Podcasts about dostoevsky

December 22, 1849. Russian writer Fyodor Dostoevsky is saved from execution by a last-minute reprieve, an event that shapes the writer's greatest works. This episode originally aired in 2022. Support the show! Join Into History for ad-free listening and more. History Daily is a co-production of Airship and Noiser. Go to HistoryDaily.com for more history, daily.

World Fantasy and Ignyte winner Tochi Onyebuchi joins Gary for a brief but wide-ranging discussion that touches upon his genre-hopping 2025 novel Harmattan Season, his fascinating Internet memoir Racebook: A Personal History of the Internet, the virtues of Roberto Bolaño and Dostoevsky, and Tochi's own work in progress. As always, our thanks to Tochi for making time to talk to us. We hope you enjoy the episode.

Luke Skywalker, shut up and eat your jelly! As everyone knows, Christmas is like Cursed Objects Christmas, and so sure enough: it's the long-awaited CO Christmas Special. REJOICE! This year, we are talking about childhood experiences of Christmas, then and now. Starting off with toy crazes, from Optimus Prime to Cabbage Patch Dolls, and therefore, the true meaning of Christmas: supply-chain economics. “Kids used to be satisfied by a promissory bond!” Kasia rightly complains. We discuss our own childhood moments of WONDER and AWE, Dalmation-related magick, votive offerings to Father Christmas, and the varied acts of parental pageantry required by the season. We learn that Wu-Tang Clan are not just for Christmas - Raekwon is a year-round commitment - ask whether Darth Vader is the original Grinch, why children are such sticklers for the rules (and such fans of Dostoevsky), and introduce perhaps correctly overlooked festive characters Krampus and Farmhand Rupert, Santa's designated driver and NPC. Have a wonderful holiday, love from Kasia, Dan, Nick and Archie - see you in 2026! x ~~~~~ Christmas is a time of giving, so do please consider supporting our Patreon: To access a back catalogue of over 30 exclusive bonus eps it is STILL ONLY £4 a month to sign up, and support your favourite cultural historians: https://www.patreon.com/c/cursedobjects ~~~~~ Theme music and production: Mr Beatnick Artwork: Archie Bashford

Teatime with Miss LizDecember 16th, 3 PM ESTGuest: Russell G. Little — “Murder for Me, Courtroom Truths & Stories of the Human Heart” Russell G. Little Truth, Fiction & the Stories Born From a Lifetime in the Courtroom. Where law meets literature and real lives spark unforgettable fiction. Miss Liz doesn't serve a beverage; she serves real-life changemakers.On December 16th, she serves Russell G. Little, Houston-based writer, seasoned divorce attorney, and the author of Murder for Me, a gripping fictionalized blend drawn from the unforgettable characters, cases, and human complexities he witnessed in his 40-year legal career. Born in Amarillo, Texas, where the land is flat, the wind never stops, and the federal government builds bombs, Russell grew up surrounded by grit and resilience. After law school, he married a Houston girl and moved to Houston, where he practiced law for four decades, raised three children, and remained married to his wife, Melinda, for 32 years, a fact that surprises many, given his specialty in divorce law. His work in Family Law and Criminal Law brought him face-to-face with situations both wild and unbelievable, the kind that live quietly in the soul but loudly on the page. Russell has tried over one hundred jury trials, handled hundreds more before a judge, and witnessed the rawest layers of human truth. His upcoming novel, Murder by Storm (October release), continues the battle of pursuit and deception in a hurricane-shaken Houston, a story every reader will want to experience from the safety of their chair. Russell also writes children's books inspired by his granddaughter Vivi, blending adventure with messages of animal care and conservation. Miss Liz will pour a cup of courtroom grit, Texas storytelling, and literary honesty with Russell G. Little, a practicing attorney of four decades and the author of Murder for Me, a crime novel born from real experiences, unforgettable characters, and the emotional residue of hundreds of cases. Born in Amarillo and settled in Houston, Russell has lived a life shaped by wide-open landscapes, courtroom battles, human complexity, and the kind of stories you carry long after the verdict. With more than one hundred jury trials behind him, he has seen the best and worst of people,e and he channels that truth into fiction with depth, empathy, and a sharp eye for detail. Inspired by literary giants like Proust, Dostoevsky, Chekhov, and Hemingway, Russell writes with classic influence, modern grit, and a soul shaped by decades inside the legal arena. His upcoming novel, Murder by Storm, dives into pursuit, deception, and survival as Houston is battered by a hurricane. Outside of crime fiction, his heart shows in the children's books he co-wrote with his wife, stories inspired by his granddaughter Vivi and focused on protecting Africa's remarkable wildlife. Today, we explore law, humanity, writing, truth, tension, family, and the stories that stay with us forever. What an engaging and richly layered Teatime with Russell G. Little, a conversation filled with humanity, humour, honesty, and hard-earned wisdom. Russell will remind us that behind every case is a person, behind every verdict is a story, and behind every courtroom door are truths that can shape a writer forever. His seamless weaving of legal experience into fiction, his love for classic literature, and his heartfelt family stories made today's Teatime unforgettable. Miss Liz will thank Russell for sharing your world, your work, and your wit. And thank you to everyone who joined live or on replay. Your support continues the ripple of storytelling, truth, and transformation. Author of Murder for Me and the upcoming Murder by Storm, he blends courtroom insight with storytelling. He also co-writes children's books inspired by his granddaughter, Vivi. #TeatimeWithMissLiz#RussellGLittle#CrimeFiction#TexasAuthors#CourtroomStories

In his 20th year in the music business, the rapper Shad has shown no signs of slowing down. The Juno-winning musician has also had an illustrious career as a broadcaster, hosting hit shows like the documentary series Hip-Hop Evolution on Netflix. His latest album is called Start Anew, and he joins the show to go back and talk about how he first discovered the power of words and shares some of the books that have shaped his life.Books discussed on this week's show include:Black Noise by Tricia RoseJuly, July by Tim O'BrienA Confession and Other Religious Writings by Leo TolstoyCrime and Punishment by Fyodor Dostoevsky

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

Authoritarianism…For God's Glory? In this episode of the Centering: the Asian American Christian Podcast, hosts Yulee Lee and Daniel Lee are joined by guest Gabriel Jay Catanus (Director of the Filipino American Ministry Initiative and Affiliate Assistant Professor of Theology and Ethics at Fuller Seminary; Lead Pastor of Garden City Covenant Church - Chicago), who shares insights on the pitfalls of authoritarianism within church leadership, drawing parallels from historical examples like Dietrich Bonhoeffer's criticism of Nazi Germany and discussing how immigrant church communities can inadvertently foster toxic leadership dynamics. The conversation also highlights the importance of plurality, cultural sensitivity, and self-reflection in cultivating healthy spiritual leadership. The episode concludes with practical advice for leaders to avoid believing their own hype and for communities to focus on collaborative and ethical leadership practices. 00:00 Introduction to Toxic Ministry 00:48 Understanding Authoritarianism in Ministry 03:11 Guest Introduction: Gabriel Jay Catanus 04:49 Authority and Power Dynamics in Churches 08:43 Cultural and Spiritual Influences on Leadership 12:35 Charismatic Authority and Its Challenges 21:02 Navigating Spiritual Power and Leadership 27:24 Muscular Christianity and Nazi Ideology 28:10 Identifying Authoritarian Leaders 29:26 Embracing Plurality in Leadership 31:20 Efficiency vs. Plurality in Ministry 32:18 Challenges for Asian American Leaders 35:59 God's Relationship with Authority 37:13 Personal Reflections on Leadership 46:42 Concluding Thoughts and Future Topics Dr. Gabriel Jay Catanus https://www.gabrieljcatanus.com/ Fuller's Asian American Center aac.fuller.edu The Grand Inquisitor by Dostoevsky https://www.gutenberg.org/files/8578/8578-h/8578-h.htm The Brothers Karamazov by Dostoevsky https://bookshop.org/p/books/the-brothers-karamazov-a-new-translation-by-michael-r-katz-fyodor-dostoevsky/aefeb2fa8f45adb1 Bonhoeffer's 1933 radio address https://books.google.com/books?id=PF1cpVfZS60C&pg=PA268&lpg=PA268&dq#v=onepage&q&f=false If you appreciate the work we do at the Asian American Center at Fuller Seminary, please consider supporting us! Your monetary support sustains our vital work and expands Asian American research, leadership development, and pastoral formation for the Church in the year ahead. Donate here: fuller.edu/giveaac

My guest today on the Online for Authors podcast is Michele Levy, author of the book Anna's Dance. Born a Yankee in Providence, Rhode Island, after seven years in Boston, she moved with her family to Wisconsin and Northern Virginia. Then she continued the southern trend with graduate studies in Chapel Hill, North Carolina, and followed her Brooklyn-born husband even farther south, to New Orleans. Twenty-six years later, they traded the Superdome (seven minutes away from their house by car) for the North Carolina woods. This wandering stripped away her Boston accent, leaving a tendency to enunciate clearly that made New Orleanians think she was from England.   From the age of four she has played classical piano and read voraciously. But an exposure to Balkan dance in high school kindled what became a life-long passion. Still, her love for D. H. Lawrence and Dostoevsky led her to a PhD in Comparative Literature (English, French, Russian), and then to universities, where she taught, researched, and became a chair. Though she first published on Russian and European authors, her academic interest shifted to the Balkans. She wrote on Balkan history and literature and returned to the region (she'd first visited in 1968) in 2000, after the end of the Bosnian War, and 2002, invited by the Serbian Writers' Association. By then she'd begun to write poetry and stories with Balkan settings. Anna's Dance grew from her deep engagement with Balkan history and culture.   These days, she plays piano and reads, but mostly she writes. She's working on a novel about a Bosnian asylee in New Orleans. Carolina's nature nurtures her, she and her husband enjoy their three children and seven grandchildren, who have moved nearby, and she still does Balkan dance!   In my book review, I stated Anna's Dance: A Balkan Odyssey is a beautiful Jewish historical fiction novel. I once again found myself wondering what history I was taught in school because I knew next to nothing about Balkan history, even as it related to WWII. This book helped me fill in several gaps in my knowledge.   We meet Anna Rossi, an early 20's girl on a journey through the Balkan region. She starts out with one set of plans and moves to another, then another, and then another, finding herself learning more and more about prejudice and suffering. She sees a strong correlation to her own Jewish heritage - how minority suppression can lead to horrible end results, including violence.   As Anna travels, she grows from a silly girl to an experienced woman who knows her place in the world. Eventually, she learns to embrace her heritage and all that encompasses. I found the book to be quite beautiful in the telling and very relevant to our day.   Author Note: There are some sexual scenes - a couple that were a bit graphic for my taste. However, overall, these scenes were not gratuitous but helped the reader understand where Anna was in her journey.   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290   You can follow Author Michele Levy Website: www.micheleflevy.com. FB: @mflevy FB: @Michele Levy-Author IG: @mfrucht45    Purchase Anna's Dance on Amazon: Paperback: https://amzn.to/4lLI8FV Ebook: https://amzn.to/4lNRdhy   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #micheleflevy #annasdance #historicalfiction #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

There is no future without a past. That's because the past is the ground of transformation!

Send us a textOne of the great contributions to Dostoevsky and literary scholarship was Mikhail Bakhtin's work The Problem of Dostoevsky's Poetics. In this video, I build on this book showing how to understand Dostoevsky through a polyphonic lens and what this means for readers of his works. Understanding polyphony prevents simple oversimplifications of Dostoevsky's views.Support the show--------------------------If you would want to support the channel and what I am doing, please follow me on Patreon: www.patreon.com/christianityforall Where else to find Josh Yen: Philosophy YT: https://bit.ly/philforallEducation: https://bit.ly/joshyenBuisness: https://bit.ly/logoseduMy Website: https://joshuajwyen.com/

Inner peace, as expressed by love, exists as goodness itself and is the strongest alternative to helplessness, resentment, hate, insanity, bitterness, and crazy violence. Here, we focus our attention on the capacity for a generous love that embraces such virtues as kindness, courage, forgiveness, gratitude, dignity for all, and hope. Stephen G. Post, Ph.D. is among a handful of individuals awarded the distinguished service award by the National Alzheimer's Association. In 2001 he founded The Institute for Research on Unlimited Love, which researches and distributes knowledge on kindness, giving and spirituality. Post served as a co-chair of the United Nations Population Fund Conference on Spirituality and Global Transformation. He's a professor in the Department of Preventative Medicine at Stony Brook University and founder and director of the Stony Brook Center for Medical Humanities, Compassionate Care and Bioethics. He's a leader in medicine research and religion and the author of several books. Interview Date: 8/22/2025 Tags: Stephen Post, Buddhist chant Nam-Myoho-Renge-Kyo, John Eccles, original mind, supreme mind, creativity, freedom, intuition, Mircea Eliade, Mihaly Csikszentmihalyi, loyalty, compassion, kindness, Sean Keener, Jacques Rousseau, empathic, freedom, Dostoevsky, Hinduism, Golden Rule, volunteering, mirth, Personal Transformation, Psychology, Work/Livelihood

When men cut themselves off from the transcendent, nihilism follows—and souls collapse.In this conversation, Paul and Fr. John Strickland unpack Dostoevsky vs. Nietzsche: why “will to power” ends in self-destruction, how Crime and Punishment exposes the cost of transgression, and what an Orthodox return to order, hierarchy, and worship offers modern men. If you're disillusioned with the culture and hungry for strength, stability, and brotherhood, this is for you.Ready to stop drifting and build on rock?Join our Genesis Workshop—a practical on-ramp into traditional wisdom, daily disciplines, and a living brotherhood of men walking toward God.Start here → https://pathofmanliness.notion.site/genesis-workshopSubscribe to our channel to stay updated on our latest content.https://www.youtube.com/channel/UCXPMCOblA-vdnIpE-4BR8PA?sub_confirmation=1Read more about our work:http://pathofmanliness.com#Dostoevsky #Nietzsche #OrthodoxChristianity #traditionalmasculinity #nihilism #CrimeAndPunishment #JordanPeterson #brotherhood #menscommunity #tradition

An early encounter with one of the most famous people in the world initiated Jack Zipes into the world of fairy tales - and he never looked back. In this episode, Jacke talks to the fairy tale expert about his book Buried Treasures: The Power of Political Fairy Tales, which profiles modern writers and artists who tapped the political potential of fairy tales. PLUS Jacke delivers some Chaucer news before looking at Dostoevsky's Crime and Punishment, which lands at #11 on the list of the Greatest Books of All Time. NOTE: The discussion with Jack Zipes was originally released on July 17, 2023. It has not been available in the archives for many months. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠ at ⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠. Help support the show at ⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠or ⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special episode of Confessions of a Book Collector, David sits down with the brilliant actor and author Richard Armitage, a true bibliophile whose life has always been shaped by story. We talk about his new novel The Cut, and how childhood memories and early experiences helped inspire it. Richard reflects on reading aloud as part of his creative process, the rhythm of language he learned from music and Shakespeare, and the emotional truth he searches for in every line. From The Lion, the Witch and the Wardrobe to Dostoevsky, from The Shining to The Lord of the Rings, this is a conversation about the books that built him.

Theologian Miroslav Volf reflects on solitude, loneliness, and how being alone can reveal our humanity, selfhood, and relationship with God.This episode is part 1 of a 5-part series, SOLO, which explores the theological, moral, and psychological dimensions of loneliness, solitude, and being alone.“Solitude brings one back in touch with who one is—it's how we stabilize ourselves so we know how to be ourselves with others.”Macie Bridge welcomes Miroslav for a conversation on solitude and being oneself—probing the difference between loneliness and aloneness, and the essential role of solitude in a flourishing Christian life. Reflecting on Genesis, the Incarnation, and the sensory life of faith, Volf considers how we can both embrace solitude and attend to the loneliness of others.He shares personal reflections on his mother's daily prayer practice and how solitude grounded her in divine presence. Volf describes how solitude restores the self before God and others: “Nobody can be me instead of me.” It is possible, he suggests, that we can we rediscover the presence of God in every relationship—solitary or shared.Helpful Links and ResourcesThe Cost of Ambition: How Striving to Be Better Than Others Makes Us WorseFyodor Dostoevsky, Crime and PunishmentRainer Maria Rilke, Book of Hours (Buch der Stunden)Dietrich Bonhoeffer, Creation and FallEpisode Highlights“Nobody can be me instead of me. And since I must be me, to be me well, I need times with myself.”“It's not good, in almost a metaphysical sense, for us to be alone. We aren't ourselves when we are simply alone.”“Solitude brings one back in touch with who one is—it's how we stabilize ourselves so we know how to be ourselves with others.”“Our relationship to God is mediated by our relationships to others. To honor another is to honor God.”“When we attend to the loneliness of others, in some ways we tend to our own loneliness.”Solitude, Loneliness, and FlourishingThe difference between solitude (constructive aloneness) and loneliness (diminishment of self).COVID-19 as an amplifier of solitude and loneliness.Volf's experience of being alone at Yale—productive solitude without loneliness.Loneliness as “the absence of an affirming glance.”Aloneness as essential for self-reflection and renewal before others.Humanity, Creation, and RelationshipAdam's solitude in Genesis as an incomplete creation—“It is not good for man to be alone.”Human beings as fundamentally social and political.A newborn cannot flourish without touch and gaze—relational presence is constitutive of personhood.Solitude and communion exist in dynamic tension; both must be rightly measured.Jesus's Solitude and Human ResponsibilityJesus withdrawing to pray as a model of sacred solitude.Solitude allows one to “return to oneself,” guarding against being lost in the crowd.The danger of losing selfhood in relationships, “becoming echoes of the crowd.”God, Limits, and OthersEvery other person as a God-given limit—“To honor another is to honor God.”Violating others as transgressing divine boundaries.True spirituality as respecting the space, limit, and presence of the other.Touch, Senses, and the ChurchThe sensory dimension of faith—seeing, touching, being seen.Mary's anointing of Jesus as embodied gospel.Rilke's “ripe seeing”: vision as invitation and affirmation.The church as a site of embodied presence—touch, seeing, listening as acts of communion.The Fear of Violation and the Gift of RespectLoneliness often born from fear of being violated rather than from lack of company.Loving another includes honoring their limit and respecting their freedom.Practical Reflections on LonelinessQuestions Volf asks himself: “Do I dare to be alone? How do I draw strength when I feel lonely?”The paradox of social connection in a digital age—teenagers side by side, “completely disconnected.”Love as sheer presence—“By sheer being, having a loving attitude, I relieve another's loneliness.”The Spiritual Discipline of SolitudeVolf's mother's daily hour of morning prayer—learning to hear God's voice like Samuel.Solitude as the ground for transformation: narrating oneself before God.“Nobody can die in my place… nobody can live my life in my place.”Solitude as preparation for love and life in community.About Miroslav VolfMiroslav Volf is the Henry B. Wright Professor of Theology at Yale Divinity School and Founding Director of the Yale Center for Faith & Culture. He is the author of Exclusion and Embrace, Flourishing: Why We Need Religion in a Globalized World, and numerous works on theology, culture, and human flourishing—most recently The Cost of Ambition: How Striving to Be Better Than Others Makes Us Worse.Production NotesThis podcast featured Miroslav VolfInterview by Macie BridgeEdited and Produced by Evan RosaProduction Assistance by Alexa Rollow, Emily Brookfield, and Hope ChunA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

We explore the tension between private creative work and public output—why some projects stay hidden in desk drawers, what gets lost when we don't capture ideas in the moment, and how the act of recording thoughts (whether on paper, voice memo, or typewriter) shapes what eventually gets made. The conversation moves through the craft of writing, from Dostoevsky dictating novels to assistants to the question of whether our image-saturated culture has made us illiterate in different ways than previous generations.The second half examines our complicated relationship with technology: the gratitude for AI tools that eliminate tedious tasks versus the frustration when a 2019 truck takes 45 seconds to connect to CarPlay in 2025. We discuss why analog tools aren't about nostalgia but about reliability—buying things that work the same way in year six as they did on day one, seeking friction and discomfort as antidotes to seamless existence, and recognizing that many technological "solutions" only fix problems technology itself created. Through references to Orson Welles films and a discussion of One Battle, we land on the strange appeal of living without constant connectivity, even as we acknowledge we'll never fully escape it. -Ai If you enjoyed this episode, please consider giving us a rating and/or a review. We read and appreciate all of them. Thanks for listening, and we'll see you in the next episode. Links To Everything: Video Version of The Podcast: https://geni.us/StudioSessionsYT Matt's YouTube Channel: https://geni.us/MatthewOBrienYT Matt's 2nd Channel: https://geni.us/PhotoVideosYT Alex's YouTube Channel: https://geni.us/AlexCarterYT Matt's Instagram: https://geni.us/MatthewIG Alex's Instagram: https://geni.us/AlexIG

The parable of the persistent widow. Again. Scholar, poet, and preacher Cameron Bellm has heard it a hundred times—so she turned to Russian literature for help. Drawing on Viktor Shklovsky's ostranenie, the art of making the familiar strange, she reveals how to jolt ancient parables back to life. “It is the goal of art to make the stone stony again,” she says. She also urges preachers to learn from Russian Masters Tolstoy—”a master of the narration of human consciousness”—and Dostoevsky, who “takes us into the deepest, darkest, grittiest underbelly of humanity and lights a single match.” In her homily  for the 29th Sunday in Ordinary Time, Year C, she layers voices across generations—her Presbyterian grandfather's 1964 sermons, Oscar Romero, Etty Hillesum—creating “a double-exposed photograph.” Her provocation: “We identify as the persistent widow, but like it or not, we are also the judge.” ___ Support Preach—subscribe at ⁠americamagazine.org Learn more about your ad choices. Visit megaphone.fm/adchoices

Anton Chekhov was a Russian doctor who turned to fiction as a hobby, and quickly blossomed into one of the masters of the short story genre. Though he is arguably best known for his dramatic works, such as The Cherry Orchard, his stories are widely considered to be some of the most perfect examples of short fiction ever written.Constance Black Garnett was an English housewife who taught herself Russian as a hobby, and subsequently introduced the English-speaking world to some of the greatest Russian authors, including Chekhov and Dostoevsky. Though she was almost entirely self-taught in her knowledge of Russian, she was a prolific translator, and her works are still lauded today for their readability and accuracy.This is the first of thirteen volumes of Anton Chekhov's short stories.Translated by Constance Garnett.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Anton Chekhov was a Russian doctor who turned to fiction as a hobby, and quickly blossomed into one of the masters of the short story genre. Though he is arguably best known for his dramatic works, such as The Cherry Orchard, his stories are widely considered to be some of the most perfect examples of short fiction ever written.Constance Black Garnett was an English housewife who taught herself Russian as a hobby, and subsequently introduced the English-speaking world to some of the greatest Russian authors, including Chekhov and Dostoevsky. Though she was almost entirely self-taught in her knowledge of Russian, she was a prolific translator, and her works are still lauded today for their readability and accuracy.This is the first of thirteen volumes of Anton Chekhov's short stories.Translated by Constance Garnett.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Russell G. Little is a writer and practicing divorce attorney. Murder for Me is a fictionalized compilation of the many people he's encountered over his lifetime and thirty-two-year career. He lives in Houston, Texas, with his wife of thirty-two years, Melinda.Bio: An interesting fact is that I practiced law for forty years, I tried over one hundred jury trials and hundreds more before a Judge alone.  Along the way I came across some unbelievable situations. While not all can be told, they can feed my stories, and I can write those.I write on a regular basis, but I'm not always productive.  Some days I get up and erase the whole days previous work because I woke up and realized that, unlike the night before, now I thought it was garbage.  My oldest son gives me grief about that.My favorite authors are not modern. I read Proust, Dostoevsky, and Chekhov. When I'm in a writer's block, I read Hemingway's The Sun Also Rises.  The chapters about sitting in a Paris café always gets me back to the keyboard. The love of writing is what I got from those authors.Make sure to check out this author https://www.russelllittleauthor.com/You can listen to the podcast on Apple Podcast, Spotify, Google Podcast, or visit my website www.drkatherinehayes.com

This episode focuses on the monumental contribution of 19th-century Russia to world literature. We delve into the minds of masters like Dostoevsky, Tolstoy, and Chekhov, who perfected the psychological novel and used it to explore the depths of human consciousness, morality, suffering, and redemption with unparalleled intensity. To unlock full access to all our episodes, consider becoming a premium subscriber on Apple Podcasts or Patreon. And don't forget to visit englishpluspodcast.com for even more content, including articles, in-depth studies, and our brand-new audio series and courses now available in our Patreon Shop!

This is talk #4 in our series with Fr. John. You can watch all the previous episodes here:https://youtube.com/playlist?list=PLPYRyCgpa3EsAmpI1w4KR7dknlcfU4-Z4&si=tKVWMWn9wcynQY4DMen are starved for meaning.In this conversation, Fr. John Strickland and Paul unpack why Dostoevsky saw the modern project collapsing into nihilism, how Nietzsche's “will to power” seduces many today, and why the Orthodox path—repentance, hierarchy, and liturgical brotherhood—actually forms men.We contrast utopian fantasies with the sober beauty of life in the Church, where men stand shoulder-to-shoulder and become reliable husbands, fathers, and brothers.If you're a man tired of isolated self-help and atomized living—and ready for strength, stability, and community—join our Genesis Workshop. It's a clear on-ramp to traditional wisdom, daily practices, and real fraternity.

Send us a textIn the previous episode, we walked with Walt Whitman down the open roads of America, hearing the chorus of ordinary lives. Now we cross continents and step into the narrow corridors of the human soul with Fedor Dostoevsky—where freedom and conscience wrestle in shadows. Whitman's poetry celebrated the sweep of America, the chorus of countless lives, and the boundless possibilities of freedom. Across the ocean and slightly later in time, Dostoevsky turned his gaze inward, exploring the shadowed recesses of the human heart. Whereas Whitman's lines embraced the world, Dostoevsky's narratives probe the tensions, doubts, and moral struggles that define our inner lives. In moving from Whitman to Dostoevsky, we travel from the expansive optimism of a young nation to the intense psychological and ethical landscapes of nineteenth-century Russia—a shift that reminds us just how varied, yet universally human, the work of great writers can be.Fyodor Dostoyevsky (1821–1881) is one of the towering figures of 19th-century literature and is often credited with deeply influencing modern psychological fiction. Born in Moscow into a middle-class family, he faced hardship early: his mother died when he was young, and his father was reportedly a strict and harsh figure. Dostoyevsky originally trained as an engineer, but his passion for literature led him to the literary scene in St. Petersburg.His life was marked by intense personal struggle. He was arrested in 1849 for involvement in a group promoting liberal ideas and was sentenced to death— On December 22, 1849, Fyodor Dostoyevsky stood on a frozen parade ground in St. Petersburg. He and his fellow prisoners were blindfolded, tied to stakes, and told they had only moments left to live. The firing squad raise  d their rifles. - the prisoners realized they only had a few seconds to live …And then—at the very last instant—the sentence was commuted. Death was postponed and his sentence was commuted at the last moment to imprisonment in a Siberian labor camp.  Life returned, with an almost unbearable intensity.Support the showThank you for experiencing Celebrate Creativity.

What truly makes Anna Karenina so significant—as an epitome of world literature—is that it is far more than a tale of love and tragedy. Tolstoy offers us a mirror of the common human condition and suffering—his characters are as alive today, with all their emotional turmoil, just as they were in the 19th century. Today, we're truly honored to welcome back Professor. Julia Titus from Yale University, to guide us into Leo Tolstoy's masterpiece Anna Karenina. Prof. Titus is the author of Dostoevsky as a Translator of Balzac (2022).  Recommended Reading:Leo Tolstoy, Anna Karenina (1878)Sigmund Freud, The Interpretation of Dreams (1899)This podcast is sponsored by Riverside, a professional conference platform for podcasting.Buzzsprout - Let's get your podcast launched!Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Comment and interact with our hostsSupport the showOfficial website Tiktok Facebook Twitter Instagram Linkedin

CBS EYE ON THE WORLD WITH JOHN BATCHELOR SHOW SCHEDULE  9-5 GOOD EVENING: The show begins in Las Vegas as the Strip struggles with decline. FIRST HOUR 9-915 Jeff Bliss, Las Vegas Tourism Decline and Anaheim Development Jeff Bliss reports a significant decline in Las Vegas tourism, with a 12% drop in visitors, which he attributes to the city's nickel and diming practices by major corporations like MGM and Caesar's Palace, coupled with the rise of online gambling. Despite increased gaming revenue, the broader city economy, including restaurants and hotels not part of the strip, is suffering. Vegas resorts are now offering discounts and food credits to attract visitors. Nevada's unique lack of a state lottery, forcing residents to cross state lines for games like Powerball, also highlights a peculiar disadvantage. In Anaheim, a proposed skyway/gondola system aims to connect Disneyland, hotels, and sports venues. 915-930 Brandon Weichert, Artificial Intelligence, Quantum Computing, and Economic Impact Brandon Weichert and John Batchelor discuss artificial intelligence and quantum computing, with Weichert expressing optimism for AI's long-term economic benefits, though he finds a 7% GDP growth projection very optimistic. He believes AI will augment, not replace, human work, leading to positive productivity gains over time, especially in manufacturing and tech sectors. The conversation touches on AI's current competitiveness in generating novel research hypotheses, nearly matching humans in a Science magazine study, but humans still slightly lead in designing experiments. Weichertsees quantum computing as the next breakthrough 930-945  Professor Richard Epstein, Federal Power, National Guard Deployment, and University Funding Professor Richard Epstein discusses two cases involving the Trump administration's use of federal power. First, he analyzes Judge Charles Brier's ruling that Trump's deployment of National Guard troops for immigration enforcement in Southern California was partially illegal, citing the 1878 Posse Comitatus Act. Epstein distinguishes between protecting federal interests and overstepping into local policing, as with traffic violations or raids far from Los Angeles. He criticizes the political polarization between Trump and Governor Gavin Newsom for hindering cooperation during emergencies. Second, Epstein addresses Judge Allison Burroughs' interim decision against Trump's freezing of Harvard's research funds over anti-Semitism allegations, warning of long-term damage to US medical research. 945-1000 CONTINUED Professor Richard Epstein, Federal Power, National Guard Deployment, and University FundingProfessor Richard Epstein discusses two cases involving the Trump administration's use of federal power. First, he analyzes Judge Charles Brier's ruling that Trump's deployment of National Guard troops for immigration enforcement in Southern California was partially illegal, citing the 1878 Posse Comitatus Act. Epstein distinguishes between protecting federal interests and overstepping into local policing, as with traffic violations or raids far from Los Angeles. He criticizes the political polarization between Trump and Governor Gavin Newsom for hindering cooperation during emergencies. Second, Epstein addresses Judge Allison Burroughs' interim decision against Trump's freezing of Harvard's research funds over anti-Semitism allegations, warning of long-term damage to US medical research. SECOND HOUR 10-1015 Bradley Bowman, Chinese Military Parade and US Security Bradley Bowman discusses a recent massive Chinese military parade, noting the presence of Xi Jinping, Vladimir Putin, and Kim Jong-un, with the president of Iran also in attendance. He views the parade as a demonstration of China's decades-long effort to build a military capable of defeating the US in the Pacific, highlighting the erosion of American security and increased likelihood of a Taiwan Strait conflict. Specific concerns include modernized hypersonic YJ seriesanti-ship missiles challenging US naval interception, the DF61 intercontinental ballistic missile aimed at the US, and a low-observable tailless drone for manned fighters.1015-1030 Conrad Black, Canadian Politics, Mr. Carney's Government, and Regional Challenges Conrad Black discusses the challenges facing Mr. Carney's new Canadian government, particularly the unrest in Alberta. Carney's extreme green views threaten Alberta's oil and ranching economy, leading to a significant separatist movement that could see the province join the United States if its energy exports aren't facilitated. Black notes that Carney has yet to reveal his plans to address this or the historical cultural and political challenges posed by Quebec, a wealthy province with aspirations for independence. Carney has been robust on national security, agreeing with President Trump that Canada needs increased defense spending.1030-1045 Jim McTague, Lancaster County Economy and National Job Market Jim McTague provides an optimistic view of Lancaster County's economy, contrasting with national job market slowdowns. He notes low unemployment at 3.4% and no personal reports of job losses. The county's economy is buoyed by affluent retirees, who contribute millions to local restaurants and businesses, and a booming tourism sector attracting 10 million visitors annually. McTague highlights the importance of agriculture and the Amish culture as economic backbones. However, housing prices are significantly elevated, posing a challenge for younger, lower-wage workers. Growth is concentrated in suburban townships due to a superior healthcare industry and expanding data centers and pharmaceutical companies attracting professionals.1045-1100 CONTINUED Jim McTague, Lancaster County Economy and National Job Market Jim McTague provides an optimistic view of Lancaster County's economy, contrasting with national job market slowdowns. He notes low unemployment at 3.4% and no personal reports of job losses. The county's economy is buoyed by affluent retirees, who contribute millions to local restaurants and businesses, and a booming tourism sector attracting 10 million visitors annually. McTague highlights the importance of agriculture and the Amish culture as economic backbones. However, housing prices are significantly elevated, posing a challenge for younger, lower-wage workers. Growth is concentrated in suburban townships due to a superior healthcare industry and expanding data centers and pharmaceutical companies attracting professionals. THIRD HOUR 1100-1115 Molly Beer, Angelica Schuyler Church and the American Revolution Molly Beer discusses Angelica Schuyler Church (1755-1814), a prominent figure during the American Revolution. Born to the influential Schuyler family in Albany, Angelica was well-educated, a trait uncommon for women of her time but typical for Dutch families. She eloped with John Carter (later John Barker Church), much to her family's dismay, a decision perhaps driven by love for the cosmopolitan Englishman. Angelica was deeply involved in the revolutionary cause, supporting the French army and maintaining a strong patriotic identity even while living in London after the war. She cultivated extensive connections with key figures like George Washington, Alexander Hamilton, Thomas Jefferson, and Lafayette .1115-1130 CONTINUED Molly Beer, Angelica Schuyler Church and the American Revolution 1130-1145 CONTINUED Molly Beer, Angelica Schuyler Church and the American Revolution Molly Beer discusses 1145-1200 CONTINUED Molly Beer, Angelica Schuyler Church and the American Revolution Molly Beer . FOURTH HOUR 12-1215 Henry Sokolski, Plutonium, Nuclear Proliferation, and International Debate Henry Sokolski discusses the global debate surrounding plutonium, a highly poisonous substance used in nuclear weapons, especially by China, South Korea, and Britain. He explains that plutonium can be extracted from nuclear power reactors and quickly used to make a bomb, similar to the Nagasaki weapon. Sokolski criticizes the US Energy Department for suggesting that new reactor designs like Natrium and Ollo can extract plutonium while leaving enough radionuclides to prevent bomb-making, a claim previously debunked by studies. He highlights proliferation risks, citing South Korea's historical attempts to use civil reprocessing to acquire nuclear weapons.1215-1230 Jack Burnham, Manhattan Project Lessons for AI and US-China Talent Competition Jack Burnham explains that China views the Manhattan Project as a key lesson in harnessing international talent for national strategic goals, particularly in artificial intelligence. The US successfully recruited theoretical physicists fleeing Nazi Germany, nurturing a scientific reserve for the atomic bomb project. Burnham notes that after World War II, the US continued to prioritize basic science funding, leading to its technological edge. However, he suggests the US is currently struggling with this, as funding issues and regulatory uncertainty are driving American scientists abroad and limiting foreign talent attraction while countries like China, the EU, France, and Canada actively recruit US scientists.1230-1245 Nathaniel Peters, The Nature of Murder and Evil in Andrew Klavan's "The Kingdom of Cain" Nathaniel Peters reviews Andrew Klavan's "The Kingdom of Cain," which explores murder and evil through fiction and real-life examples. Klavan, a former atheist, was propelled to faith by Klavan, a former atheist, was propelled to faith by pondering evil, suggesting that recognizing objective moral order is necessary to condemn acts like those of the Marquis de Sade. The book examines Leopold and Loeb, who murdered to prove their superiority and live beyond good and evil, but left a crucial clue, highlighting their human fallibility. Klavan also considers Dostoevsky's Raskolnikov, whose rationalized yet pointless murder leads to a breakdown of his self-deception. Klavan argues artistic creation, like Michelangelo's Pietà, can redeem or transform the subject of art.1245-100 AM CONTINUED Nathaniel Peters, The Nature of Murder and Evil in Andrew Klavan's "The Kingdom of Cain" Nathaniel Peters reviews Andrew Klavan's "The Kingdom of Cain," which explores murder and evil through fiction and real-life examples. Klavan, a former atheist, was propelled to faith by pondering evil, suggesting that recognizing objective moral order is necessary to condemn acts like those of the Marquis de Sade. The book examines Leopold and Loeb, who murdered to prove their superiority and live beyond good and evil, but left a crucial clue, highlighting their human fallibility. Klavan also considers Dostoevsky's Raskolnikov, whose rationalized yet pointless murder leads to a breakdown of his self-deception. Klavan argues artistic creation, like Michelangelo's Pietà, can redeem or transform the subject of art.

CONTINUED Nathaniel Peters, The Nature of Murder and Evil in Andrew Klavan's "The Kingdom of Cain" Nathaniel Peters reviews Andrew Klavan's "The Kingdom of Cain," which explores murder and evil through fiction and real-life examples. Klavan, a former atheist, was propelled to faith by pondering evil, suggesting that recognizing objective moral order is necessary to condemn acts like those of the Marquis de Sade. The book examines Leopold and Loeb, who murdered to prove their superiority and live beyond good and evil, but left a crucial clue, highlighting their human fallibility. Klavan also considers Dostoevsky's Raskolnikov, whose rationalized yet pointless murder leads to a breakdown of his self-deception. Klavan argues artistic creation, like Michelangelo's Pietà, can redeem or transform the subject of art. Michelangelo's Pietà Vatican City, Vatican City A marble sculpture by Michelangelo depicting the Virgin Mary holding the body of Jesus Christ.

Nathaniel Peters, The Nature of Murder and Evil in Andrew Klavan's "The Kingdom of Cain" Nathaniel Peters reviews Andrew Klavan's "The Kingdom of Cain," which explores murder and evil through fiction and real-life examples. Klavan, a former atheist, was propelled to faith by Klavan, a former atheist, was propelled to faith by pondering evil, suggesting that recognizing objective moral order is necessary to condemn acts like those of the Marquis de Sade. The book examines Leopold and Loeb, who murdered to prove their superiority and live beyond good and evil, but left a crucial clue, highlighting their human fallibility. Klavan also considers Dostoevsky's Raskolnikov, whose rationalized yet pointless murder leads to a breakdown of his self-deception. Klavan argues artistic creation, like Michelangelo's Pietà, can redeem or transform the subject of art. UNDATED NEAR MOSCOW

Rebels, a few clarifications first...in the intro, I accidentally referred to Paul's book as "Crime and Punishment", (which I believe is Dostoevsky) also, while Paul was gracious enough to speak to me while he was in Germany, he was not in any sort of prison. He was released 28 months into his sentence, in 2022, but you'll hear that in the interview. We all have our stories of a "personal hell", but I think there are only a few that can come close to the horror of being incarcerated. This a is a very honest and direct telling of his experience, which I'd imagine would be just as difficult to talk about. As you'll hear Paul say, it was therapeutic for him to tell the story, as will the upcoming sequel about his post-prison life. This interview is much more than a cautionary tale; it's a conversation about a worls so many of us have so little understanding about. Thanks so much for coming on the show and sharing your story, Paul!Paul's info:TikTok @paulluckismith;X @GetLuckiSmith;Truth Social @plsmith64;YouTube @PaulLuckiSmith;Facebook Paul Smith?Here's the link to Paul's book: https://www.amazon.com/Cruel-Unusual-Punishment-Psychological-Realities-ebook/dp/B0FKVWGDSP/ref=sr_1_1?crid=1M987PHCAXT9R&dib=eyJ2IjoiMSJ9.NkFR_Nb1A40ZHlH8Fdvi7Sm2IpZaRSNRZp7Qa2VENSzlKUPkjH38nUANtamvFrnGaeLiioQmms0dKw1HRfHGD4U6Chr2cCWSQEx5z8qCz-5-oQA0hr3G-MqTr78t8_d85yw5Esrov2lKnqeXD1JW2tBDF2DsllR4uWjy4vh-DLC8rUqJLw0TAwbk48N72JrbrYScDEcvS9SgG3V02l8K3A1y9dE6rQQABDc1NwM0qqU.qizHEDI8eSmqqliRfvu5XqNCFFz8cQl8orNNdVmkXb8&dib_tag=se&keywords=cruel+and+unusual+punishment&qid=1756694101&sprefix=cruel+%26+unus%2Caps%2C122&sr=8-Catch "Sherpa Selects" on Saturdays. It's the episodes you tried to avoid the first time around!More thanks: Music Credits/Voiceovers: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bruce Goldberg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ( aka Lord Mr. Bruce); other Voices: The Sherpa-lu Studio PlayersYouTube: @sherpalution5000 @sherpalution : social media for FB, IG, Bluesky, & TikTokLink page: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠bio.link/jimthepoHere's our website: https://shows.acast.com/the-sherpas-podcast-picksYou can support this show...FOR FREE!!! All you have to do is listen here.Email:jimthepodcastsherpa@gmail.comSupport:Review the show on Apple Podcasts or Spotify.Become a Rebel of the Sherpalution! Please subscribe to the show (for free) through your favorite podcast listening medium, so you don't miss an episode. (What if you miss one, and then we have a test????) If I'm not on your favorite medium, let me know, and I'll bribe my way on it! (That's assuming I actually have money...) Also, please reach out to me through my social media channels or email address. I'd love to hear what you think.And PLEASE let me know if there's a podcast I should be checking out...even if it's one you host! Hosted on Acast. See acast.com/privacy for more information.

Dostoevsky Update, aPoLiTiCaL Agencies, Braindead Politicians (but I repeat myself) by Tommy McElroy

The Communist Manifesto is one of the most influential and divisive works of political philosophy. Yet it almost seems quaint and harmless in a modern world of global Capitalist reach, and more rhetorical than scientific compared to the more systematic and explanatory Capital. Is Marx's theory of capitalist greed and social upheaval still relevant in a post Cold War world? Or is this a harmless historical phenomenon, relevant only in its time?Additional readings include: Bakunin's God and the State, Bernstein's Evolutionary Socialism, Sorel's Reflections on Violence, Chernyshevsky's What is to Be Done?, Dostoevsky's Notes from Underground, and Morris' News from Nowhere. And while I suspect I should be able to find a better mechanical representation of political revolution in video game history, I'm stuck instead with Red Faction: Guerrilla, which is a smarter game then it first seems, but is still pretty dang dumb.If you would rather check out Professor Kozlowski's other online projects than immediately rise up against your oppressors (all you have to lose are your chains!), check out his website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠professorkozlowski.wordpress.com

Send us a textWelcome to Celebrate Creativity - Episode 448 - Queen of CrimeWe have talked in this podcast about such great writers as Dostoyevsky and Flaubert, but so far I've left out the most popular writer of them all and that is Agatha Christie.Only the Bible and Shakespeare have sold more copies that Agatha Christie - she is often mentioned alongside great writers who have had epileptic seizures, but her case is a bit more ambiguous than Dostoevsky or Flaubert.  In this episode, I'd like to lay out what scholars and biographers have pieced together about her health, and how possible seizures might have shaped her writing and life.Now I know that some of you younger listeners might know mysteries or even Knives Out, but not realize how much all of that traces back to Agatha Christie. Let me give you a short - very short - introduction to Agatha Christie as a writer. Agatha Christie (1890–1976) was an English novelist, playwright, and short story writer — and she's often called the “Queen of Crime.” Over the course of her life she wrote 66 detective novels, 14 short story collections, and the world's longest-running play, The Mousetrap.Her works introduced some of the most famous detectives in literature, like Hercule Poirot — the meticulous Belgian sleuth with the “little grey cells” — and Miss Marple, the seemingly gentle village spinster who sees into the darkest corners of human nature.Christie's stories have sold over two billion - yes that's billion with a B - copies worldwide — more than any other author except Shakespeare and the Bible. Her works have been translated into over 100 languages, making her one of the most widely read writers in history.Support the showThank you for experiencing Celebrate Creativity.

Send us a textWelcome to Episode 445 of Celebrate Creativity - Ultimate Freedom - This is the third and final episode devoted to characters with epilepsy from   the writings of Fydor Dostoyevsky.In addition to Prince Myskin and Smerdyakov, there was another major character who has a relationship with epilepsy called Kirillov from dostoyevsky's novel by the name of Demons.  You see, Dostoevsky never explicitly says Kirillov is epileptic, but there are strong echoes of the condition, and scholars often connect him to Dostoevsky's own experiences of seizures. In Demons, Kirillov is obsessed with ultimate freedom and the idea of overcoming the fear of death by committing suicide. At several points, he describes moments of sudden, radiant joy that come to him — a kind of ecstatic clarity just before unbearable suffering. Dostoevsky himself experienced something very similar with his own epilepsy. He wrote that just before some of his seizures, he would feel a sudden, luminous happiness, as though eternity were revealed to him in a single instant.In Demons (Part II, Chapter 1), Kirillov says:“There are moments, and it is only for a few seconds, when you feel the presence of eternal harmony … You feel it in all your being, and it is clear, it is undeniable. At such moments you would not exchange it for all the joys of earth.”This is almost identical to Dostoevsky's personal description of his epileptic aura. Many readers — and critics — have taken this as evidence that Kirillov is written as an epileptic character, even if Dostoevsky never uses the word.Support the showThank you for experiencing Celebrate Creativity.

Send us a textWelcome to Celebrate Creativity – Episode 444 – A Multitude of WaysIn this podcast series, I am delving into authors who had epilepsy. And there is probably no better example than Dostoyevsky. Now it is said that Fydor Dostoevsky's portrayal of epilepsy, especially in his character Prince Myshkin, is one of the most accurate and empathetic in literature largely because it goes beyond just describing the physical symptoms. He delves into the psychological, social, and spiritual dimensions of the condition. Having experienced epilepsy himself, Dostoevsky was able to portray the condition with an authenticity that was rare for his time.Support the showThank you for experiencing Celebrate Creativity.

Send us a textWelcome to Celebrate Creativity – Episode 444 - Fate, illness, or Deception?This is the first podcast episode in a three part series dealing with a fascinating individual - the Russian writer Fydor Dostoevsky and his literary treatment of seizure disorders.  His works are rich with recurring themes such as morality, free will, nihilism, faith, and the nature of good and evil.Dostoevsky himself suffered from epilepsy - so it could be argued that his reaction to the condition it's quite different from most Siri set an alarm for five minutes writers - largely because he suffered so many seizures.  He he even went out of his way to portray some of his characters - note that I said some of his characters - having seizure disorders and being exemplary people.  Today they might be called role models.  This is perhaps most true of one of the leading characters of his novel, The Idiot - a character known as Prince Myshkin.Dostoevsky's Life and Historical ContextDostoevsky's life was marked by extreme highs and lows, which directly influenced his writing. Support the showThank you for experiencing Celebrate Creativity.

Miroslav Volf explores agapic love, creation's goodness, and God's grief—an alternative to despair, power, and world rejection.“When a wanted child is born, the immense joy of many parents often renders them mute, but their radiant faces speak of surprised delight: ‘Just look at you! It is so very good that you are here!' This delight precedes any judgment about the beauty, functionality, or moral rectitude of the child. The child's sheer existence, the mere fact of it, is ‘very good.' That's what I propose God, too, exclaimed, looking at the new-born world. And that unconditional love grounds creation's existence.”In this fourth Gifford Lecture, Miroslav Volf contrasts the selective and self-centered love of Ivan Karamazov with the radically inclusive, unconditional love of Father Zosima. Drawing deeply from Dostoevsky's The Brothers Karamazov, Genesis's creation and flood narratives, and Hannah Arendt's concept of amor mundi, Volf explores a theology of agapic love: unearned, universal, and enduring. This is the love by which God sees creation as “very good”—not because it is perfect, but because it exists. It's the love that grieves corruption without destroying it, that sees responsibility as mutual, and that offers the only hope for life in a deeply flawed world. With references to Luther, Nietzsche, and modern visions of power and desire, Volf challenges us to ask what kind of love makes a world, sustains it, and might one day save it. “Love the world,” he insists, “or lose your soul.”Episode Highlights“The world will either be loved with unconditional love, or it'll not be loved at all.”“Unconditional love abides. If the object of love is in a state that can be celebrated, love rejoices. If it is not, love mourns and takes time to help bring it back to itself.”“Each is responsible for all. Each is guilty for all. Each needs forgiveness from all. Each must forgive all.”“Creation is not primarily sacramental or iconic. It is an object of delight both for humans and for God.”“Agapic love demands nothing from the beloved, though it cares and hopes much for them and for the shared world with them.”Show NotesSchopenhauer and Nietzsche's visions of happiness: pleasure and power as substitutes for love“Love as hunger”: the devouring nature of epithemic desireIvan Karamazov's tragic love for life—selective, gut-level, and self-focused“There is still… this wild and perhaps indecent thirst for life in me”Father Zosima's universal love for “every leaf and every ray of God's light”“Love man also in his sin… Love all God's creation”Sonya and Raskolnikov in Crime and Punishment: love as restoration“She loved him and stayed with him—not although he murdered, but because he murdered”God's declaration in Genesis: “And look—it was very good”Hannah Arendt's amor mundi—“I want you to be” as pure affirmationCreation as gift: “Each is itself by being more than itself”Martin Luther on marriage, sex, and delight as godly pleasuresThe flood as hypothetical: divine grief replaces divine destruction“It grieved God to his heart”—grief as a form of agapic love“Each is responsible for all. Each is guilty for all.”Agape over erotic love: not reward and punishment, but faithful presence and care“Agapic love demands nothing… It is free, sovereign to love, humble.”Closing invitation: to live the life of love, under whatever circumstancesProduction NotesThis podcast featured Miroslav VolfEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Taylor Craig and Macie BridgeA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/giveSpecial thanks to Dr. Paul Nimmo, Paula Duncan, and the media team at the University of Aberdeen. Thanks also to the Templeton Religion Trust for their support of the University of Aberdeen's 2025 Gifford Lectures and to the McDonald Agape Foundation for supporting Miroslav's research towards the lectureship.

This week on Breaking Battlegrounds, we kick things off with Northwestern University's Gary Saul Morson, co-author of Cents and Sensibility, joins us to explore why revolutions never truly end, Dostoevsky's warnings about nihilism, and what economist Friedrich Hayek might think about artificial intelligence. We wrap up with Satya Thallam, senior advisor at Americans for Responsible Innovation, for an inside look at the political and national security implications of AI policy, from the White House's export control changes to the GOP's divide over state regulation, and what it all means for the future of innovation in America.

Join Eric, @CSIBillCrane, @TimAndrewsHere, @Autopritts, @JaredYamamoto, Greg, @Dr.Joe and George LIVE on 95.5 WSB from 3pm-7pm as they chat about Dostoevsky's Warning , Baby Shower Blackmail , Trump's Latest Tariff and so much more! *New episodes of our sister shows: The Popcast with Tim Andrews and The Nightcap with Jared Yamamoto are available as well!

Today we talk about two different theories for why we ritualize self-destructive behavior. We check out a lesser-known work from Dostoevsky called The Gambler. We consider how much we can hold people morally accountable for this kind of stuff. Then we look at the work of Georges Bataille, his book The Accursed Share, and how a hidden underlying economics may be a way we can understand self-destructive behavior from a new angle. Hope you love it and have a great week. :) Sponsors: Greenlight: https://www.greenlight.com/PT Nord VPN: https://nordvpn.com/philothis Better Help: https://www.BetterHelp.com/PHILTHIS Thank you so much for listening! Could never do this without your help.  Website: https://www.philosophizethis.org/ Patreon: https://www.patreon.com/philosophizethis  Social: Instagram: https://www.instagram.com/philosophizethispodcast X: https://twitter.com/iamstephenwest Facebook: https://www.facebook.com/philosophizethisshow Learn more about your ad choices. Visit podcastchoices.com/adchoices

In The Image of Christ in Russian Literature: Dostoevsky, Tolstoy, Bulgakov, Pasternak (Northern Illinois University Press, 2018), Dr. John Givens of the University of Rochester discusses classics of Russian literature such as The Brothers Karamazov and Dr. Zhivago, as well as texts of less renown to English-speaking audiences, such as Tolstoy's Resurrection. These texts and others, Givens suggests, portray Christ apophatically: that is, by showing who Christ was not, in order to illuminate who Christ therefore must be. In addition to the novels themselves, Givens cites sources such as personal correspondence and important theological works, thus bringing an English-speaking public to greater depth of understanding than would be possible simply by reading Russian novels in translation. Though focused on a specific topic, Givens' book is an excellent resource for anyone interested in familiarizing themselves with some of the “greats” of the Russian literary canon. Aaron Weinacht is Professor of History at the University of Montana Western in Dillon, MT. He teaches courses on Russian and Soviet History, World History, and Philosophy of History. His research interests include the sociological theorist Philip Rieff and the influence of Russian nihilism on American libertarianism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Image of Christ in Russian Literature: Dostoevsky, Tolstoy, Bulgakov, Pasternak (Northern Illinois University Press, 2018), Dr. John Givens of the University of Rochester discusses classics of Russian literature such as The Brothers Karamazov and Dr. Zhivago, as well as texts of less renown to English-speaking audiences, such as Tolstoy's Resurrection. These texts and others, Givens suggests, portray Christ apophatically: that is, by showing who Christ was not, in order to illuminate who Christ therefore must be. In addition to the novels themselves, Givens cites sources such as personal correspondence and important theological works, thus bringing an English-speaking public to greater depth of understanding than would be possible simply by reading Russian novels in translation. Though focused on a specific topic, Givens' book is an excellent resource for anyone interested in familiarizing themselves with some of the “greats” of the Russian literary canon. Aaron Weinacht is Professor of History at the University of Montana Western in Dillon, MT. He teaches courses on Russian and Soviet History, World History, and Philosophy of History. His research interests include the sociological theorist Philip Rieff and the influence of Russian nihilism on American libertarianism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

How literature helps us to understand morality, totalitarian politics, and the life of Jesus Christ.Join the team at the IAI for four articles about great, classic literature, covering world-renowned authors such as George Orwell, Fyodor Dostoevsky, Clarice Lispector, to name but a few.These articles were written by Michael Marder, Emrah Atasoy, John Givens, and Dana Dragunoiu.Michael Marder is Ikerbasque Research Professor of Philosophy at the University of the Basque Country, Vitoria-Gasteiz. Emrah Atasoy is a professor in the Department of English and Comparative Literary Studies at the University of Warwick. John Givens is a professor of Russian at the University of Rochester and the author of 'The Image of Christ in Russian Literature: Dostoevsky, Tolstoy, Bulgakov, Pasternak'. Dana Dragunoiu the author of 'Vladimir Nabokov and the Art of Moral Acts' and 'Simply Nabokov'. And don't hesitate to email us at podcast@iai.tv with your thoughts or questions on the episode!To witness such debates live buy tickets for our upcoming festival: https://howthelightgetsin.org/festivals/And visit our website for many more articles, videos, and podcasts like this one: https://iai.tv/You can find everything we referenced here: https://linktr.ee/philosophyforourtimesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James, proving that Russian literature owes much to Ivan Turgenev. (From Wikipedia.)Translated by Richard Hare.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James, proving that Russian literature owes much to Ivan Turgenev. (From Wikipedia.)Translated by Richard Hare.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James, proving that Russian literature owes much to Ivan Turgenev. (From Wikipedia.)Translated by Richard Hare.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James, proving that Russian literature owes much to Ivan Turgenev. (From Wikipedia.)Translated by Richard Hare.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join Dan and Tom as they decode some James Bond influences from History and Literature.  Hint: Proust, Dostoevsky, and others may have played a part. Christopher Booker's “Seven Basic Plots” identifies the seven main plots that literature tends to stick to.  So, we look at some classic literature and its effect on the James Bond movies.  Consequently, there aren't very many different plots to contend with, and Eon Productions has retold the same plot multiple times in their movies.  What we will decode in this episode: ·         How do Proust's works parallel a character in the last two James Bond movies? There are multiple ways this character is paralleled in Proust's writing. ·         Can Tom stay awake while reading literature? ·         What real-world characters have helped shape the James Bond movies? ·         What themes in FROM RUSSIA WITH LOVE's Tania Romanova do we see carried over in future James Bond movies? ·         Who are some of the real-world characters who influence Ian Fleming's writings? ·         Do any of the James Bond movie characters have literary influences? ·         Do Purvis and Wade deserve any credit for CASINO ROYALE's literary influences? ·         And of course, much more. To sum up, there are many characters in literature and history that may have influenced some of the characters we find in the James Bond movies. Tell us what you think about our look at James Bond influences from history and literature. Did we get the right influences? Are there other literary references you would make?  If so, please let us know.  Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage:  https://bit.ly/4m2Ymee

Matthew Levering found himself developing something resembling a Christian worldview through reading Dostoevsky and Walker Percy. This foundation led him to the Catholic Church.

Is long form reading a dying pastime? Journalist and cultural critic James Marriott joins EconTalk's Russ Roberts to defend the increasingly quaint act of reading a book in our scrolling-obsessed, AI-summarized age. He urges juggling a paper book and a Kindle, recounts ditching his smartphone to rescue his attention, and shares tactics for finding the "right" beach novel and biography. He and Russ also debate the value of re-reading, spar over Dostoevsky, celebrate Elena Ferrante, and swap suggestions for poetry that "puts reality back in your bones." Throughout, they argue that the shallowness of social media makes the best case for diving into the dense, intellectually difficult, yet uniquely transformative power of books.

This week, the girlies are joined by writer, cultural critic, and internet princess Rayne Fisher-Quann for a bonus follow-up to our literacy episode. We unpack Rayne's recent essay on “poser ethics” and ask: is pretending to have read Dostoevsky really that bad? Are there different kinds of reading, and is one better than the other? Have we fully reckoned with the cultural impact of a generation of men raised on Diary of a Wimpy Kid? Digressions include everyday activities that bring us closer to lead poisoning, a crucial Nerds Gummy Cluster taste test, and a deep dive into our personal neuroses. Check out some of Rayne's work here: https://internetprincess.substack.com/ This is a teaser for a Patreon-exclusive episode. To listen to the full episode and access over 50 bonus episodes, mediasodes, and monthly zoom hangs visit patreon.com/binchtopia and become a patron today. We're going on tour!!!! Find tickets at https://linktr.ee/binchtopia

Resharing an episode from YouTube Channel Leadership Sound Bites with Host Michelle Smith. (Thank you for this opportunity, Michelle!!)Here, we dive deep into the wisdom of Dostoevsky and discuss the trap of overthinking and the transformational power of direct experience. We explore why the world needs more compassionate “fools”—people who take risks, show up imperfectly, and lead with heart, not ego.Feeling stuck? If you need help getting out of your rut, Will can help. Head to willnotfear.com to learn more about his coaching and how it can help you get off the hamster wheel and start making better decisions. Hosted by Ausha. See ausha.co/privacy-policy for more information.