch. 19, verse 15; ch. 6, verses 10-11; Ephesians 5, verse 1; 2 Thessalonians 3, verse 10; Colossians 3, verse 23; Ecclesiates; Psalm 27, verse 14• Find out more about Covenant Church at ⁠covenantexperience.com

https://www.kibbeconsulting.com/https://www.gnu.edu/1. If you're going to have a theology of work, you need to tell a four-part story: the goodness of work, the corruption of work, the redemption of work, and the restoration of work.2. If you're going to have a theology of work, you also need to have a theology of rest.3. If you're going to have a theology of work, you need to quote Dorothy Sayers.4. If you're going to have a theology of work, you need to talk about being made in God's image.5. If you're going to have a theology of work, you need to reject the dichotomy between the secular and the sacred. 6. If you're going to have a theology of work, you need to name quality as a virtue. 7. If you're going to have a theology of work, you need to name both the intrinsic value and the instrumental value of work.8. If you're going to have a theology of work, you need to name the overlap between work and worship. 9. If you're going to have a theology of work, you need to see work as love for neighbor.  

Running Grave, book Seven of the ten novel Cormoran Strike murder mystery series by Joanne Murray (‘J. K. Rowling') writing as ‘Robert Galbraith,' is what the author described as her “cult novel.” The cult in question is the Universal Humanitarian Church led by Jonathan Wace; the Strike-Ellacott Agency is hired by a father to rescue his youngest son who has disappeared into the UHC's Chapman Farm property. Robin Ellacott successfully infiltrates the compound and she and the young man escape.Soon after Robin's near-thing deliverance and return to London, Strike attends a UHC rally in that city with hopes that he will be spotted by Wace and invited to meet back-stage. ‘Papa J' takes the bait and he and Strike square off in the cult leader's dressing room. Strike reveals much of what Robin and he have learned about the UHC's criminal past and present in that verbal confrontation. Strike exits only after delivering a warning; stay away from his partner or “I will burn your church to the f*****g ground” (Part 8, chapter 112, 808; italics in original).In the midst of this tense back-and-forth between private detective and religious guru, Strike thrice mentions a book published in 1930, Who Moved the Stone?, a relatively short work of popular Christian apologetics:‘I see you're one of those who prides themselves on disrespecting rites, mysteries, and religious observance,' said Wace, smiling again. ‘I shall pray for you, Cormoran. I mean that sincerely.'‘I'll tell you one book I've read, that's right up your street,' said Strike. ‘Came across it in a Christian mission where I was spending a night, just outside Nairobi. This was when I was still in the army. I'd drunk too much coffee, and there were only two books in the room, and it was late, and I didn't think I'd be able to make much of a dent in the Bible, so I went for Who Moved the Stone? by Frank Morison. Have you read it?'‘I've heard of it,' said Wace, sitting back in his chair, still smiling. ‘We recognise Jesus Christ as an important emissary of the Blessed Divinity, though, of course, he's not the only one.'‘Oh, he had nothing on you, obviously,' said Strike. ‘Anyway, Morison was a non-believer who set out to prove the resurrection never happened. He did an in-depth investigation into the events surrounding Jesus' death, drawing on as many historical sources as he could find, and as a direct result, was converted to Christianity. You see what I'm driving at?'‘I'm afraid not,' said Wace.‘What questions d'you think Morison would've wanted answered, if he set out to disprove the legend of the Drowned Prophet?' (805)This calling into question of the UHC's historical claim to other-worldly power causes those of Wace's inner-circle minions to chafe and counter with traditional Oriental wisdom about wrestling with pigs. Strike again alludes to Morison's book:‘Is that from the I Ching?' asked Strike, looking from Zhou to Mazu. ‘Funnily enough, I've got a few questions on the subject of degradation, if you'd rather hear those? No?' he said, when nobody answered. ‘Back to what I was saying, then.'‘Let's suppose I fancy writing the new Who Moved the Stone? – working title, “Why Paddle in the North Sea at Five a.m.?” As a sceptical investigator of the miraculous ascension into heaven of Daiyu, I think I'd start with how Cherie knew Jordan Reaney would oversleep that morning. Then I'd be finding out why Daiyu was wearing a dress that made her as visible as possible in the dark, why she drowned off exactly the same stretch of beach as your first wife and – parallels with Who Moved the Stone? here – I'd want to know where the body went. But unlike Morison, I might include a chapter on Birmingham' (805-806).John Granger and Nick Jeffery, as part of their Kanreki celebration of Rowling-Galbraith's 60th birthday last July, discussed Texts-Within-the-Text as a Golden Thread that runs through all of the author's work. Most of those embedded texts, though, are of Rowling's invention, e.g., Dumbledore's Chocolate Frog Card, Tales of Beedle the Bard, Bombyx Mori, The Predictions of Tycho Dodonus, Wace's The Answer, etc. It's fairly rare for Rowling-Galbraith to drop a reference to a real world book even in the relatively non-magical Strike series.In addition to the I Ching, however, Running Grave has Prudence Donleavy recommend two psychology texts to Robin (Lifton's Thought Reform and the Psychology of Totalism: A Study of Brain Washing in China and Hassan's Combatting Cult Mind Control: Protection, Rescue, and Recovery from Destructive Cults) in addition to Strike's weaponization of Morison's Who Moved the Stone?John and Nick chose to discuss Who Moved the Stone? this week rather than an embedded text that works as a template (cf., Aurora Leigh) or a Rowling favorite-book that shaped her perspective (e.g., I Capture the Castle) or a real-world book tied to the plot of Hallmarked Man (Bridge to Light, Pike's Morals and Dogma) because it seemed to connect the dots of several recent Rowling revelations:* the “God-shaped vacuum” tweet; * the unforced admission that she suffers from VWD, a blood-clotting disorder; * the search for the coming Big Twist in the final books of the Strike series;* the Psalter charm on the Strike9 Christmas gift bracelet-of-clues; * the Church of St Giles in the Fields' existence and its incredible absence from the first eight Strike books despite its overshadowing Denmark Street; and* the absence of Strike-series parallels to the Christian content and meaning of the Potter series, especially with respect to the Struggle to Believe in Deathly Hallows.For reasons the two discuss, all the above are pointers to possible Christian content of Strike books nine and ten, even that this content will be a substantial part of the mind-bending surprise finish to the series, namely, Strike's transformation from a skeptic with respect to all things religious to believer. What bigger clue has Rowling presented in the series for that possibility than Strike's confronting a religious “fraud and hypocrite” (799) with a book by an English skeptic about the evidence for belief in Christ's Resurrection from the dead?Nick and John discuss both Who Moved the Stone? itself, its use in Running Grave in the Strike-Wace confrontation, and its possible meaning as a pointer to revelations and transformations to come:1. Why is a Rowling Reader interested in Frank Morison's Who Moved the Stone? ? 2. Who was ‘Frank Morison‘? What is the story behind the writing of Who Moved the Stone? ? What place does it have, if any, in UK Christian apologetics?3. Do you think there are echoes of ‘Morison's conclusions in the Passion parts of Dorothy Sayers' Man Born to be King series for the BBC (1941)? 4. Chesterton per Wikipedia wrote in his review of Stone that he had been “under the impression it was a detective story” when he picked it up; how much does it read like a murder mystery, something akin to how Strike might sift through the evidence of a case?5. Five instances of deductive insights Ross-Morison offers by reasoning that even most Christian believers would have considered —6. A compare-and-contrast exercise of different perspectives -- John, believer, familiar with passion gospels; Nick, seeker, not so much -- how did their reading experiences differ?7. Why would Rowling-Galbraith have Strike mention this book, one that fosters conversions to Christian faith, in his face-to-face meeting with a religious charlatan? Shouldn't he be belittling faith at that point?8. If there is a single ‘keyword' in Stone, John believes it is “vacancy.” Nick and John discuss (1) the possibility that Rowling may have read this book as a young person and been struck by the God-shaped “vacancy” or “Vacuum” in her own life and (2) whether it could have been an influence on the Casual Vacancy title. They review Rowling comments about “the light of God shining from every soul” in her Vacancy interviews.9 - John expresses his bewilderment that Robin and Cormoran have never discussed their faith backgrounds or lack of one in the course of their relationship, especially in light of their UHC cult experiences and Talbot's True Book with its occult and Christian content. Nick explains the fall out of the English Civil War to John.10. Could Strike's familiarity with and seeming sympathy with the arguments of Stone a place-marker for future conversations about faith, not to mention revelations of why both Strike and Robin are so casual about the vacancy of a spiritual dimension in their lives?The remarkable take-away from this conversation was a discussion of the possibility that Rowling's tweeted ‘Psyche Ascendant' suggests the imminent death of Robin Ellacott in Strike 9 with Strike 10 being fallout of that death in the life of Cormoran Strike. ‘Fall out' meaning Strike will learn the truth about all the questions to which he mistakenly thought he knew the answers — the suicides of his mother and Charlotte Campbell-Ross, the character of Jonny Rokeby, Ryan Murphy's real motivation for pursuing Robin Ellacott, Cormoran's relationships with his half-sister Lucy and “oldest mate” Dave Polworth — as well as ‘Who Killed the Better Half of the Strike Ellacott Detective Agency?'John thinks the revelations coupled with Strike's grief may drive him to his knees in St Giles in the Fields Church, a ‘Digging Dobby's Grave on Easter morning' parallel. Make your case in the comment boxes below if you think that he has lost his mind somewhere on the drive east from Oklahoma to the Carolinas.The Granger family is now well settled in their South Carolina bungalow and Hogwarts Professor will be posting with regularity. Nick and John thank you for your patience and for your support!Links to Sources and Subjects Mentioned in Conversation:‘A Ring Reading of Running Grave, Part Eight' (John Granger)Who Moved the Stone? by Frank Morison (Amazon)‘Albert Henry Ross' aka ‘Frank Morison' (Wikipedia)‘Frank Morison and Who Moved the Stone? Advertiser, Novelist, Apologist, Spy' (Philip Johnson, Lecturer, Morling College, New South Wales, 2018)* Most of the information that Nick and John shared about Ross/Morison and his book Who Moved the Stone? came from this carefully researched paper.‘Philip Johnson' UC Berkeley Law Professor, author Darwin on Trial (Wikipedia)Darwin Retried: An Appeal to Reason (Norman MacBeth)Dorothy Sayers' Man Born to be King series for the BBC (1941)?G. K. Chesterton review of Who Moved the Stone? in The Illustrated London News (5 April 1930)‘Reading Troubled Blood as a Medieval Moral Play and Allegory:' Roy Phipps the “bloody bleeder” as King Philip of Spain (John Granger)‘Justin Martyr and the Fourth Gospel' (Fr John Romanides, 1958, on the relationship of the Synoptic Gospels and the Gospel According to St John)An examination of the Biblical sources reveals the fact that underlying the New Testament is the catechetical principle that one is able to discern the will and acts of God only according to the measure and degree in which he has been liberated from demonic influences and by spiritual exercise learns to distinguish between divine and satanic energies. This liberation is accomplished in Christ by the power of the Spirit but its effect on man is not automatic. Where it does begin its process is generally gradual as is evident in the tardy way in which the Apostles came to a full understanding of the way the kingdom of God had come upon them. Failure to understand and partake of the mysteries of the kingdom is attributed to continuance in the ways of Satan (e.g., Mtth. 13, 1-23; Mk. 4, 1-20; Lk. 8, 4-15; II Cor. 4, 3-4).Before a person was admitted to baptism, he had to be instructed in the old Testament revelations of the divine activities as well as in the ways of satan. Otherwise, he would continue being blinded by the devil and would be in danger of confounding divine and satanic activities as happened in the case of the Jews who went so far as to say that Jesus cast out demons by the power of Belzebub (Mtth. 12, 22-37; Mk. 3, 22-30; Lk. 11, 14-23). This is the blasphemy against the Spirit which cannot be forgiven. Those who are not able to recognize the energies of God are those who by hearing hear but do not understand and seeing see but do not discern (Is. 6, 9; Mtth. 13, 14; Mk. 4,12; Lk. 8, 10; John 12, 40; Acts 28, 26 ff.). The fourth gospel is a continuous play on the divinity of Christ as witnessed to by the divine activities which He shares in common with the Father and the Spirit and which are eventually understood by those who are defeating the devil but continuously misunderstood by those blinded by the prince of darkness. The fourth gospel is understood only by those who have been previously exercised in the discernment of the saving and sanctifying acts of God in both the Old Testament and Synoptic tradition, apart from whose soteriological presuppositions it is totally meaningless.Contemporary Case for Religious Belief in General:Believe: Why Everyone Should Be ReligiousAdvice to the Serious SeekerWhy Religion Matters: The Fate of the Human Spirit in an Age of DisbeliefThe Last Superstition: A Refutation of the New AtheismAtheist Delusions: The Christian Revolution and Its Fashionable EnemiesSeven Christian Apologetics ClassicsThe Case for Christ (Movie version!)Evidence that Demands a Verdict: Life Changing Truth for a Skeptical WorldMere Christianity (C. S. Lewis)Handbook of Christian ApologeticsExposing Myths about ChristianityDid the Resurrection Happen?Elements of Faith: An Introduction to Orthodox TheologyHogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

For in [Christ] all things were created…all things have been created through him and for him. He is before all things, and in him all things hold together…For God was pleased to have all his fullness dwell in him, and through him to reconcile to himself all things, whether things on earth or things in heaven, by making peace through his blood, shed on the cross (Colossians 1:16-17, 19-20) Again, I want to address the question, "Why produce a weekly podcast on the subject of work?" Work must be understood here as more than what we do to earn a paycheck. It includes that, of course, but also other regular things we do to live in this world. Things like the laundry, the dishes, mowing the grass or shoveling snow. It includes driving our children or grandchildren to school or dance lessons. Often, we preachers make it sound like these are irrelevant to the mission of God in the world. That is wrong. Dorothy Sayers once advised preachers, When you find a [person] who is a Christian praising God by the excellence of their work—do not distract them and take them away from their proper vocation to address religious meetings...  Let them serve God in the way to which God has called them... [Do] not take them away from it, so that they may do ecclesiastical work for you. But, if you have any power, see that [they] are set free to do their own work as well as it may be done. They are not there to serve you; they are there to serve God by serving their work (Creed or Chaos?). In these weekly podcasts addressing work, I hope to "set you free to do your work as well as it may be done…to serve God by serving your work". I hope you come to understand more deeply that the mission of God includes your whole life. This mission includes the Great commission to make disciples of all nations (Matthew 28:18-20) and the Great Commandment to love God and neighbour (Matthew 22:36-40). But it also includes the Cultural Mandate to explore, name, develop and cultivate the creation (Genesis 1:28). Neither the arrival of sin, nor the arrival of Jesus to redeem creation nullified that mandate. The Great Commission and the Great Commandment do not lessen the value of our work. What better way to participate in this mandate then to do our everyday, mundane, ordinary work well, offering it to God for his glory and for the good of humanity? When you are at work you are in a context where pastors and missionaries rarely if ever show up. It is in that place that God has called you to cultivate creation, love your neighbour and bear witness to the goodness of the gospel. The mission of God includes the renewal, restoration, and reformation of all things. All Christian, in all industries, are invited to participate in this comprehensive mission. Our workplaces are the critical spaces where we will either learn to follow Christ faithfully or walk away from him. Our workspaces are integral to the mission of God, no sideshow. There, you are at the leading edge of God's reconciling work. As you journey on, go with the blessing of God: Wherever God takes you today, may He fill you with all joy and peace as you trust in him, so that you may overflow with hope by the power of the Holy Spirit and that you may live carefully—not as unwise but as wise, making the most of every opportunity.

Last week, Pastor Marcus encouraged us to both ponder (think intellectually) and treasure (engage emotionally) the coming of Christ. In this weeks message, Pastor Marcus unpacks the mystery of the incarnation through Charles Wesley's beloved hymn "Hark! The Herald Angels Sing." Drawing from John 1, he reveals how Jesus—the living Word—stepped into our story not just to save us, but to make himself knowable. Through vivid examples from C.S. Lewis to Dorothy Sayers, Pastor Marcus answers the question, "what difference does the incarnation of God make?" By displaying God's choice to dwell among us transforms our understanding of suffering and offers unprecedented comfort.

Brian From sits down with Wheaton College professor Richard Hughes Gibson to discuss his new book The Way of Dante, which explores Dante’s Divine Comedy through the eyes of C.S. Lewis, Dorothy Sayers, and Charles Williams. Together they unpack why themes of hell, purgatory, and heaven still matter, and how these writers used Dante to reflect on evil, repentance, and eternal hope. The conversation offers a thoughtful and accessible look at how imagination, theology, and spiritual formation come together in the Christian life.See omnystudio.com/listener for privacy information.

This episode dives deep into the fascinating world of the Inklings, featuring the dynamic duo of Dr. David C. Downing and Dr. Crystal Downing, who take listeners on a vibrant journey through the lives and works of J.R.R. Tolkien and C.S. Lewis. The conversation unfolds from a live lecture at Holy Trinity Lutheran Church in Chapel Hill, NC, where they discuss the essence of the Inklings—an eclectic group of writers who gathered in pubs to share their ideas and inspire one another. The Downings highlight how Tolkien and Lewis not only influenced each other's literary paths but also played pivotal roles in shaping modern Christianity through their imaginative storytelling. As they navigate through the complexities of faith, creativity, and friendship, listeners are invited to reflect on the Reformation of Redemption and its relevance today. So, grab a pint (or your favorite beverage) and prepare to geek out over some of the most influential literary minds of the 20th century!Gather around, folks! The latest episode of Systematic Geekology brings the magic of the Inklings to life with a special lecture from Dr. David C. Downing and Dr. Crystal Downing, recorded live at Holy Trinity Lutheran Church in Chapel Hill, NC. This special event, titled "The Reformation of Redemption," dives deep into the world of J.R.R. Tolkien and C.S. Lewis, two literary titans who not only shaped fantasy literature but also influenced Christian thought through their imaginative storytelling. The Downings, seasoned scholars of Lewis and Tolkien, explore the camaraderie and creative sparks ignited among the Inklings—a group of writers who met regularly to share their works, critique each other, and inspire one another over pints and good cheer. They delve into how Tolkien reframed the dying god myth for Lewis, leading to his eventual conversion, and discuss the unique friendship that blossomed in the aftermath of their shared experiences during World War I. All of this unfolds in a cozy, pub-like atmosphere, inviting listeners to reflect on the impact of these authors on modern faith and literature, with anecdotes that resonate even today. So if you're a fan of Lewis, Tolkien, or just love a good story, this episode is a treasure trove of insights that you won't want to miss!Takeaways: The Inklings, including Tolkien and Lewis, created a unique space for collaboration and inspiration through their shared love for storytelling and literature. Dr. David and Dr. Crystal Downing emphasized how the friendship between Lewis and Tolkien significantly impacted their views on faith and creativity. Dorothy Sayers' approach to writing about Christianity in a relatable way has resonated with modern audiences, highlighting the importance of inclusivity in faith discussions. The podcast reflects on the timeless relevance of the Inklings, showing how their community dynamics can still inspire today's creatives and thinkers. Discussion of the 'dying God' myth illustrates how Tolkien's reframing of this concept played a crucial role in Lewis's conversion to Christianity. The event at Holy Trinity Lutheran Church served as a celebration of the literary friendship among the Inklings, showcasing their lasting influence on contemporary faith narratives. .You can leave a one-time gift, purchase some SG merch, or become a member on our website:https://systematic-geekology-shop.fourthwall.com/.Check out our episode with John Hendrix about his book Mythmakers:https://systematic-geekology.captivate.fm/episode/mythmaker-ep/.Don't miss any episode with Will:

The team caught up with Scholastica Jacob to discuss a recent book she edited, The Letters of Herbert Kelly and Dorothy L. Sayers. She came on to discuss Kelly and Anglican religious life in this episode from 2024.Scholastica is the librarian and archivist of St Anthony's Priory Durham, which is run by the Society of the Sacred Mission (SSM). Formerly a member of Stanbrook Abbey, and before that a lawyer specialising in charity law, Scholastica has a PhD in church history from the University of Durham. As well as managing the library and working on the SSM archives, she also has a leading role in the development of the Herbert Kelly Institute for Anglican Religious Life.You can email us at holycofe@gmail.com or follow us on X at @holycofe1.

You know C.S. Lewis – now meet the woman who inspired him: Dorothy Sayers. This week, the gang chats with Crystal Downing about film, theater, and how Christians should regard both. The post Crystal Downing | The Wages Of Cinema | Steve Brown, Etc. appeared first on Key Life.

Martha Waters is known for writing regency romcoms, but her latest title, And Then There Was The One, mashes up cozy mystery and romance tropes in a witty and rollicking nod to both genres. Plus there are sheep, London playboys, puns, and a huge disappointment…at least for this reader! We discuss how she pulls off her homage to Agatha Christie and Dorothy Sayers…while dialing up the heat past “cozy” in this episode of My Bookcase Slays. Learn more about GUEST Martha Waters: https://www.marthawaters.com/ Learn more about HOST Melissa Westemeier: https://www.melwestemeier.com/

In this episode, Dr. John Patrick examines the erosion of virtue and cultural stability in the modern West. Drawing on Dorothy Sayers, James Hankins, and Terry Eagleton, he examines how societies flourish through rooted values, moral education, and a reverence for history. Dr. Patrick reflects on England's current cultural tensions, the importance of freedom of speech, and the perils of utopian ideologies divorced from historical wisdom. He also highlights a growing hunger for meaning among young people—particularly young men—who are rediscovering the richness of faith, literature, and moral tradition. This episode challenges listeners to nurture virtue, recover historical literacy, and engage in conversations that restore depth and purpose to public life. // LINKS // Website: https://www.johnpatrick.ca/ Podcast: https://doctorjohnpatrick.podbean.com/ Biblical Literate Quiz: https://www.johnpatrick.ca/meaning-metaphor-and-allusion/ Recommended Reading list: https://www.johnpatrick.ca/book-list/ Ask Doctor John: https://www.johnpatrick.ca/ask/ LINKS: https://beacons.ai/doctorjohnpatrick

Send us a textEveryone knows "The Lost Tools of Learning." But did you know Dorothy Sayers delivered another, longer, and even more interesting lecture on education, all about learning Latin? Sayers recalls beginning Latin lessons with her father at the tender age of 6, but laments that after 20 years of study, she was left barely able to read a line of Latin - and not for lack of trying or talent. Sayers contrasts this with her success in learning French, and concludes that what she needed in Latin was a conversation partner and easier, intermediate texts, or in other words: spoken Latin and lots of comprehensible input. Sayers also relates a conversation with C.S. Lewis about what medieval Latin texts he'd give to an intermediate-level Latin student to read.Dorothy Sayers's The Greatest Single Defect of My Own Latin Education: https://www.memoriapress.com/articles/greatest-single-defect-my-own-latin-education/NH episode on Dorothy Sayers's The Lost Tools of Learning: https://newhumanists.buzzsprout.com/1791279/episodes/10347912-the-trivium-according-to-dorothy-sayers-episode-xxHans Orberg's Lingua Latina Per Se Illustrata: https://amzn.to/3hoLz7VMary Beard's What Does the Latin Actually Say? https://www.the-tls.com/regular-features/mary-beard-a-dons-life/what-does-the-latin-actually-sayHans Orberg's Latine Disco: https://amzn.to/3JWgKIlJ.R.R. Tolkien's Letter 43: http://web.archive.org/web/20160308065444/http:/glim.ru/personal/jrr_tolkien_42-45.htmlC.S. Lewis's The Four Loves: https://bookshop.org/a/25626/9780062565396New Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

What do a detective novelist, a WWII radio drama, and a blockbuster film have in common? According to Dr. Crystal Downing — everything. In this episode of Thinking Christian, I’m joined by Dr. Crystal Downing, former co-director of the Marion E. Wade Center and author of The Wages of Cinema, to explore what it means to see Christianly. Drawing on the often-overlooked theology of Dorothy L. Sayers, we challenge the idea that film is just a vehicle for a message. Instead, we unpack how film — like the Incarnation — is about form, flesh, and the fullness of expression. We talk about why reducing movies to “good messages” is a kind of cinematic Docetism, how Sayers’ Trinitarian model of creativity reframes Christian art, and why Christians should stop watching movies passively and start engaging them as embodied works of meaning. Expect commentary on Birdman, Bridge on the River Kwai, The Matrix, and yes… even Dodgeball. This conversation is a deep dive into media, theology, and why Christians need to become more attentive critics — not just consumers — of the stories that shape us.

Are you ready to uncover a Gilded Age mystery that blurred the lines between fiction and reality? This week on Books & Looks, join Blaine DeSantis as he talks with acclaimed historical fiction author Marie Benedict about her new book, "The Queens of Crime." Step back to 1931 London, where legendary mystery writers Agatha Christie, Dorothy Sayers, Ngaio Marsh, Margery Allingham, and Baroness Orczy form a secret group to assert their place in a male-dominated world. But when a real-life murder occurs, these literary icons become unlikely detectives, using their mystery-writing prowess to solve a crime the police couldn't. Learn about Benedict's extensive research into the lives of these fascinating women and the historical attitudes they defied. A tale of suspense, murder, and the power of female ingenuity. Don't miss this exclusive interview!Links:"The Queens of Crime" BookMarie Benedict WebsiteWatch on YouTube Join the Newsletter_Produced by Podcast Studio X.

On this week's episode of The Literary Life, Angelina Stanford and Thomas Banks chat with their student Natalia Testa about her literary life. She is a rising homeschool junior living in Houston, Texas. She enjoys researching obscure manuscripts, classical languages and all things Lord Peter Wimsey. Angelina kicks off the conversation asking about Natalia's childhood reading memories and how she became interested in ancient history and literature. They also discuss how the research bug bit Natalia, as well as her thoughts about reading books that seem “above” a child's level. Other topics of conversation is how Natalia found Dorothy Sayers and fell in love with detective novels, how she started taking classes with House of Humane Letters, and how she deals with a reading slump. Please visit HouseofHumaneLetters.com to check out all the past and upcoming classes, conferences, and webinars mentioned in this episode. To view the full show notes for this episode, complete with poems, quotes, and book links, please visit https://theliterary.life/278. 

In our previous episode of Church Life Today, I was joined by Professor Christie Kleinmann of Belmont University, who talked with me about her fascinating and truly original course on Strategic Public Relations for the Inklings (specifically, C. S. Lewis, J. R. R. Tolkien, and Dorothy Sayers). This is a follow up to that previous excellent episode where things get even better because today I am joined by three of Professor Kleinmann's undergraduate students.Ryleigh Green is a senior at Belmont University who was part of the C. S. Lewis group in Professor Kleinmann's class.Jed Mangrum is a sophomore at Belmont who was part of the Tolkien group.And Adriana Alosno is a junior at Belmont who was part of the Dorothy Sayers group.I've done a lot of podcast episodes over the years, and this one is one of my favorites. Enjoy.Follow-up Resources:Learn more about The Inklings Project. Interested in applying as a fellow for 2026–26? Check out the call for applications here (due July 1, 2025). Check out the Dorothy Sayers Instagram account from the Sayers group in Prof. Kleinmann's course.Check out the C. S. Lewis Instagram account from the Lewis group in Prof. Kleinmann's course.Check out the J. R. R. Tolkien Instagram account from the Tolkien group in Prof. Kleinmann's course.Find syllabi from Inklings Project fellows in our free syllabus repository.Read and subscribe to the “Inklings Quarterly.”Church Life Today is a partnership between the McGrath Institute for Church Life at the University of Notre Dame and OSV Podcasts from Our Sunday Visitor. Discover more ways to live, learn, and love your Catholic faith at osvpodcasts.com. Sharing stories, starting conversations.

Have you ever thought about becoming a brand expert for C. S. Lewis or J. R. R. Tolkien? On the one hand, these seem like authors who need no introduction. On the other hand, how many people today really know the work of these towering 20th Century authors, beyond what made its way onto the silver screen? And what about one of the authors closely associated with them – Dorothy Sayers – who is far from well known in the general public but whose work is of similar creative and literary quality with her more famous friends and interlocutors?Maybe you haven't ever thought about launching a public relations campaign for one of these authors for the sake of a modern audience of young adults, but my guest today has. She is Christie Kleinmann, Professor of Public Relations at Belmont University in Nashville, Tennessee. Professor Kleinmann is one of a dozen fellows in our second annual cohort of the Inklings Project, run out of the McGrath Institute for Church Life. Along with the other eleven fellows who come from colleges and universities across the United States and in four foreign countries, Professor Kleinmann developed and offered a new course this spring that draws the work of the Inklings into her own area of expertise: strategic public relations. The students in her course were divided into three semester-long groups, which each took as their “clients” one of these three Inklings: Lewis, Tolkien, and Sayers. Today, Professor Kleinmann joins me to talk about the project of her course, the relevance of the Inklings, and the creativity of her students.This is the first of a two-episode set. The second episode will feature three of Professor Kleinmann's students, one from each of the three Inklings groups. Follow-up Resources:Learn more about The Inklings Project. Interested in applying as a fellow for 2026–26? Check out the call for applications here (due July 1, 2025). Check out the Dorothy Sayers Instagram account from the Sayers group in Prof. Kleinmann's course.Check out the C. S. Lewis Instagram account from the Lewis group in Prof. Kleinmann's course.Check out the J. R. R. Tolkien Instagram account from the Tolkien group in Prof. Kleinmann's course.Find syllabi from Inklings Project fellows in our free syllabus repository.Read and subscribe to the “Inklings Quarterly.” Church Life Today is a partnership between the McGrath Institute for Church Life at the University of Notre Dame and OSV Podcasts from Our Sunday Visitor. Discover more ways to live, learn, and love your Catholic faith at osvpodcasts.com. Sharing stories, starting conversations.

I mean, I don't know you. Maybe you didn't grow up in an evangelical Christian subculture. But if you did, there's a high likelihood that the ideas you absorbed about how men and women behave—and what it even means to be masculine or feminine—were influenced heavily by C.S Lewis' famous Space Trilogy: Out of the Silent Planet, Perelandra, and That Hideous Strength.On this fascinating episode, Kathryn Wagner (returning guest and medieval lit scholar) and Robin Harris (writer and incoming seminarian) stopped by to evaluate Lewis' takes on gender against both more modern feminist sensibilities and much older writers and theologians in the Christian tradition.You should absolutely join us.★ About Our Guests:Robin Harris is a North Carolina based freelance writer and editor who specializes in Bible curriculum. She is on the board of the Davenant Institute. Her writing has appeared in Mere Orthodoxy, Ad Fontes, and the Theopolis Institute. As of Fall 2025, she will be a student at Gordon Conwell Theological Seminary (MATS, 2027). She writes at robinjeanharris.substack.com/ and can be reached at robinjeanharris [at] gmail.com.Kathryn Wagner is the Director of Academic Programming at the Center for Christianity and Scholarship at Duke University. She studies the literature and religious culture of the late Middle Ages and teaches courses that aim to form students in virtue through the practices of the liberal arts. She can be reached at kathryn [at] mogkwagner.net.—★ Timestamps(00:00) #62 - Evangelicals' Gender Ideas Came from C.S. Lewis' Space Trilogy - with Robin Harris and Kathryn Wagner(04:20) Evangelicals who leaned on C.S. Lewis and the Space Trilogy(13:12) The Space Trilogy tackles gender(24:46) But can archetypes live in the real world?(38:44) God does not have a body: Metaphors in Christian scripture(53:28) Confusion and contraception are tied together(01:00:58) God as our mother?(01:06:39) Lewis's thinking evolution: widening the gender box(01:24:44) Replacing theoretical masculinity and femininity with real friendships(01:33:24) What would Lewis think of today's transgender conversation?(01:40:31) In the Christian tradition on gender, Lewis is the test run—★ Links and ReferencesThese well-read people dropped a lot of names and references. For your ease of Google searching, here are the ones we caught:John and Stasi Eldridge (books: Wild at Heart, Captivating), Jordan Peterson Jungian thinking, Council for Biblical Manhood and Womanhood, Elisabeth Elliot (book: Let Me Be a Woman), complementarianism and egalitarianism, Michael Ward (book: Planet Narnia), apophatic theology, platonic forms and Aristotle's hylomorphism, Thomistic/ Thomas=Thomas Aquinas, Pope John Paul II (book/writings: Theology of the Body), Anselm of Canterbury talked about God as our mother, Julian of Norwich said a similar thing; Joy Davidman, Dorothy Sayers, philosopher Elizabeth Anscombe, Sister Penelope Lawson, Ruth Pitter, C. S. Lewis (books: The Four Loves, A Grief Observed), Kevin Vanhoozer (theologian).—★ Send us feedback, questions, comments, and support!Email: communionandshalom@gmail.com | Instagram: @newkinship | Substack: @newkinship | Patreon: @newkinship —★ CreditsCreators and Hosts: David Frank, TJ Espinoza | Audio Engineer: Carl Swenson, carlswensonmusic.com | Podcast Manager: Elena F. | Graphic Designer: Gavin Popken, gavinpopkenart.com ★ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit newkinship.substack.com

On today's “Best of” episode of The Literary Life, Angelina and Cindy are once again joined by Thomas Banks. They discuss the last two chapters and the epilogue of An Experiment in Criticism. The first topic of conversation is Lewis' comments on poetry, including the un-literary reading of poetry and the importance of the sound of poetry. Angelina highlights Lewis' take on reading “bad books,” and Cindy points out his warning against de-bunking. Thomas gives us some history on the reference to F. R. Leavis and his literary criticism.  Angelina dives into her favorite part of this section, all about what makes good literary criticism. She recaps Lewis' own list of the types of literary commentators and historians who have helped him in his own reading. Angelina and Thomas both mention some of their favorite resources, including George Lyman Kittredge, Northrup Frye, J. W. MacKail and Dorothy Sayers. Another important point is to look for resources that point back to the text, not outside of the text.  Cindy and Angelina clear up some confusion about marginalia and what types of notes can help or hinder us in our reading. Finally, in discussing the epilogue, our hosts reiterate the purpose of reading as widening our souls and freeing ourselves to experience another person's perspective. Cindy asks if we will read with hubris, or humility? That makes all the difference. Join us right here again next week for a brand new episode on An Experiment in Criticism in which Angelina and Thomas will revisit the book and answer some listener questions from over the years! The seventh annual Literary Life Online Conference is coming very soon! Please visit HouseofHumaneLetters.com to sign up for that as well as all the other upcoming webinars of 2025! To view the full show notes for this episode, please visit our website at https://theliterary.life/268. 

Throughout the season of Lent, we'll be releasing weekly episodes focused on themes of reflection, prayer, and contemplation. As you listen to this episode, we invite you to take a moment to slow down, quiet your heart, and hear what God may be saying to you. What if we viewed reading as not just a personal hobby or a pleasurable indulgence but as a spiritual practice that deepens our faith?In her book, Reading for the Love of God, award-winning author and Trinity Forum Senior Fellow Jessica Hooten Wilson explores how Christian thinkers—including Augustine, Julian of Norwich, Frederick Douglass, and Dorothy Sayers—approached the act of reading.She argues that reading deeply and well can not only open a portal to a broader imagination, but is akin to acquiring travel supplies for the good life:“What I'm hoping to see more of is that the church becomes again those people of the book that really try to make others belong and strive for a deeper connection, versus the party atmosphere that our world always is tempting us to do.”We hope you're encouraged this Lenten season as you learn to read as a spiritual practice, finding grace and wisdom for living well along the way.This podcast is an edited version of an online conversation recorded in 2023. Watch the full video of the conversation here, and learn more about Jessica Hooten Wilson.Authors and books mentioned in the conversation:Learning the Good Life: Wisdom from the Great Hearts and Minds That Came Before, by Jessica Hooten WilsonGiving the Devil His Due, by Jessica Hooten WilsonThe Scandal of Holiness: Renewing Your Imagination in the Company of Literary Saints, by Jessica Hooten WilsonReading for the Love of God: How to Read as a Spiritual Practice,, by Jessica Hooten WilsonWalker Percy

Scripture: Genesis 2:4-17 Key Takeaways: + Work is a good gift from God. “Let the Church remember this: that every maker and worker is called to serve God in his profession or trade—not outside it. The Apostles complained rightly when they said it was not meet they should leave the word of God and serve tables; their vocation was to preach the word. But the person whose vocation it is to prepare the meals beautifully might with equal justice protest: It is not meet for us to leave the service of our tables to preach the word.” – Dorothy Sayers, “Why Work?” + Work is to be done for God and for his glory. Ephesians 6:5–8 + Good work that glorifies God is ethical work. + Good work that glorifies God is excellent work. "The Church's approach to an intelligent carpenter is usually confined to exhorting him not to be drunk and disorderly in his leisure hours, and to come to church on Sundays. What the Church should be telling him is this: that the very first demand that his religion makes upon him is that he should make good tables. Church by all means, and decent forms of amusement, certainly – but what use is all that if in the very center of his life and occupation he is insulting God with bad carpentry?” – Dorothy Sayers, “Why Work?”  “The Christian shoemaker does his duty not by putting little crosses on the shoes, but by making good shoes, because God is interested in good craftsmanship.” – Martin Luther Exodus 31:1–5 Proverbs 22:29 + Work is how we partner with God in his care of the world.  “God Himself will milk the cows through him whose vocation that is.” – Martin Luther + Our identity is to be found in Jesus and his work, not ours. “If our identity is in our work, rather than Christ, success will go to our heads, and failure will go to our hearts.” – Tim Keller

Jen Coffeen drops by the podcast to discuss the prologue and chapter 1 of BUSMAN'S HONEYMOON by Dorothy Sayers and all the complex romance hidden in this classic detective series.  https://www.storystudiochicago.org/ https://chireviewofbooks.com/  

Marie Benedict is back with another thrilling novel, titled The Queens of Crime.  The story is set during the inter-war years as five famous mystery writer solve the murder of a young nurse. Each of women are successful writers from The Golden Age of Mysteries, Dorothy Sayers, Agatha Christie, Ngaio Marsh, Baroness Emma Orczy, and Margery Allingham.Author ReadsDeath on the Nile by Agatha ChristieMurder on the Orient Express by Agatha ChristieGaudy Night by Dorothy Sayers 

Send us a textEMMANUELThe Name | Part 4Senior Pastor Keith StewartDecember 22, 2024#god #realspringcreekchurch #emmanuel #thename #godwithus Each of the names given to Christ reveal something special and unique about Who He is and Why He came. Appropriately, this Sunday before Christmas, we dive into the mystery of Emmanuel, which means, God with us. This name lets us know that there's more to the Christmas story than we have ever imagined, hoped or dreamed. This name reminds us that we're never alone. This name unleashes our worship of the One Who is always with us.__DISCUSSION QUESTIONS  1. The French writer André Breton said, “All my life, my heart has yearned for a thing I cannot name.” C.S. Lewis concluded was if I find myself having a desire that nothing in this world can satisfy, the most logical conclusion is I was made for something beyond this life. How does the God hunger manifest in people? What sort of things do people seek other than God to fill this hunger? Have you personally had experience with this truth positively or negatively? If so, what was that like? 2.  Have you ever sensed God with you in a difficult, challenging or painful time in your life? How did God make you aware that He was with you? What did He do for you? Or what did He say to you? Or what happened in your circumstances that ended up being a great comfort? What would you say to someone who feels abandoned by God or all alone in whatever it is they are going through? 3. Take some time to discuss the following verse...Therefore, since we have a great high priest who has ascended into heaven, Jesus the Son of God, let us hold firmly to the faith we profess For we do not have a high priest who is unable to empathize with our weaknesses, but we have one who has been tempted in every way, just as we are—yet he did not sin. Let us then approach God's throne of grace with confidence, so that we may receive mercy and find grace to help us in our time of need.  Hebrews 4.14-164. Pastor Keith mentioned two practical ways of illustrating the incarnation (God becoming human). One was Philip Yancey's illustration about his salt-water aquarium and the other was the Christian author Dorothy Sayers who developed a character in her detective fiction novels that she fell in love with and then wrote herself into the story. What did these illustrations say to you? How are they similar to what God did for us? Can you think of any other ways of how or why God became human? 5.  The story of the Bible is the record of God expressing His desire to be with us. The story begins in a Garden and walking together every day. From there, the story progresses to the pillar of a cloud and a fire by night that remains with the people and guides them daily. Once the Israelites settle down, God has them construct a dwelling place, first in the tabernacle and second in the temple, where He can dwell in the midst of His people. When Jesus arrives, He is Emmanuel – God with us. Then once He ascends back to the Father, Christ comes to dwell within every believer. God is with us is not just the message of Christmas but the message of Christianity. How is God with you today? Where is He leading you? How is He comforting you? In what ways has He corrected you? What is He saying to you? How is communion an opportunity to re-experience Christ in His nearness to us?

Send us a text! We love hearing from listeners. If you'd like a response, please include your email. Resting peacefully in graves across the United Kingdom are some of the 20th century's best mystery writers who set the standard for the detective stories we know and love today. Get ready for a whodunit of an episode! We're "investigating" the fascinating story of the 94 year old "Detection Club", formed by a group of renowned detective fiction authors including Agatha Christie, Anthony Berkeley Cox, Dorothy Sayers, and others who came together to socialize and elevate the genre. In recent years, these stories along with new works, have become especially popular during the holidays with many of them taking place during Christmas or other winter holidays. Grab your magnifying glass and Fedora as we "inspect" the Ordinary Extraordinary world of the founding members of the Detection Club, with a dash of holiday cheer!View this episode on YouTube!https://youtu.be/Sj5W8kn3CJA?si=kCCo2pi8NtFN5pBQNeed an Ordinary Extraordinary Cemetery Podcast tee, hoodie or mug? Find all our taphophile-fun much here:https://oecemetery.etsy.comImages: *Photos of Agatha Christie, G.K. Chesterton, Dorothy Sayers and The Detection Club - Public Domain *Agatha Christie's grave: UFT, 10/30/2019 posted to www.findagrave.com*G.K. Chersterton's grave: Iain McFarlaine, 11/01/2004 posted to www.findagrave.com*Dorothy Sayers grave: David Conway, 07/24/2001 posted to www.findagrave.comResources used to research this episode include: Westron, Carol. "Anthony Berkeley Cox (1893-1971) ." https://promotingcrime.blogspot.com/. 3 Feb. 2017. promotingcrime.blogspot.com/2017/02/anthony-berkeley-cox-1893-1971.html?m=1. Accessed 8 Dec. 2024.Garcia - Bosque, Jose Ignacio Escribano . " Berkeley, Anthony (1893 – 1971) ." https://jiescribano.wordpress.com/. 26 Feb. 2022. jiescribano.wordpress.com/2022/02/26/berkeley-anthony-1893-1971-updated-26-02-2022/. Accessed 8 Dec. 2024., agathachristie.com. "Detection Club." https://www.agathachristie.com/. www.agathachristie.com/stories/detection-club. Accessed 8 Dec. 2024.Edwards, Martin. "The Detection Club." https://martinedwardsbooks.com/. martinedwardsbooks.com/home/about-martin/martins-writing/the-detection-club/. Accessed 8 Dec. 2024., mydearhastings.com. "The Detection Club — A Dream Team of Mystery Writers ." https://www.mydearhastings.com/. www.mydearhastings.com/home/agatha-christie-amp-the-detection-club. Accessed 8 Dec. 2024., Gladstone Library . "The Records of the Detection Club ." https://www.gladstoneslibrary.org/. www.gladstoneslibrary.org/reading-rooms/the-collections/archives/the-records-of-the-detection-club. Accessed 8 Dec. 2024.Wade, Francesca . "No Divine Revelation, Feminine Intuition or Mumbo Jumbo': Dorothy L Sayers and the Detection Club ." https://www.google.com/amp/s/amp.theguardian.com/. 4 Feb. 2020. www.google.com/amp/s/amp.theguardian.com/books/2020/feb/04/dorothy-l-sayers-and-the-detection-club. Accessed 8 Dec. 2024. https://en.m.wikipedia.org/. en.m.wikipedia.org/wiki/Category:Members_of_the_Detection_Club.

QUOTES FOR REFLECTION“You create your story in consciousness as you interpret your own behavior, and as you listen to other people's thoughts about you. The life story is not the work of a historian [...]; it is more like a work of historical fiction that makes plenty of references to real events and connects them by dramatizations and interpretations that might or might not be true to the spirit of what happened.” “The inner lawyer, the rose-colored mirror, naive realism, and the myth of pure evil—these mechanisms all conspire to weave for us a web of significance upon which angels and demons fight it out. Our ever-judging minds then give us constant flashes of approval and disapproval, along with the certainty that we are on the side of the angels. From this vantage point it all seems so silly, all this moralism, righteousness, and hypocrisy. It's beyond silly; it is tragic, for it suggests that human beings will never achieve a state of lasting peace and harmony.”~Jonathan Haidt, social psychologist at NYU, in The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom “People don't get depressed when they face threats collectively; they get depressed when they feel isolated, lonely, or useless.” “In my 35 years of studying moral psychology, I have come to see this as one of humanity's greatest problems: we are too quick to anger and too slow to forgive. We are also hypocrites who judge others harshly while automatically justifying our own bad behavior.”~Jonathan Haidt, The Anxious Generation: How the Great Rewiring of Childhood Caused an Epidemic of Mental Illness “The Christian is righteous and a sinner at the same time, holy and profane, an enemy of God and a child of God. Only those who understand the true meaning of justification will understand this apparent paradox.”~Martin Luther (1483-1546) in Second Lectures on Galatians “[Our] faith is not primarily a comfort, but a truth about ourselves.”~Dorothy Sayers (1893-1957), English novelist and playwright “…what the heart loves, the will chooses, and the mind justifies.”~Dr. John Ashley Null on Thomas Cranmer's (1489-1556) understanding of psychologySERMON PASSAGESelected Passages from Proverbs (ESV)Proverbs 612 A worthless person, a wicked man,  goes about with crooked speech,13 winks with his eyes, signals with his feet,  points with his finger,14 with perverted heart devises evil,  continually sowing discord;15 therefore calamity will come upon him suddenly;  in a moment he will be broken beyond healing.16 There are six things that the Lord hates,  seven that are an abomination to him:17 haughty eyes, a lying tongue,  and hands that shed innocent blood,18 a heart that devises wicked plans,  feet that make haste to run to evil,19 a false witness who breathes out lies,  and one who sows discord among brothers. Proverbs 1011 The mouth of the righteous is a fountain of life,  but the mouth of the wicked conceals violence.12 Hatred stirs up strife, but love covers all offenses. Proverbs 1213 An evil man is ensnared by the transgression  of his lips, but the righteous escapes from trouble.14 From the fruit of his mouth a man  is satisfied with good,  and the work of a man's hand comes back to him.15 The way of a fool is right in his own eyes,  but a wise man listens to advice.16 The vexation of a fool is known at once,  but the prudent ignores an insult.17 Whoever speaks the truth gives honest evidence,  but a false witness utters deceit.18 There is one whose rash words are like sword     thrusts, but the tongue of the wise brings healing.19 Truthful lips endure forever,  but a lying tongue is but for a moment.20 Deceit is in the heart of those who devise evil,  but those who plan peace have joy.21 No ill befalls the righteous,  but the wicked are filled with trouble.22 Lying lips are an abomination to the Lord,  but those who act faithfully are his delight.23 A prudent man conceals knowledge,  but the heart of fools proclaims folly. Proverbs 179 Whoever covers an offense seeks love, but he who repeats a matter separates close friends. Proverbs 199 A false witness will not go unpunished, and he who breathes out lies will perish. Matthew 15:18-20 18 “But what comes out of the mouth proceeds from the heart, and this defiles a person. 19 For out of the heart come evil thoughts, murder, adultery, sexual immorality, theft, false witness, slander. 20 These are what defile a person. But to eat with unwashed hands does not defile anyone.” Exodus 20:16 16 “You shall not bear false witness against your neighbor.” Leviticus 19 17 “You shall not hate your brother in your heart, but you shall reason frankly with your neighbor, lest you incur sin because of him. 18 You shall not take vengeance or bear a grudge against the sons of your own people, but you shall love your neighbor as yourself: I am the Lord.” 1 John 410 In this is love, not that we have loved God but that he loved us and sent his Son to be the propitiation for our sins. 11 Beloved, if God so loved us, we also ought to love one another.

Today on The Literary Life podcast, hosts Angelina Stanford and Thomas Banks wrap up their series on Murder Must Advertise by Dorothy L. Sayers. To begin the conversation, Thomas shares his reaction on finishing this book. Angelina then dives into her discoveries of Alice in Wonderland references throughout all of Sayers' detective books. They talk about how the cricket game relates to the whole story arc, review the descent and parody imagery ideas from last episode, and look at Lord Peter's arrest and its significance in the form of the romance. More topics they cover in these final chapters include the ascent imagery, Tallboy's confession, the act of justice in the detective novel, and how the ending of this book is actually quite fitting. We hope you have enjoyed this series and will be picking up more Sayers novels soon! To see all the books and links mentioned in today's episode, visit our website for the complete show notes here: https://theliterary.life/245/.

Today's episode of The Literary Life podcast picks up our series on Murder Must Advertise by Dorothy L. Sayers with a discussion of chapters 12-16. After sharing their commonplace quotes, Angelina and Thomas begin by talking about whether Sayers is “too accomplished” to be writing detective stories and the decline and resurgence of the genre. Angelina makes more connections between the medieval romance and Murder Must Advertise, as well as the images that parallel Alice's Adventures in Wonderland scenes and the purpose they serve. They also talk about the many masks of Lord Peter, the “hellish hunt”, the ad world and the drug world, and so much more. To see all the books and links mentioned in today's episode, visit our website for the complete show notes here: https://theliterary.life/244/.

1On The Literary Life podcast this week, we continue our series on Murder Must Advertise by Dorothy L. Sayers, covering chapters 6-11. Angelina and Thomas begin the discussion talking about authors and their own thoughts on their best books versus those which readers seem to like best. Angelina shares some of the things she has learned about the drug trade in the early 20th century and in relation to this story. Thomas points out some of the allusions and references to other literature in these chapters. Angelina also expands on Lord Peter's disguises and the role of the harlequin in the literary tradition. For an entertaining side note, Thomas reads some bad reviews of Sayers' novels. To see all the books and links mentioned in today's episode, visit our website for the complete show notes here: https://theliterary.life/243/.

Welcome back to The Literary Life podcast and the beginning of our series on Dorothy L. Sayers' classic detective novel, Murder Must Advertise. Beginning with the Golden Age of the detective novel and the backdrop of World War I, Angelina and Thomas give some historical background to provide a setting for this novel. Angelina also shares some biographical information about Dorothy Sayers and her literary education and advertising work. As they dig into the opening chapters of this novel, our hosts talk about Lord Peter Wimsey, his name and character. They also talk at some length about the "Bright Young Things" circle and their place in society during the post-WWI era. To see all the books and links mentioned in today's episode, visit our website for the complete show notes here: https://theliterary.life/242/.

We are taking a small break this July to gear up for season five of the Strong Women podcast. But during this break, we decided to re-air some episodes that we thought you would enjoy.   Crystal Downing joins us this week to talk about the 20th-century Christian author, Dorothy Sayers. Crystal is Co-Director of the Marion E. Wade Center at Wheaton College, where scholars research, write about, and preserve the memorabilia of a handful of British writers—including a few members of the Inklings. Though Dorothy Sayers wasn't an Inkling herself, she was friends with many of them and was a major spiritual influence on C.S. Lewis. Dorothy was not afraid to challenge people, including both Christians and the nonreligious. Crystal's book Subversive: Christ, Culture, and the Shocking Dorothy L. Sayers is a wonderful introduction to this interesting woman.    The Marion E. Wade Center at Wheaton College  Crystal's books Writing Performances: The Stages of Dorothy L. Sayers by Crystal Downing  How Postmodernism Serves (My) Faith by Crystal Downing  Changing Signs of Truth by Crystal Downing   Salvation from Cinema: The Medium Is the Message by Crystal Downing  Subversive: Christ, Culture, and the Shocking Dorothy L Sayers by Crystal Downing  The Wages of Cinema: Looking Through the Lens of Dorothy L. Sayers by Crystal Downing (coming soon)  Are Women Human? by Dorothy Sayers   Lord Peter Wimsey detective books by Dorothy L. Sayers  Murder in the Cathedral by T.S. Eliot  The Divine Comedy by Dante Alighieri  The Zeal of Thy House play by Dorothy Sayers  The Man Who Was Thursday by GK Chesterton  Jane Eyre by Charlotte Bronte  Mill on the Floss by George Elliot  Silas Marner by George Elliot  Middlemarch by George Elliot  The Man Born to Be King by Dorothy Sayers      You can leave a voicemail for us at 719-838-6700. Tell us what you love about the podcast and how it's encouraged you and impacted you in your daily life. The Strong Women Podcast is a product of the Colson Center, which equips Christians to live out their faith with clarity, confidence, and courage in this cultural moment. Through commentaries, podcasts, videos, and more, we help Christians better understand what's happening in the world, and champion what is true and good wherever God has called them. Learn more about the Colson Center here: https://www.colsoncenter.org/   Visit our website and sign up for our email list so that you can stay up to date on what we are doing here and also receive our monthly book list: https://www.colsoncenter.org/strong-women    Join Strong Women on Social Media:   https://www.facebook.com/StrongWomenCC  https://www.facebook.com/groups/strongwomencommunitycc/  https://www.instagram.com/strongwomencc/ 

All is revealed. Buckle up. Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Man Who Would Be King”, by Rudyard Kipling. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep doing what we do.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  Mark your calendars for The Classic Tales Book Club! Our first meeting will be at 4:00 Pacific time, 7:00 Eastern time on March 13th. We'll talk over Zoom about the podcast, and what genre you'd like to hear more often. See you then!  I'm pivoting a bit on the Kickstarter for Bleak House. I just think it's too long for our first Kickstarter. So, I'm thinking of the next in the Arsène Lupin series – The Golden Triangle. I'll be making a custom enamel pin only available for supporters of the Kickstarter, among other fun deals. More details coming soon!  And now, Clouds of Witness, Part 9 of 9, by Dorothy Sayers.   Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:    

Is an anatomy professor having murder done to secure his specimens? Robert Louis Stevenson, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening. A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  Keep an ear open for our coming Kickstarter campaign to fund the audiobook of Bleak House, by Charles Dickens. We've got a ton of special bonuses planned. More details coming soon! And mark your calendar for the Classic Tales Book Club! We'll be meeting on Zoom on March 13th at 4:00PM pacific time. See you then!  Today's story was inspired by true events. William Burke and William Hare committed 16 murders over a period of about 10 months in 1828 in Edinburgh,  Scotland. They sold the bodies to Robert Knox, who used them in his anatomy lessons. Of course, Robert Louis Stevenson puts his wonderful spin on the tale. I hope you like it.  And now, “The Body Snatcher”, by Robert Louis Stevenson.  Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

Peter runs off in a final mad dash to secure a secret testimony. But will it be enough to save his brother?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Body Snatcher”, by Robert Louis Stevenson. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep doing what we do.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content. Go to http://classictalesaudiobooks.com and become a supporter today.  The Classic Tales Book Club's first meeting is set! We will be meeting via Zoom on March 13th, at 4:00 Pm Pacific time. That should make it 7:00 Eastern time. I'll be joined by the illustrious Christopher Oulette, and we'll have a fun little chat talking about the show and whatever else comes up. Mark you calendars for March 13th.  I'm working on setting up the Kickstarter project for Dickens' Bleak House. This is a long one, and I can't wait to dive in to an immersive story like this. I'm working on the artwork now, and I'll have more information in the weeks to come. Big thanks to Ammon Anderson for helping me set this up.  And now, Clouds of Witness, Part 8 of 9, by Dorothy Sayers. Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    Follow this link to follow us on TikTok:    

Why does Inspector Valentin, while following the track of the thief Flambeau, keep crossing paths with two argumentative priests? G.K. Chesterton, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  Keep an ear open for our coming Kickstarter campaign to fund the audiobook of Bleak House, by Charles Dickens. We've got a ton of special bonuses planned. More details coming soon!  Gilbert Keith Chesterton was a philosopher, writer, Christian apologist, and a critic of art and literature. He wrote around 80 books, 200 short stories, and  4,000 essays, (most of the essays appeared as newspaper articles). His most famous literary creation was Father Brown, a catholic priest that has heard the confessions of so many thieves, burglars, and law breakers over the course of his holy career, that he can usually anticipate and deduce the solution to any puzzling crime. Today's story is the first Father Brown story, first published on July 23rd, 1910 in The Saturday Evening Post.  And now, “The Blue Cross”, by G.K. Chesterton.  Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:     Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:      

How can Wimsey escape the sucking mud pits of Peter's Pot?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Blue Cross”, by G.K. Chesterton. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep the lights on.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  We have a couple of new developments. The first is The Classic Tales Book Club! We're going to be having our first meeting in March! This will be a monthly meeting where we discuss the stories on the podcast, and we want you to come and chat with us. I'll be joined by Classic Tales and classic literature enthusiast Christopher Oulette. Keep an eye on our social media channels for more information. You may have noticed that I haven't been able to record the longer audiobooks like I used to. It's just hard to justify reserving that time in my schedule – taking it away from recording something I could get paid for. But there are still so many books I still want to do. Well, I think I may have found a way around that.  I've been wanting to record Bleak House, by Charles Dickens for some time, now. It's got his outlandish and deep characters, amazing plot twists, and his beautiful prose tying it all together. So, I'm going to do a Kickstarter project for it! This way I can justify reserving time in my schedule to record and produce this audiobook. I'm planning to have TONS of bonus material and specials to make this happen. So get ready for a lot of fun, and some amazing deals in the near future.  And now, Clouds of Witness, Part 7 of 9, by Dorothy Sayers. Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:    

Every now and then, you need to build a fire in the Klondike. Should be a simple thing, right? Jack London, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  John Griffith Chaney (Jack London) was born on January 12, 1876 in the slums of San Francisco. His life was marked by poverty and struggle from beginning to end. Unwanted and abandoned by his parents, his foster mother was a former slave, Virginia Prentiss. He went to the University of California at Berkeley for one semester, then ran out of money. He then followed the Gold Rush to the Klondike, where he obtained an abundance of material to write about. He wrote 1,000 words a day, eventually gaining success as an author. He died at the age of 40.  And now, “To Build a Fire”, by Jack London.  Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:  

Now that they've secured the inflammatory Goyles, the case should be cut and dried, right?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “To Build a Fire”, by Jack London. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep the lights on.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  The Classic Tales Book Club is moving forward. We'll be posting details through our Facebook and Instagram accounts. So be sure to follow us there.  And now, Clouds of Witness, Part 6 of 9, by Dorothy Sayers. Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:      

With the slaying of an albatross, the Ancient Mariner brings a curse that opens the workings of another world. Samuel Taylor Coleridge, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  The Rime of the Ancient Mariner is the longest major poem from Samuel Taylor Coleridge. Originally published in 1798, it marks a shift to modern poetry and the beginning of British Romantic literature. If you've heard the saying of someone having an albatross around their neck, this is the thing they're referencing. The Gustave Doré engraved illustrations for this book are absolutely wonderful.  And now, “The Rime of the Ancient Mariner”, by Samuel Taylor Coleridge.  Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

What does Mary bring to light in her long-awaited confession?  Dorothy Sayers, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “The Rime of the Ancient Mariner”, by Samuel Taylor Coleridge. Be sure to check it out on Tuesday.  If you've enjoyed the show, please become a monthly supporter, and help us keep the lights on.  Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! It's a great way to help us keep producing amazing audiobook content.  Go to http://classictalesaudiobooks.com and become a supporter today.  The Classic Tales Book Club is moving forward. We'll be posting details through our Facebook and Instagram accounts. So be sure to follow us there. I'm very excited to get this started. And now, Clouds of Witness, Part 5 of 9, by Dorothy Sayers Follow this link to become a monthly supporter:     Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    Follow this link to follow us on TikTok:

Benjamin Button begins life as a 70-year-old man, and then things start to get weird. F. Scott Fitzgerald, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A new Vintage Episode is released every Tuesday. Clouds of Witness, by Dorothy Sayers will continue episodically every Friday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. Thank you so much.  Today's story originally appeared in Collier's magazine on May 27, 1922. It was later included in the short story collection: Tales of the Jazz age. The story was later adaped to a film in 2008, and a musical in 2019.  This story was recorded when a listener reached out to me from New Orleans, and told me that they were filming a movie in her neighborhood based on this short story.  And now, “Curious Case of Benjamin Button”, by F. Scott Fitzgerald.  Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook: