Podcasts about Dubliners

Today, April 30, marks the 15th anniversary of Gerry Ryan's untimely death aged 53. That Gerry-shaped hole has never quite been filled at RTÉ. At his best, the Dubliner was a broadcaster of the first rank, one who could delight, entertain, inform, infuriate and challenge the listener – often over the course of a single show. But in the end, the life of Gerry Ryan was tragically cut short on his sudden death, which was as hotly debated as any “Ryan Line” phone-in special. Host; Fionnán Sheahan, Guests; John Meagher and Niamh Horan Copy: Today, April 30, marks the 15th anniversary of Gerry Ryan's untimely death aged 53. That Gerry-shaped hole has never quite been filled at RTÉ. At his best, the Dubliner was a broadcaster of the first rank, one who could delight, entertain, inform, infuriate and challenge the listener – often over the course of a single show. He was an undeniable force of nature in the world of Irish broadcasting. Controversy also didn't really faze the man, in fact, he made his career off the back of it. His voracious appetite for life, and indeed becoming a major part of the lives of his audience, was quintessential Gerry Ryan, as was his signature rambunctious approach to the microphone. Love or loathe the man, you had an opinion about him. But in the end, the life of Gerry Ryan was tragically cut short, with his sudden death as hotly debated as any “Ryan Line” phone-in special. Today on the Indo Daily, Fionnán Sheahan is joined by Mediahuis Ireland journalists John Meagher and Niamh Horan, to reflect on the days of a true broadcasting legend, his legacy on the Irish airwaves and to remember the days when the Ryan Line was open. See omnystudio.com/listener for privacy information.

The Head of English at an Auckland college says he won't teach the proposed new English curriculum and is urging other teachers to boycott it too. The draft curriculum released earlier this month comes with a list of suggested texts including Arthur Miller's the Crucible, Edgar Allan Poe's the raven,1984 by George Orwell and Dubliners by James Joyce. The draft document makes no mention of Te Mataiaho a learning frame work grounded in Te Tiriti o Waitangi. Northcote College head of English David Taylor spoke to Lisa Owen.

Property prices rose 8% in February compared to last year – in yet more worrisome news for those trying to navigate the housing market.All of this while Dubliners are being asked to have their say on plans to transform an industrial estate on the city's northside into a “brand-new community”.So, what role can property developers play in solving the housing crisis?Cork Property Developer Michael O'Flynn joins Kieran to discuss.

In the heart of Dublin's bustling city centre lies St Stephen's Green, a place of calm amid chaos, a patch of peace in a fast-moving metropolis. Known simply as “the Green” to Dubliners, it's where students loll on sunny afternoons, office workers grab quiet lunch breaks, and tourists pause for breath amid their sightseeing. But behind its ornamental lake, elegant railings and leafy paths lies a fascinating and, at times, fiery history stretching back nearly a millennium. Diarmuid Gavin brings us the story of St Stephen's Green.All with thanks to Tirlán.

Send us a textWelcome to the cU 2.0 Podcast Greatest Hits #25.  This show dates back to August 2021 and it aired as episode 162. The guest: Peter Rice, now CEO of Hanscom Federal Credit Union, and then he was Chief Banking Officer at Workers Credit Union.  He came on the show to talk about a new, dazzling branch concept.  You'll hear how Rice's mind works in the show.And a few days after the posting of this Great Hit a new episode with Rice will post where his mind roams among the hot topics in credit unions today.If Joyce's Dubliners is a prequel to Ulysses, this podcast is a prequel to Wednesdays.  Listen up.

Hallo zusammen, endlich setzen wir gemeinsam unsere Serie zur Geschichte der grünen Insel fort - und heute geht es um eines der turbulenteren und ereignisreichsten Kapitel - das 19. Jahrhundert, wirtschaftliches Auf und aAb, demographische Veränderungen durch ein dramatisches Ereignis, politische Verwicklungen und vieles darum herum schauen wir uns heute einmal näher an. Die Einzelnen Themen sehen wie folgt aus :Act of the Union Missernten und Hungersnot AuswanderungHome Rule Land war Relevant sind diese Quellen: https://www.irland.de/Irland-Geschichte/Geschichte-im-Ueberblick/ https://de.wikipedia.org/wiki/Geschichte_Irlands_(1801–1922)https://de.wikipedia.org/wiki/Große_Hungersnot_in_Irlandhttps://en.wikipedia.org/wiki/Great_Famine_(Ireland)https://www.askaboutireland.ie/learning-zone/primary-students/subjects/history/history-the-full-story/ireland-in-the-19th-centu/https://www.askaboutireland.ie/learning-zone/primary-students/subjects/history/history-the-full-story/ireland-in-the-19th-centu/https://cain.ulster.ac.uk/othelem/chron/ch1800-1967.htmhttps://www.twinkl.ie/teaching-wiki/19th-century-ireland-for-kidshttps://www.museum.ie/en-ie/museums/country-life/exhibitions/the-timeshttps://en.wikipedia.org/wiki/History_of_Ireland_(1801–1923)https://de.wikipedia.org/wiki/Act_of_Union_1800https://de.wikipedia.org/wiki/Robert_EmmetGerne könnt Ihr der Seite zum Podcast auf Pinterest, Instagram oder Facebook folgen : https://www.pinterest.ie/abavarianstrandedinireland/https://www.instagram.com/a_bavarian_stranded_in_ireland/https://www.facebook.com/A-Bavarian-stranded-in-Ireland-107125391828067Um bequem Updates zu neuen Folgen und allen anderen Themen rund um den Podcast bequem direkt auf euer Handy zu erhalten, könnt Ihr ab sofort auch den WhatsApp Channel zum Podcast abonnieren: https://whatsapp.com/channel/0029VaVcgvgFnSzHRcuurV1VOder mir jederzeit eine Email zukommen lassen. abavarianstrandedinireland@gmail.comSchaut auch gerne mal auf der Website vorbei: abavarianstrandedinireland.com

Welcome to our Saint Patrick's Day Lit for Christmas party of Season Five!In this episode, Marty and Beth get bombed on Bailey's Mint Mudslides and discuss "Christmas Morning" by Irish writer Frank O'Connor.   BONUS POINTS:  Take a shot every time Beth makes a seuxal innuendo. CAUTION: You WILL get very drunk.SPIRIT OF CHRISTMAS PRESENTBailey's Mint Mudslide:Ingredients:Two shots original Bailey's Irish CreamOne shot Creme de Menthe SyrupOne shot Vanilla CreamerHershey's Chocolate Syrup1 cup of ice1 Hershey's kissDirections:In a blender, put ice, Bailey's Irish Cream, Creme de Menthe, and Vanilla Creamer. Blend well.Drizzle sides of glass with Hershey's Chocolate Syrup.Pour blended mixture into drizzled glass.Add Hershey's kiss, if desired.Non-Alcoholic Directions:Substitute two scoops of mint chocolate chip ice cream for the Bailey's Irish Cream and Creme de Menthe. Eliminate the ice. Double the Vanilla Creamer (2 shots) to thin the mixture. Lit for Christmas Party Hosts:Marty has an Master's in fiction writing, MFA in poetry writing, and teaches in the English Department at Northern Michigan University in the Upper Peninsula of Michigan.  He served two terms at Poet Laureate of the Upper Peninsula, and has published two poetry collections, The Mysteries ofthe Rosary from Mayapple Press and A Bigfoot Bestiary and Other Wonders from Modern History Press .  For more of Marty's thoughts and writing visit his blog Saint Marty (saintmarty-marty.blogspot.com).  Marty is a writer, blogger, wine sipper, easy drunk, and poetry obsessor who puts his Christmas tree up in mid-October and refuses to take it down until the snow starts melting.Beth has a BS in English Secondary Education.  She hasworked as a substitute teacher, medical transcriptionist, medical office receptionist, deli counter attendant, and Office Max cashier.  Currently, she works in a call center and enjoys discussing/arguing about literature with her loving husband.Music for this episode:"Jingle Bells Jazzy Style" by Julius H, used courtesy of Pixabay."A Christmas Treat" by Magic-828, used courtesy of Pixabay.Other music in the episode:The Dubliners. "Whiskey in the Jar." More of the Hard Stuff. Major Minor, 1968.A Christmas Carol sound clips from:The Campbell Theater 1939 radio production of A Christmas Carol, narrated by Orson Welles and starring Lionel Barrymore.This month's Christmas lit:O'Connor, Frank.  "Christmas Morning." Collected Short Stories. New York, Knopf, 1981.

Rock and roll is a risk. This week, we take on 2016's "Sing Street," director John Carney's follow-up to a film we talked about in our third episode, "Begin Again." This one is full of fun musical comparisons - many of them right from the movie itself, which follows a group of young Dubliners who set out to risk it all for rock and roll with a string of songs inspired by MTV hits of the 80s.

Servus Liebe Hörerschaft, heute gibt es keine neue neue Folge von eurem Lieblings-Irlandpodcast, vielmehr möchte ich aufregende Neuigkeiten mit euch Teilen - "A Bavarian stranded in Ireland" bekommt eine Art kleinen Bruder - schon seit langer langer Zeit werde ich immer wieder von Leuten aus meinem persönlichen Umfeld genauso wie von dem ein oder anderen Fußballaffinen Hörer Darauf angesprochen, dass weiterer Content zum runden Leder in Irland gewünscht ist. Nach einer Langen Planungs-, Launch- und Testphase ist es nun endlich soweit - "Grüne Insel Rundes Leder" Goes Public ... Ein Format, das einfach nur als spezifische Ergänzung zum Hauptformat "A Bavarian stranded in Ireland" verstanden werden will, und in dem es um das sportliche Geschehen, aktuelle Entwicklungen, Vereine, Stadien, Fankultur und viel mehr davon was wir so am Fussballsport lieben, gehen soll, und was man in Mitteleuropa, wo der irische Fußball weitgehend unbekannt ist, wenig mitbekommt. Wichtig zu wissen ist auch, dass "Grüne Insel - Rundes Leder" KEINEM festen Veröffentlichungsrhytmus folgt, um so meinen Alltag und die Arbeit an "A Bavarian stranded in Ireland" nicht zu beeinträchtigen, sondern wird wenn es Themen die aktuell aufkommen gibt und die Zeit es erlaubt, oder wenn es sich ergibt sich einem anderen Thema zu widmen, unregelmäßig erscheinen.Zu hören ist das Format überall dort, wo es Podcasts gibt. Gerne könnt Ihr der Seite zum Podcast auf Pinterest, Instagram oder Facebook folgen : https://www.pinterest.ie/abavarianstrandedinireland/https://www.instagram.com/a_bavarian_stranded_in_ireland/https://www.facebook.com/A-Bavarian-stranded-in-Ireland-107125391828067Um bequem Updates zu neuen Folgen und allen anderen Themen rund um den Podcast bequem direkt auf euer Handy zu erhalten, könnt Ihr ab sofort auch den WhatsApp Channel zum Podcast abonnieren: https://whatsapp.com/channel/0029VaVcgvgFnSzHRcuurV1VOder mir jederzeit eine Email zukommen lassen. abavarianstrandedinireland@gmail.comfolgt auch  "Grüne Insel - Rundes Leder" gerne auch auf Instagramhttps://www.instagram.com/gruene_insel_rundes_leder

Legendary F1 team owner Eddie Jordan passed away on Thursday following a fight with pancreatic cancer. During the depths of Lockdown in 2021, the ebullient Dubliner looked back over his unique career in motorsport with Joe Molloy. Eddie looked at his days of working with a young Michael Schumacher, his recollections of Ayrton Senna, and his own travails on the F1 grid.

Après leurs tournées mondiales, les pionniers de la musique électronique, Kraftwerk, annoncent un concert exceptionnel et complètement nouveau en plein air le 14 août 2025 sur la Place des Palais à Bruxelles. Radiohead s'apprête à signer son grand retour, selon Resident Advisor, la direction du groupe aurait discrètement confirmé une tournée pour cette année à venir. Le chanteur britannique Ed Sheeran a offert à ses fans un moment festif à l'occasion de la Saint-Patrick à Boston. Installée à Londres depuis 2019, la chanteuse et ancienne leader du groupe Hole, Courtney Love, a officiellement annoncé avoir entamé les démarches pour devenir citoyenne britannique. Mots-Clés : événement, expérience audiovisuelle immersive, cœur, futur, art, tickets, indice, vente aux enchères caritative, lycée Palisades, Los Angeles, profit, sinistré, incendie, lots, promesse, billets, choix", offert, Blueyed Pictures, société de management, détail, description, lot, gagnant, source, proche, média, option, réservation, villes européennes, résidence, automne, communauté irlandaise, surprise, Dubliner, pub local, ambiance conviviale, maillot, Boston Celtics, folk, Beoga, Galway Girl, format, acoustique, intimiste, ode, Irlande, foule, nouvelle, conversation publique, auteur-compositeur, Todd Almond, événement reprise, classique, Like a Rolling Stone, Bob Dylan, naturalisation, geste politique, artiste, critique, administration, Trump. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Astronauts begins their descent to Earth, NCAA brackets are made to be busted, and Ed Sheeran plays a St. Patrick's set at The Dubliner. Stay in "The Loop" with #iHeartRadio.

Americana, Roots, Folk, Blues, Country.New and Classic Tracks.  A  SPECIAL ON  THE DUBLINERS.

Hallo Liebe Irland-Freunde, die heutige Folge stellt eine Premiere dar, das erste Mal in der Geschichte von A Bavarian Stranded in Ireland beantworte ich in einer Folge des Podcasts Fragen die Ihr als treue Hörer mir zugeschickt habt -Ich hoffe dass der ein oder andere aus den Antworten etwas mitnehmen kann, und dass euch dieses Format gefällt Gerne könnt Ihr der Seite zum Podcast auf Pinterest, Instagram oder Facebook folgen : https://www.pinterest.ie/abavarianstrandedinireland/https://www.instagram.com/a_bavarian_stranded_in_ireland/https://www.facebook.com/A-Bavarian-stranded-in-Ireland-107125391828067Um bequem Updates zu neuen Folgen und allen anderen Themen rund um den Podcast bequem direkt auf euer Handy zu erhalten, könnt Ihr ab sofort auch den WhatsApp Channel zum Podcast abonnieren: https://whatsapp.com/channel/0029VaVcgvgFnSzHRcuurV1VOder mir jederzeit eine Email zukommen lassen. abavarianstrandedinireland@gmail.com

PCH closed due to landslide/ Guest: Kevin Roberts, ‘The Young Dubliners' Monday, March 17th - St. Patrick's Day show at The Fonda Doors at 7:30, show at 8:30 - opener is Raynes Part of their 2025 Feicin Freezin Tour. // Conway Crew Shoutouts / 2025 LA Marathon to Take Place this Weekend- where the race takes the runners/ WHIP AROUND: The fee amount to run a marathon // Lunar eclipse...did you see the Blood Moon + Stef's road rage crisis // Justin Bieber is struggling and feels like a fraud/ Menendez Brothers won't be in court hearing. 

Tað er Skt. Pátríksmessuvikuskifti, og tí verður dentur lagdur á írskan og keltiskan tónleik í Jambalaja í dag. Vit hoyra m.a. Nathan Carter, The Longest Johns, Johnny Cash, Dubliners og Luke Kelly.

In this episode of the Omaha Places podcast, Cahner and Delaney explore the excitement of St. Patrick's Day in Omaha. They discuss local favorites, including Nebraska Brewing Company and Omaha Taphouse, and The Grove's newest location inside the Inner Rail Food Hall. As they answer listener questions, they share top St. Patrick's Day celebration spots like the Dubliner, Sullivan's, and Cunningham's Pub. They also cover updates on the revitalization of the Crossroads Mall area. 01:10 - Delaney's Thoughts on Turning 25 03:20 -  Omaha Fashion Week 05:40 - Cahner's Experience at Nebraska Brewing Company 09:15 - More Brewery Talk 11:30 - Omaha Taphouse Review 14:00 - Cahner's Visit to The Grove's New Location at Inner Rail 17:00 - St. Patrick's Day Plans & Irish Bars in Omaha 22:00 - Teen-Friendly Omaha Activities 24:00 - Crossroads Development Update 28:15 - Upcoming Events (March 13-16) Events: Saint Patrick's Day Bar Crawl: https://omahaplaces.com/event/luckys-st-patricks-day-bar-crawl/ Bargain Bash by Junior League of Omaha: https://omahaplaces.com/event/bargain-bash/ Behind the Velvet Curtain at Luli Creative House: https://omahaplaces.com/event/behind-the-velvet-curtain/ St. Patty's Party on the Courts at Blue Sky:  https://omahaplaces.com/event/st-pattys-party-on-the-courts/ |Instagram | |TikTok| | Youtube | | Subscribe to our newsletter| |Visit our website| A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com. Check out other shows on the Hurrdat Media Network: https://hurrdatmedia.com/network/ Learn more about your ad choices. Visit megaphone.fm/adchoices

It's been reported that more than 1,000 Syrians have been killed in the past few days in clashes between security forces and loyalists of ousted President Bashar al-Assad, and revenge killings that followed. Syria's interim leader has appealed for unity, and hundreds of people have reportedly fled their homes in the coastal provinces of Latakia and Tartus - strongholds of Assad support. Witnesses have described scenes of looting and mass killings, including of women and children. Nuala McGovern is joined by the BBC's Middle East Correspondent Lina Sinjab in Damascus.Inside Counter Terrorism Policing is a new podcast featuring five women working in a range of roles across the UK who have shared their story with the aim of inspiring others to consider a career in national security and policing. We hear from Vicki Evans, Senior National Coordinator for Counter Terrorism Policing for the UK, and an officer we are calling ‘Emma', who will explain the challenges of her role as a handler of covert sources.If you've been to Dublin - you might have across the statue to Molly Malone, the very famous Dubliner. You might know the song Cockles and Mussels, which commemorates her. Busker Tilly Cripwell has been campaigning for her to be treated with more respect and to be elevated to stop passers by from groping her breasts - for 'good luck' - a 'tradition' for some.In 1975, Japanese mountaineer Junko Tabei became the first woman to reach the top of Mount Everest, battling through avalanches, altitude sickness and the changing elements. Since then, over 800 women have climbed Everest, yet they still only make up an estimated 12% of all climbers to tackle the mountain. Rebecca Stephens is the first British woman to summit Everest and tells us more about Junko.Have you been watching Toxic Town? The Netflix series tells the story of a town's toxic waste case. It follows the real-life battle of families in Corby who gave birth to children with limb differences in the 1980s and 1990s and their search for answers and justice. In 2009, after a long legal battle the High Court ruled Corby Borough Council was negligent in managing the waste. And in 2010 families affected won a financial settlement. Nuala speaks to Tracey Taylor, one of the mothers portrayed in the series, and Annabel Jones, one of the executive producers.Presenter: Nuala McGovern Producer: Kirsty Starkey

After enjoying her new book Open Socrates so much (and having written about her previous book Aspiration in Second Act), I was delighted to talk to Agnes Callard, not least because, as she discusses in Open Socrates, she is a big Tolstoy admirer. We talked about Master and Man, one of my favourite Tolstoy stories, but also about the value of reading fiction, the relationship between fiction and a thought experiment, and other topics of related interest. George Eliot makes an appearance too. In the discussion about the use of fiction in philosophy classes, I was slightly shocked to hear about how much (or how little) reading her undergraduates are prepared to do, but I was interested that they love Pessoa. Agnes has previously written that the purpose of art is to show us evil. Here is Agnes on Twitter. Transcript below, may contain errors!I found this especially interesting.Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Transcript (AI generated)Henry: Today, I am talking to Agnes Callard, professor of philosophy at the University of Chicago, author of Aspiration, and now most recently, Open Socrates. But to begin with, we are going to talk about Tolstoy. Hello, Agnes: .Agnes: Hello.Henry: Shall we talk about Master of Man first?Agnes: Yeah, absolutely.Henry: So this is one of Tolstoy's late stories. I think it's from 1895. So he's quite old. He's working on What is Art? He's in what some people think is his crazy period. And I thought it would be interesting to talk about because you write a lot in Open Socrates about Tolstoy's midlife crisis, for want of a better word. Yeah. So what did you think?Agnes: So I think it's sort of a novel, a story about almost like a kind of fantasy of how a midlife crisis could go if it all went perfectly. Namely, there's this guy, Brekhunov, is that his name? And he is, you know, a landowner and he's well off and aristocratic. And he is selfish and only cares about his money. And the story is just, he takes this, you know, servant of his out to, he wants to go buy a forest and he wants to get there first before anyone else. And so he insists on going into this blizzard and he gets these opportunities to opt out of this plan. And he keeps turning them down. And eventually, you know, they end up kind of in the middle of the blizzard. And at kind of the last moment, when his servant is about to freeze to death, he throws himself on top of the servant and sacrifices himself for the servant. And the reason why it seems like a fantasy is it's like, it's like a guy whose life has a lacuna in it where, you know, where meaning is supposed to be. And he starts to get an inkling of the sort of terror of that as they're spending more and more time in the storm. And his initial response is like to try to basically abandon the servant and go out and continue to get to this forest. But eventually he like, it's like he achieves, he achieves the conquest of meaning through this heroic act of self-sacrifice that is itself kind of like an epiphany, like a fully fulfilling epiphany. He's like in tears and he's happy. He dies happy in this act of self-sacrifice. And the fantasy part of it is like, none of it ever has to get examined too carefully. It doesn't like, his thought doesn't need to be subjected to philosophical scrutiny because it's just this, this one momentary glorious kind of profusion of love. And then it all ends.Henry: So the difficult question is answered the moment it is asked. Exactly, exactly, right?Agnes: It's sort of, it's, I see it as like a counterpart to the death of Ivan Ilyich.Henry: Tell me, tell me more.Agnes: Well, in the death of Ivan Ilyich, the questions surface for even, you know, when death shows up for him. And he suddenly starts to realize, wait a minute, I've lived my whole life basically in the way that Brekhunov did. Basically in the way that Brekhunov does as, you know, pursuing money, trying to be a socially successful person. What was the point of all that? And he finds himself unable to answer it. And he finds himself, it's the exact opposite. He becomes very alienated from his wife and his daughter, I think.Henry: Yeah.Agnes: And the absence of an answer manifests as this absence of connection to anyone, except an old manservant who like lifts up his legs and that's the one relief that he gets. And, you know, it's mostly in the gesture of like someone who will sacrifice themselves for another. Right, that's once again where sort of meaning will show up for a Tolstoy, if it ever will show up in a kind of direct and unashamed way.Henry: Right, the exercise of human compassion is like a running theme for him. Like if you can get to that, things are going great. Otherwise you've really screwed up.Agnes: Yeah, that's like Tolstoy's deus ex machina is the sudden act of compassion.Henry: Right, right. But you think this is unphilosophical?Agnes: I think it's got its toe in philosophical waters and sort of not much more than that. And it's in a way that makes it quite philosophical in the sense that there's a kind of awareness of like a deep puzzle that is kind of like at the heart of existence. Like there's a sensitivity to that in Tolstoy that's part of what makes him a great writer. But there's not much faith in the prospect of sort of working that through rationally. It's mostly something we just got a gesture at.Henry: But he does think the question can be answered. Like this is what he shares with you, right? He does think that when you're confronted with the question, he's like, it's okay. There is an answer and it is a true answer. We don't just have to make some, he's like, I've had the truth for you.Agnes: Yes, I think that that's right. But I think that like the true answer that he comes to is it's compassion and it's sort of religiously flavored compassion, right? I mean, that it's important. It's not just. Yeah, it's a very Christian conclusion. Right, but the part that's important there in a way, even if it's not being Christian, but that it's being religious in the sense of, yes, this is the answer. But if you ask for too much explanation as to what the answer is, it's not going to be the right answer. But if you ask for too much explanation as to why it's the answer, you're going the wrong way. That is, it's gotta, part of the way in which it's the answer is by faith.Henry: Or revelation.Agnes: Or, right, faith, exactly. But like, but it's not your task to search and use your rational faculties to find the answer.Henry: I wonder though, because one of the things Tolstoy is doing is he's putting us in the position of the searcher. So I read this, I'm trying to go through like all of Tolstoy at the moment, which is obviously not, it's not currently happening, but I'm doing a lot of it. And I think basically everything in Tolstoy is the quest for death, right? Literature is always about quests. And he's saying these characters are all on a quest to have a good death. And they come very early or very late to this. So Pierre comes very early to this realization, right? Which is why he's like the great Tolstoy hero, master of man, Ivan Ilyich, they come very, and Tolstoy is like, wow, they really get in under the wire. They nearly missed, this is terrible. And all the way through this story, Tolstoy is giving us the means to see what's really going on in the symbolism and in all the biblical references, which maybe is harder for us because we don't know our Bible, like we're not all hearing our Bible every week, whereas for Tolstoy's readers, it's different. But I think he's putting us in the position of the searcher all the time. And he is staging two sides of the argument through these two characters. And when they get to the village and Vasily, he meets the horse thief and the horse thief's like, oh, my friend. And then they go and see the family and the family mirrors them. And Tolstoy's like, he's like, as soon as you can see this, as soon as you can work this out, you can find the truth. But if you're just reading the story for a story, I'm going to have to catch you at the end. And you're going to have to have the revelation and be like, oh my God, it's a whole, oh, it's a whole thing. Okay, I thought they were just having a journey in the snow. And I think he does that a lot, right? That's, I think that's why people love War and Peace because we go on Pierre's journey so much. And we can recognize that like, people's lives have, a lot of people's lives happen like that. Like Pierre's always like half thinking the question through and then half like, oh, there's another question. And then thinking that one through and then, oh, no, wait, there's another question. And I think maybe Tolstoy is very pragmatic. Like that's as philosophical as most people are going to get. Pierre is in some ways the realistic ideal.Agnes: I mean, Pierre is very similar to Tolstoy just in this respect that there's a specific like moment or two in his life where, he basically has Tolstoy's crisis. That is he confronts these big questions and Tolstoy describes it as like, there was a screw in his head that had got loose and he kept turning it, but it kept, it was like stripped. And so no matter when you turned it, it didn't go. It didn't grab into anything. And what happens eventually is like, oh, he learns to have a good conventional home life. Like, and like not, don't ask yourself these hard questions. They'll screw you up. And I mean, it's not exactly compassion, but it's something close to that. The way things sort of work out in War and Peace. And I guess I think that you're sort of right that Tolstoy is having us figure something out for ourselves. And in that way, you could say we're on a journey. There's a question, why? Why does he have us do that? Why not just tell us? Why have it figured out for ourselves? And one reason might be because he doesn't know, that he doesn't know what he wants to tell us. And so you got to have them figure out for themselves. And I think that that is actually part of the answer here. And it's even maybe part of what it is to be a genius as a writer is to be able to write from this place of not really having the answers, but still be able to help other people find them.Henry: You don't think it's, he wants to tell us to be Christians and to believe in God and to take this like.Agnes: Absolutely, he wants to tell us that. And in spite of that, he's a great writer. If that were all he was achieving, he'd be boring like other writers who just want to do that and just do that.Henry: But you're saying there's something additional than that, that is even mysterious to Tolstoy maybe.Agnes: Yeah.Henry: Did you find that additional mystery in Master in Man or do you see that more in the big novels?Agnes: I see it the most in Death of Ivan Ilyich. But I think it's true, like in Anna Karenina, I can feel Tolstoy being pulled back and forth between on the one hand, just a straight out moralistic condemnation of Anna. And of, there are the good guys in this story, Levine and Kitty, and then there's this like evil woman. And then actually being seduced by her charms at certain moments. And it's the fact that he is still susceptible to her and to the seductions of her charms, even though that's not the moral of the story, it's not the official lesson. There's like, he can't help but say more than what the official lesson is supposed to be. And yeah, I think if he were just, I think he makes the same estimation of himself that I am making in terms of saying, look, he finds most of his own art wanting, right? In what is art? Because it's insufficiently moralistic basically, or it's doing too much else besides being, he's still pretty moralistic. I mean, even War and Peace, even Anna Karenina, he's moralistic even in those texts, but his artistry outstrips his moralism. And that's why we're attracted to him, I think. If he were able to control himself as a writer and to be the novelist that he describes as his ideal in what is art, I don't think we would be so interested in reading it.Henry: And where do you see, you said you saw it in Ivan Ilyich as well.Agnes: Yes, so I think in Ivan Ilyich, it is in the fact that there actually is no deus ex machina in Ivan Ilyich. It's not resolved. I mean, you get this little bit of relation to the servant, but basically Ivan Ilyich is like the closest that Tolstoy comes to just like full confrontation with the potential meaninglessness of human existence. There's something incredibly courageous about it as a text.Henry: So what do you think about the bit at the end where he says he was looking for his earlier accustomed fear of death, but he couldn't find it. Where was death? What death? There was no fear whatsoever because there was no death. Instead of death, there was light. Suddenly he said, oh, that's it, oh bliss.Agnes: Okay, fair enough. I'd like forgotten that.Henry: Oh, okay. Well, so my feeling is that like you're more right. So my official thing is like, I don't agree with that, but I actually think you're more right than I think because to me that feels a bit at the end like he saw the light and he, okay, we got him right under the line, it's fine. And actually the bulk of the story just isn't, it's leading up to that. And it's the very Christian in all its imagery and symbolism, but it's interesting that this, when it's, this is adapted into films like Ikiru and there was a British one recently, there's just nothing about God. There's nothing about seeing the light. They're just very, very secular. They strip this into something totally different. And I'm a little bit of a grumpy. I'm like, well, that's not what Tolstoy was doing, but also it is what he was doing. I mean, you can't deny it, right? The interpreters are, they're seeing something and maybe he was so uncomfortable with that. That's why he wrote what is art.Agnes: Yeah, and that's the, I like that. I like that hypothesis. And right, I think it's like, I sort of ignore those last few lines because I'm like, ah, he copped out at the very end, but he's done the important, he's done the important, the important work, I think, is for instance, the scene with, even on his wife, where they part on the worst possible terms with just hatred, you know, like just pure hatred for the fact that she's forcing him to pretend that he isn't dying. Like that is like the profound moment.Henry: What I always remember is they're playing cards in the other room. And he's sitting there, he's lying there thinking about like the office politics and curtain, like what curtain fabrics we have to pick out and the like, his intense hatred of the triviality of life. And I love this because I think there's something, like a midlife crisis is a bit like being an adolescent in that you go through all these weird changes and you start to wonder like, who am I? What is my life? When you're an adolescent, you're told that's great. You should go ahead and you should, yes, lean into that. And when you're like in your forties, people are going, well, try and just put a lid on that. That's not a good idea. Whereas Tolstoy has the adolescent fury of like curtains and cards. Oh my, you know, you can feel the rage of his midlife crisis in some of that seemingly mundane description. Yeah. I think that's what we respond to, right? That like his hatred in a way.Agnes: Yeah. I mean, maybe we, many of us just have trouble taking ourselves as seriously as Tolstoy was able to, you know? And that's something, there's something glorious about that, that anyone else would listen to the people around them telling him, hey, don't worry, you're a great guy. Look, you wrote these important novels. You're a hero of the Russian people. You've got this wife, you're an aristocrat. You've got this family, you've got your affairs. I mean, come on, you've got everything a man could want. Just be happy with it all, you know? Many of us might be like, yeah, okay, I'm being silly. And Tolstoy is like, no one's going to tell me that I'm silly. Like I'm the one who's going to tell myself, if anything. And that kind of confidence is, you know, why he's sort of not willing to dismiss this thought.Henry: Yeah, yeah, interesting. So how do you think of Master and Man in relation to all the others? Because you know Tolstoy pretty well. You teach him a lot. How do you place it? Like how good do you think it is?Agnes: I don't teach him a lot. I'm trying to think if I ever taught Tolstoy.Henry: Oh, I'm sorry. I thought I read that you had.Agnes: I've taught The Death of Ivan Ilyich. That's the one, I have taught that one. I wish, I mean, I would love to teach. I just can't imagine assigning any of these novels in a philosophy, my students wouldn't read it.Henry: They wouldn't read it?Agnes: No.Henry: Why?Agnes: It's pretty hard to get people to read long texts. And I mean, some of them certainly would, okay, for sure. But if I'm, you know, in a philosophy class where you'd have to kind of have pretty high numbers of page assignments per class, if we're going to, I mean, you know, forget War and Peace. I mean, even like Ivan Ilyich is going to be pushing it to assign it for one class. I've learned to shorten my reading assignments because students more and more, they're not in the habit of reading. And so I got to think, okay, what is the minimum that I can assign them that where I can predict that they will do it? Anyway, I'm going to be pushing that next year in a class I'm teaching. I normally, you know, I assign fiction in some of my classes but that's very much not a thing that most philosophers do. And I have to sign it alongside, you know, but so it's not only the fiction they're reading, they're also reading philosophical texts. And anyway, yeah, no, so I have not done much, but I have done in a class on death, I did assign Ivan Ilyich. I don't tend to think very much about the question, what is the level of quality of a work of art?Henry: Well, as in, all I mean is like, how does it compare for you to the other Tolstoy you've read?Agnes: I, so the question that I tend to ask myself is like, what can I learn from it or how much can I learn? Not, it's not because I don't think the question of, the other one is a good one. I just think I trust other people's judgment more than mine unlike artistic quality. And I guess I think it's not as good as Death of Ivan Ilyich and I kind of can't see, like, it's like, what do I learn from it that I don't learn from Death of Ivan Ilyich? Which is like a question that I ask myself. And, there's a way in which that like that little final move, maybe when I'm reading Death of Ivan Ilyich, I can ignore that little final bit and here I can't ignore it. Tolstoy made it impossible for me to ignore in this story. So that's maybe the advantage of this story. Tolstoy makes his move more overt and more dominating of the narrative.Henry: Yeah, I think also, I've known people who read Ivan Ilyich and not really see that it's very Christian. Yeah, oh yeah.Agnes: I don't think I- Much less.Henry: Yeah.Agnes: That's what I'm doing. I'm erasing that from the story.Henry: But that's like much less possible with this one. I agree.Agnes: Right, exactly. That's sort of what I mean is that- Yeah, yeah, yeah. It's like, here the message is more overt. And so therefore I think it's actually a pretty important story in that way. Like, let's say for understanding Tolstoy. That is, if you were to try to take your view of Tolstoy and base it on Death of Ivan Ilyich, which sometimes I do in my own head, because it's occupied such an important place for me, then this is a good way to temper that.Henry: Yeah, they make a nice pairing. Yeah. Yeah, definitely. Let's pick up on this question about philosophers and fiction because you write about that in Open Socrates. You say, great fiction allows us to explore what we otherwise look away from. So it makes questions askable, but then you say only in relation to fictional characters, which you think is a limitation. Are you drawing too hard of a line between fictional characters and real people? Like if someone said, oh, we found out, we were in the archives, Ivan Ilyich, he didn't, it's not fiction. He was just a friend, just happened to a friend, basically word for word. He just did the work to make it kind of look okay for a novel, but basically it's just real. Would that really change very much?Agnes: I think it wouldn't, no. So it might change a little bit, but not that much. So maybe the point, maybe a better thing I could have said there is other people. That is one thing that fictional people are is resolutely other. There's no chance you're going to meet them. And like they are, part of what it is for them to be fictional is that, there isn't even a possible world in which you meet them because metaphysically what they are is the kind of thing that can't ever interact with you. And, like the possible world in which I run into Ivan and Ivan Ilyich is the world in which he's not a Tolstoy character anymore. He's not a character in a novel, obviously, because we're both real people. So I think it's that there's a kind of safety in proving the life of somebody who is not in any way a part of your life.Henry: The counter argument, which novelists would make is that if you gave some kind of philosophical propositional argument about death, about what it means to die, a lot of people just wouldn't, they'd like, maybe they'd understand what you're saying, but it just wouldn't affect them very much. Whereas if they've read Ivan Ilyich, this will actually affect them. I don't want to say it'll resonate with them, but you know what I mean. It will catch them in some way and they're more likely then to see something in their own life and be like, oh my God, I'm appreciating what Ivan Ilyich was telling me. Whereas, this is the argument, right? The statistics of social science, the propositions of philosophy, this just never gets through to people.Agnes: Yeah, so one way to put this is, novelists are fans of epiphanies. I mean, some novelists, like Tolstoy, it's quite explicit. You just get these epiphanies, right? Like in this story, epiphany. James Joyce, I mean, he's like master of every story in Dubliners, epiphany. Novelists have this fantasy that people's lives are changed in a sudden moment when they have a passionate, oh, I just read this story and I'm so happy about it. And I don't actually doubt that these things happen, these epiphanies, that is people have these passionate realizations. I don't know how stable they are. Like they may have a passionate realization and then, maybe it's a little bit the novelist's fantasy to say you have the passionate realization and everything is changed. In this story, we get around that problem because he dies, right? So, that, I don't know. I somehow am now James Joyce. I don't know. I somehow am now James Joyce is in my head. The final story in Dubliners is the dead. And there's this like, amazing, I don't know who read the story.Henry: Yeah, yeah. Also with snow, right?Agnes: Yeah, exactly.You know, and it's this amazing where this guy is realizing his wife, their relationship is not what he thought it was, whatever. But then the story ends, does he really change? Like, do they just go on and have the same marriage after that point? We don't know. I mean, Joyce avoids that question by having the story end. But, so you might say, you know, novelists like epiphanies and they're good at writing epiphanies and producing epiphanies and imagining that their readers will have epiphanies. And then there's a question, okay, how valuable is the epiphany? And I think, not nothing. I wouldn't put it at zero, but you might say, okay, but let's compare the epiphany and the argument, right? So, what philosophers and the social scientists have, what we have is arguments. And who's ever been changed by an argument? And I think I would say all of human history has been changed by arguments and it's pretty much the only thing that's ever done anything to stably change us is arguments. If you think about, like, what are the things we've moved on? What are the things we've come around on? You know, human rights, there's a big one. That's not a thing in antiquity. And it's a thing now. And I think it's a thing because of arguments. Some of those arguments, you know, are starting to come in their own in religious authors, but then really come in, the flourishing is really the enlightenment. And so you might think, well, maybe an argument is not the kind of thing that can change very easily an adult who was already pretty set in their ways and who is not going to devote much of their time to philosophizing. It isn't going to give them the kind of passionate feeling of your life has suddenly been turned around by an epiphany, but it might well be that if we keep arguing with each other, that is how humanity changes.Henry: I think a lot of the arguments were put into story form. So like the thing that changed things the most before the enlightenment maybe was the gospels. Which is just lots of stories. I know there are arguments in there, but basically everything is done through stories. Or metaphor, there's a lot of metaphor. I also think philosophers are curiously good at telling stories. So like some of the best, you know, there's this thing of micro fiction, which is like very, very short story. I think some of the best micro fiction is short stories. Is a thought experiment, sorry. Yeah. So people like Judith Jarvis Thompson, or well, his name has escaped my head, Reasons and Persons, you know who I mean? Derek Parfit, right. They write great short stories. Like you can sit around and argue about long-termism with just propositions, and people are going to be either like, this makes total sense or this is weird. And you see this when you try and do this with people. If you tell them Parfit's thought experiment that you drop a piece of glass in the woods, and a hundred years later, a little girl comes in and she cuts up. Okay, everyone's a long-termist in some way now. To some extent, everyone is just like, of course. Okay, fine. The story is good. The famous thought experiment about the child drowning in the pond. And then, okay, the pond is like 3000. Again, everyone's like, okay, I get it. I'm with you. Philosophers constantly resort to stories because they know that the argument is, you have to have to agree with you. You've got to have the argument. The argument's the fundamental thing. But when you put it in a story, it will actually, somehow it will then do its work.Agnes: I think it's really interesting to ask, and I never asked myself this question, like what is the relationship between a thought experiment and a story? And I think that, I'm fine with a thought experiment with saying it's a kind of story, but I think that, so one feature of a thought experiment is that the person who is listening to it is given often a kind of agency. Like, which way do you push the trolley? Or do you care that you left this piece of glass there? Or are you, suppose that the pond was so many miles away but there was a very long hand that reached from here and you put a coin in the machine and at the other end, the hand will pull the child out of the water. Do you put the coin in, right? So like you're given these choices. It's like a choose your own adventure story, right? And that's really not what Tolstoy wrote. He really did not write choose your own adventure stories. There's a, I think he is-Henry: But the philosopher always comes in at the end and says, by the way, this is the correct answer. I'm giving you this experiment so that you can see that, like, I'm proving my point. Peter Singer is not like, it's okay if you don't want to jump into the pond. This is your story, you can pick. He's like, no, you have to jump in. This is why I'm telling you the story.Agnes: That's right, but I can't tell it to you without, in effect, your participation in the story, without you seeing yourself as part of the story and as having like agency in the story. It's by way of your agency that I'm making your point. Part of why this is important is that otherwise philosophers become preachers, which is what Tolstoy is when he's kind of at his worst. That is, you know, the philosopher doesn't just want to like tell you what to think. The philosopher wants to show you that you're already committed to certain conclusions and he's just showing you the way between the premises you already accept and the conclusion that follows from your premises. And that's quite-Henry: No, philosophers want to tell you the particular, most philosophers create a thought experiment to be like, you should be a virtue ethicist or you should give money away. Like they're preaching.Agnes: I don't think that is preaching. So I think that, and like, I think that this is why so many philosophical thought experiments are sort of meant to rely on what people call intuitions. Like, oh, but don't you have the intuition that? What is the intuition? The intuition is supposed to be somehow the kind of visceral and inchoate grasp that you already have of the thing I am trying to teach you. You already think the thing I'm telling you. I'm just making it clear to you what you think. And, you know, like there's like, I want to go back to the gospels. Like, I think it's a real question I have. I'm going to get in trouble for saying this, but I feel like something I sometimes think about Jesus and I say this as a non-Christian, is that Jesus was clearly a really exceptional, really extraordinary human being. And maybe he just never met his Plato. You know, he got these guys who are like telling stories about him. But like, I feel like he had some really interesting thoughts that we haven't accessed. Imagine, imagine if Socrates only ever had Xenophon. You know, if Socrates had never met Plato. We might just have this story about Socrates. Oh, he's kind of like a hero. He was very self-sacrificing. He asked everyone to care about everybody else. And he might like actually look quite a bit like Jesus on a sort of like, let's say simplistic picture of him. And it's like, maybe it's a real shame that Jesus didn't have a philosopher as one of the people who would tell a story about him. And that if we had that, there would be some amazing arguments that we've missed out on.Henry: Is Paul not the closest thing to that?Agnes: What does he give us?Henry: What are the arguments? Well, all the, you know, Paulian theology is huge. I mean, all the epistles, they're full of, maybe, I don't know if they're arguments more than declarations, but he's a great expounder of this is what Jesus meant, you should do this, right? And it's not quite what you're saying.Agnes: It's conclusions, right?Henry: Yes, yes.Agnes: So I think it's like, you could sort of imagine if we only had the end of the Gorgias, where Socrates lists some of his sayings, right? Yes, exactly, yes. You know, it's better to have injustice done to you than to do injustice. It's better to be just than to appear just. Oratories should, you should never flatter anyone under any circumstances. Like, you know, there's others in other dialogues. Everyone desires the good. There's no such thing as weakness of will, et cetera. There are these sort of sayings, right? And you could sort of imagine a version of someone who's telling the story of Socrates who gives you those sayings. And yeah, I just think, well, we'd be missing a lot if we didn't hear the arguments for the sayings.Henry: Yeah, I feel stumped. So the next thing you say about novelists, novelists give us a view onto the promised land, but not more. And this relates to what you're saying, everything you've just been saying. I want to bring in a George Eliot argument where she says, she kind of says, that's the point. She says, I'm not a teacher, I'm a companion in the struggle of thought. So I think a lot of the time, some of the differences we're discussing here are to do with the readers more than the authors. So Tolstoy and George Eliot, Jane Austen, novelists of their type and their caliber. It's like, if you're coming to think, if you're involved in the struggle of thought, I'm putting these ideas in and I'm going to really shake you up with what's happening to these people and you're going to go away and think about it and Pierre's going to stay with you and it's really going to open things up. If you're just going to read the story, sure, yeah, sure. And at the end, we'll have the big revelation and that's whoopee. And that's the same as just having the sayings from Socrates and whatever. But if you really read Middlemarch, one piece, whatever, Adam Bede is always the one that stays with me. Like you will have to think about it. Like if you've read Adam Bede and you know what happens to Hetty at the end, this has the, oh, well, I'm not going to spoil it because you have to read it because it's insane. It's really an exceptional book, but it has some of those qualities of the thought experiment. She really does put you, George Eliot's very good at this. She does put you in the position of saying like, what actually went right and wrong here? Like she's really going to confront you with the situation but with the difficulty of just saying, oh, you know, that's easy. This is what happened. This is the bad thing. Well, there were several different things and she's really putting it up close to you and saying, well, this is how life is. You need to think about that.Agnes: So that last bit, I mean, I think that this is how life is part. Yeah. Really do think that that's something you get out of novels. It's not, so here's how you should live it or so here's why it makes sense, or here are the answers. It's none of the answers, I think. It's just that there's a kind of, it's like, you might've thought that given that we all live lives, we live in a constant contact with reality but I think we don't. We live in a bubble of what it's, the information that's useful to me to take in at any given moment and what do I need in order to make it to the next step? And there's a way in which the novel like confronts you with like the whole of life as like a spectacle or something like that, as something to be examined and understood. But typically I think without much guidance as to how you should examine or understand it, at least that's my own experience of it is that often it's like posing a problem to me and not really telling me how to solve it. But the problem is one that I often, under other circumstances, I'm inclined to look away from and the novelist sort of forces me to look at it.Henry: Does that mean philosophers should be assigning more fiction?Agnes: I, you know, I am in general pretty wary of judgments of that kind just because I find it hard to know what anyone should do. I mean, even myself, let alone all other philosophers.Henry: But you're the philosopher. You should be telling us.Agnes: No, I actually just don't think that is what philosophers do. So like, it was like a clear disagreement about, you know, is the, like George Eliot's like, I'm not a teacher, but the philosopher also says I'm not a teacher. I mean, Tolstoy was like, I am a teacher.Henry: Yeah, I'm a teacher.Agnes: I'm ready to guide you all.Henry: You should take notes.Agnes: But I think it's right that, yeah. So I think it's like, you know, maybe they have some other way of forcing that confrontation with reality. But I, my own feeling is that philosophers, when they use examples, including some of the thought experiments, it's sort of the opposite of what you said. It's kind of like they're writing very bad fiction. And so they'll come up with these, like I am philosophy. We have to, we're forced to sort of come up with examples. And, you know, I discuss one in my aspiration book of, oh, once upon a time, there was a guy. And when he was young, he wanted to be a clown, but his family convinced him that he should be an investment banker and make money. And so he did that. But then when he was older, he finally recovered this long lost desire. And then he became a clown and then he was happy. It's a story in an article by a philosopher I respect. Okay, I like her very much. And I haven't read it in a long time. So I'm hoping I'm summarizing it correctly. But my point is like, and this is supposed to be a story about how sort of self-creation and self-realization and how you can discover your authentic self by contrast with like the social forces that are trying to make you into a certain kind of person. But it's also, it's just a very bad piece of fiction. And I'm like, well, you know, if I'm say teaching a class on self-creation as I do sometimes, I'm like, well, we can read some novelists who write about this process and they write about it in a way that really shows it to us, that really forces us to confront the reality of it. And that story was not the reality. So if you have some other way to do that as a philosopher, then great. I'm very instrumental about my use of fiction, but I haven't found another way.Henry: Which other fiction do you use in the self-creation class?Agnes: So in that class, we read Portrait of the Artist as a Young Man and Elena Ferrante's My Brilliant Friend. And we also read some Fernando Pessoa.Henry: Pessoa, what do your students think of Pessoa?Agnes: They love it. So when I first assigned it, I'm like, I don't know what you guys are going to make of this. It's kind of weird. We're reading like just, you know, 20 pages of excerpts I like from the Book of Disquiet. I mean, it's like my own text I'm creating, basically. I figure with that text, you can do a choose your own adventure. And they like it a lot. And I think that it really, that, you know, the thing that really resonates with them is this stuff where he talks. So there are two passages in particular. So one of them is, one where he talks about how he's like, yeah, he meets his friend. And he can't really listen to what his friend is saying, but he can remember with photographic precision the lines on the face when he's smiling, or like, it's like what he's saying is, I'm paying attention to the wrong thing. Like I'm paying attention to the facial expressions and not to the content. And that I'm somebody who's in a world where my organization of my own experience is not following the rules that are sort of being dictated to me about how my experience is supposed to be organized. And that's sort of his predicament. So that's a thing that they like. And then there's a wonderful passage about how I keep trying to free myself from the social forces oppressing me. And I take away this noose that's around my neck. And as I'm doing it, I realize my hand is attached to a noose and it's pulling me. Like I'm the one who's doing, I'm the one who's suffocating myself all along when I'm trying to free myself from social forces, it's me who's doing the oppressing. Anyway, so those are some passages that we talk about that they like. They like it a lot. They have a lot less trouble making something of it than I had expected that they would.Henry: Is this because he, is he well-suited to the age of social media and phones and fragmented personalities and you're always 16 different people? Is it that kind of thing?Agnes: Partly it's the short texts. I mean, as I said, meeting a problem, right? And so, yeah. So like they like Nietzsche too, probably for the same reason, right? I mean, anything where the-Henry: The aphorism.Agnes: Yeah, exactly. Like no joke. You know, it's not the era for War and Peace. It's the era for the Nietzschean aphorism.Henry: This is so depressing. I thought this wasn't true.Agnes: Yeah, I think it's true. I like, I had a conversation with a student in my office yesterday about this and about how like just his own struggles with reading and how all his friends have the same problem. And, you know, I have made some suggestions and I think maybe I need to push them harder in terms of, you know, just university creating device-free spaces and then people having like, I think we have to view it the way we view exercise. Like none of us would exercise if we didn't force ourselves to exercise. And we use strategies to do it. Like, you know, you have a friend and you're going to go together or, you know, you make a habit of it or whatever. I mean, like, I think we just have to approach reading the same way. Just let's accept that we're in an environment that's hostile to reading and make it a priority and organize things to make it possible rather than just like pretending that there isn't a problem. But yeah, there is. And it's hard for us to see. So you're not as old as me, but I'm old enough that all of my reading habits were formed in a world without all of this, right? So of course it's way easier for me. Even I get distracted, but, you know, for me spending a couple of hours in the evening reading, that's like a thing I can do. But like a lot of people, okay, I was at a like tech, in a little tech world conference in California. And it was early in the morning and my husband wasn't awake yet. So I was just, and it was one of these conferences where there's like a little group room and then you have your own, like we had like a hotel room type room, but like then I would had to be in the room with my husband who was sleeping. I couldn't turn the light on. So it was early. I woke up at four. So I went to the group room just to read. And I'm sitting there reading and someone came up to me and they were like, I can't believe you're just sitting there like reading. I don't think I've seen someone read a book in, you know, he's like ever or something, maybe. I mean, he's a half my age. Like he's like, that's just not a thing that people do. And it was like, he's like, it's so on brand that you're reading, you know? But it's like, it's, I think it's just, it's much harder for people who have grown up with all of this stuff that is in some way hostile to the world of reading. Yeah, it's much harder for them than for us. And we should be reorganizing things to make it easier.Henry: Yeah, I get that. I'm just, I'm alarmed that they can't read, like the depth of Ivan Ilyich. It's like, I don't know, it's like 50 pages or.Agnes: Yeah, for one class, no.Henry: It's very short. It's very short.Agnes: That's not short. 50 pages is not short.Henry: It's an hour or two hours of reading.Agnes: It's like, yeah, between two and three. They also read slower because they don't read as much.Henry: Okay, but you know what I'm like…Agnes: Yeah, right, three hours of reading is a lot to assign for a class. Especially if, in my case, I always also assign philosophy. So it's not the only thing I'm assigning.Henry: Sure, sure, but they read the philosophy.Agnes: Same problem. I mean, it's not like some different problem, right? Same problem, and in fact, they are a little bit more inclined to read the fiction than the philosophy, but the point is the total number of pages is kind of what matters. And from that point of view, philosophy is at an advantage because we compress a lot into very few pages. So, but you know, and again, it's like, it's a matter of like, it's probably not of the level. So I can, you know, I can be more sure that in an upper level class, students will do the reading, but I'm also a little bit more inclined to assign literature in the lower level classes because I'm warming people up to philosophy. So, yeah, I mean, but I think it is alarming, like it should be alarming.Henry: Now, one of the exciting things about Open Socrates, which most people listening to this would have read my review, so you know that I strongly recommend that you all read it now, but it is all about dialogue, like real dialogue. And can we find some, you know, I don't want to say like, oh, can we find some optimism? But like, people are just going to be reading less, more phones, all this talk about we're going back to an oral culture. I don't think that's the right way to phrase it or frame it or whatever, but there's much more opportunity for dialogue these days like this than there used to be. How can Open Socrates, how can people use that book as a way of saying, I want more, you know, intellectual life, but I don't want to read long books? I don't want to turn this into like, give us your five bullet points, self-help Socrates summary, but what can we, this is a very timely book in that sense.Agnes: Yeah, I kind of had thought about it that way, but yeah, I mean, it's a book that says, intellectual life in its sort of most foundational and fundamental form is social, it's a social life, because the kinds of intellectual inquiries that are the most important to us are ones that we can't really conduct on our own. I do think that, I think that some, there is some way in which, like as you're saying, novels can help us a little bit sort of simulate that kind of interaction, at least some of the time, or at least put a question on the table. I sort of agree that that's possible. I think that in terms of social encounters doing it, there are also other difficulties though. Like, so it's, we're not that close to a Socratic world, just giving up on reading doesn't immediately put us into a Socratic world, let's put it that way. And for one thing, I think that there really is a difference between face-to-face interaction, on the one hand, where let's even include Zoom, okay, or phone as face-to-face in an extended sense, and then texting, on the other hand, where text interaction, where like texting back and forth would be, fall under texting, so would social media, Twitter, et cetera, that's sort of- Email. Email, exactly. And I'm becoming more, when I first started working on this book, I thought, well, look, the thing that Socrates cares about is like, when he says that philosophy is like, you know, when he rejects written texts, and he's like, no, what I want to talk back, I'm like, well, the crucial thing is that they can respond, whether they respond by writing you something down or whether they respond by making a sound doesn't matter. And I agree that it doesn't matter whether they make a sound, like for instance, if they respond in sign language, that would be fine. But I think it matters that there is very little lag time between the responses, and you never get really short lag time in anything but what I'm calling face-to-face interaction.Henry: Right, there's always the possibility of what to forestall on text. Yeah. Whereas I can only sit here for like 10 seconds before I just have to like speak.Agnes: Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Henry: So this, I do have a really, I'm really interested in this point. Your book doesn't contain scientific information, sociological studies. It's good old-fashioned philosophy, which I loved, but if you had turned it into more of a, this is the things you're telling me now, right? Oh, scientists have said this, and sociologists have said that. It could have been a different sort of book and maybe been, in some shallow way, more persuasive to more people, right? So you clearly made a choice about what you wanted to do. Talk me through why.Agnes: I think that it's maybe the answer here is less deep than you would want. I think that my book was based on the reading I was doing in order to write it, and I wasn't, at the time, asking myself the kinds of questions that scientists could answer. Coming off of the writing of it, I started to ask myself this question. So for instance, that's why I did all this reading in sociology, psychology, that's what I'm doing now is trying to learn. Why is it that we're not having philosophical conversations all the time? It's a real question for me. Why are we not having the conversations that I want us to be having? That's an empirical question, at least in part, because it's like, well, what kinds of conversations are we having? And then I have to sort of read up on that and learn about how conversation works. And it's surprising to me, like the amount of stuff we know, and that it's not what I thought. And so I'm not, maybe I'm a little bit less hostile than most philosophers, just as I'm less hostile to fiction, but I'm also less hostile to sort of empirical work. I mean, there's plenty of philosophers who are very open to the very specific kind of empirical work that is the overlap with their specialization. But for me, it's more like, well, depending on what question I ask, there's just like, who is ready with answers to the question? And I will like, you know, kind of like a mercenary, I will go to those people. And I mean, one thing I was surprised to learn, I'm very interested in conversation and in how it works and in what are the goals of conversation. And of course I started with philosophical stuff on it, you know, Grice and Searle, speech act theory, et cetera. And what I found is that that literature does not even realize that it's not about conversation. I mean, Grice, like the theory of conversational implicature and you know, Grice's logic on conversation, it's like if you thought that making a public service announcement was a kind of conversation, then it would be a theory of conversation. But the way that philosophers fundamentally understand speech is that like, you know, speakers issue utterances and then somebody has to interpret that utterance. The fact that that second person gets to talk too is not like part of the picture. It's not essential to the picture. But if you ask a sociologist, what is the smallest unit of conversation? They are not going to say an assertion. They're going to say something like greeting, greeting or question answer or command obeying or, right? Conversation is like, there's two people who get to talk, not just one person. That seems like the most obvious thing, but it's not really represented in the philosophical literature. So I'm like, okay, I guess I got to say goodbye philosophers. Let me go to the people who are actually talking about conversation. You know, I of course then read, my immediate thought was to read in psychology, which I did. Psychology is a bit shallow. They just don't get to theorize. It's very accessible. It's got lots of data, but it's kind of shallow. And then I'm like, okay, the people who really are grappling with the kind of deep structure of conversation are sociologists. And so that's what I've been reading a lot of in the past, like whatever, two months or so. But I just wasn't asking myself these questions when I wrote the book. And I think the kinds of questions that I was asking were in fact, the kinds of questions that get answered or at least get addressed in philosophical texts. And so those were the texts that I refer to.Henry: So all the sociology you've read, is it, how is it changing what you think about this? Is it giving you some kind of answer?Agnes: It's not changing any, my view, but any of the claims in the book, that is the exact reason that you brought out. But it is making me, it's making me realize how little I understand in a sort of concrete way, what like our modern predicament is. That is, where are we right now? Like what's happening right now? Is the question I ask myself. And I get a lot of, especially in interviews about this book, I get a lot of like, well, given where things are right now, is Socrates very timely? Or how can Socrates help or whatever? And I'm like, I don't think we know where things are right now. That is that given that, where is it? Where is it that we are? And so part of what this kind of sociology stuff is making me realize is like, that's a much harder question than it appears. And even where do we draw the lines? Like, when did now start happening? Like my instinct is like, one answer is like around 1900 is when now started happening. And, and so like, so I guess I'm interested both at the very micro level, how does the conversational interaction work? What are the ways in which I am deciding in this very conversation, I'm deciding what's allowed to be in and what's not allowed to be in the conversation, right? By the moves I'm making, and you're doing the same. How are we doing that? How are we orchestrating, manipulating this conversation so as to dictate what's in it and what's out of it in ways that are like below the surface that we're not noticing, that we either that we are doing it or that we're doing it ourselves. Neither of us is noticing, but we're doing that. So that's at the micro level. And then at the macro level is the question about when did now start happening? And what are the big shifts in like the human experience? And, are we at a point somehow in human history where culture like as a mechanism of coordination is a little bit falling apart and then what's going to come next? That's like a kind of question that I have to put in that kind of vague way. So maybe the right thing to say is that reading all these sociology texts has like, has given me a sets of questions to ask. And maybe what I'm trying to do is, it's like, what my book does is it describes a kind of ideal. And it describes that ideal, you know, using the power of reason to see what would it take to sort of set us straight? What is the straightened version of the crooked thing that we're already doing? And I think that that's right, but that's not at all the same thing as asking the question like, what's our next step? How do we get there from here? That's the question I'm asking now. But part of trying to answer the question, how do we get there from here is like, where are we now? And where are we both very, very locally in an interaction, what are we doing? And then in a big picture way, where are we? What is the big, what is like, you know, in the Taylor Swift sense, what era are we in? And, you know, I guess I still feel like we are, we are living in the world of Fernando Pessoa, Robert Musso, Virginia Woolf, James Joyce, Hermann Bruch, Franz Kafka, like that set of writers, like around 1900-ish set of writers who didn't all know each other or anything, didn't coordinate, but they all, there was this like primal scream moment where they were like, what the hell is going on? What has happened to humanity? Where are the rules? Like, who are we supposed to be? I mean, of all of those, I would pull out Musso as like the paradigm example. So this is me, I guess, taking inspiration from literature again, where I feel like, okay, there's something there about we're lost. There's an expression of, there's a thought we're lost. And I'm trying to understand, okay, how did we get lost? And are we still in that state of being lost? I think yes. And let's get a clear, once we get very clear on how lost we are, we'll already start to be found. Cause that's sort of what it is to, you know, once you understand why you're lost, like that's situating yourself.Henry: Those writers are a long time ago.Agnes: Yeah, I said around 1900.Henry: Yeah, but you don't, you don't, but there's nothing more recent that like expresses, like that's a very long now.Agnes: Yeah. Well, yes, I agree. So I say, when did now start happening? I think it started happening around 1900. So I think-Henry: So are we stuck?Agnes: Yeah, kind of. I think, so here's like a very, he's like a very simple part of history that must be too simple because history is not, is like, it's very mildly not my strong suit. I can't really understand history. But it's like, there is this set of writers and they don't really tell stories. It's not their thing, right? They're not into plot, but they are issuing this warning or proclamation or crisis, like flashing thing. And then what happens? What happens after that? Well, World War I happens, right? And then, you know, not very long after that, we got World War II and especially World War II, the result of that is kind of, oh no, actually we know what good and bad are. It's like fighting Nazis, that's bad. And, you know, so we got it all settled. And, but it's like, it's like we push something under the rug, I guess. And I think we haven't dealt with it. We haven't dealt with this crisis moment. And so, you know, I think I could say something very similar about Knausgaard or something that is, I think he's kind of saying the same thing and his novel has a novel, whatever you want to call it, the, you know, I'm talking about the later one. That's the kind of weird sort of horror quadrilogy or something. It has this feeling of like trying to express a sense of being lost. So there's more recent stuff that, a lot of it's autofiction, the genre of autofiction has that same character. So yeah, like maybe there is some big progress that's been made since then, but if there is, then it has passed me by.Henry: Agnes: Callard, thank you very much. 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

Hallo zusammen, an dieser Stelle zunächst verspätet ein frohes und gesundes neues Jahr - euer Bayer in Irland meldet sich endlich zurück. Wie setzen heute unsere reise durch die Geschichte der grünen Insel fort und schauen uns heute alles was die Cromwellsche Zeit und die "Plantations" angeht an sowie die daraus direkt und indirekt erfolgenden Aufstände - ein relativ kurzer aber bewegter Abschnitt der irischen Geschichte. Die Einzelnen Themen sehen wie folgt aus :Relevant sind diese Quellen: https://de.wikipedia.org/wiki/Thomas_FitzGerald,_10._Earl_of_Kildarehttps://en.wikipedia.org/wiki/Battle_of_Knockdoehttps://en.wikipedia.org/wiki/History_of_Ireland_(1169–1536)https://en.wikipedia.org/wiki/History_of_Ireland_(1536–1691)https://en.wikipedia.org/wiki/History_of_Ireland_(1691–1800)https://de.m.wikipedia.org/wiki/Rückeroberung_Irlandshttps://de.m.wikipedia.org/wiki/Society_of_United_Irishmenhttps://de.m.wikipedia.org/wiki/Irische_Rebellion_von_1798https://de.wikipedia.org/wiki/Schlacht_am_Boynehttps://www.irland.de/Irland-Geschichte/Geschichte-im-Ueberblick/https://cain.ulster.ac.uk/othelem/chron/ch67.htmhttps://de.wikipedia.org/wiki/Penal_Lawshttps://www.newsletter.co.ukhttps://www.rds.iehttps://en.wikipedia.org/wiki/Royal_Dublin_Societyhttps://www.guinness-storehouse.com/en/homehttps://www.tcd.iehttps://de.wikipedia.org/wiki/Society_of_United_Irishmenhttps://de.wikipedia.org/wiki/Theobald_Wolfe_Tonehttps://de.wikipedia.org/wiki/Irische_Rebellion_von_1798Gerne könnt Ihr der Seite zum Podcast auf Pinterest, Instagram oder Facebook folgen : https://www.pinterest.ie/abavarianstrandedinireland/https://www.instagram.com/a_bavarian_stranded_in_ireland/https://www.facebook.com/A-Bavarian-stranded-in-Ireland-107125391828067Um bequem Updates zu neuen Folgen und allen anderen Themen rund um den Podcast bequem direkt auf euer Handy zu erhalten, könnt Ihr ab sofort auch den WhatsApp Channel zum Podcast abonnieren: https://whatsapp.com/channel/0029VaVcgvgFnSzHRcuurV1VOder mir jederzeit eine Email zukommen lassen. abavarianstrandedinireland@gmail.comSchaut auch gerne mal auf der Website vorbei: abavarianstrandedinireland.comPhoto Credit : Istockphoto.com/513471180 

The lovely and fierce Karan Casey spent an hour with us today to discuss her music which is rooted in passion and social justice.  She's performed with James Taylor, The Dubliners, The Chieftain's and many others.  She'll be performing at Celtic Junction in St. Paul on March 16th and tickets are still available.  Slainte'!  

It's an episode to savour, as Toby and TJ look back on the always entertaining Book 3 of the Wake, and all the fun we had along the way. With great guests, amazing community, purist support, and laughs aplenty, Book 3 has been all the fun you'd expect from the segment of the Wake set just before the dawn. With discussions that include global simulacra, along with legendary Wakeists like Bernard Benstock, Simon Loekle, Ben Watson, and Richard Harte, we throw the doors wide to encourage you to access the inaccessible here on Wake, where the Tap-Out button is no longer welcome. This week's chatters: Toby Malone, TJ Young Progress: 590 pages complete, 38 pages to go; 93.95% read. Contextual Notes Trent Dalton Brandon Nicklaus's blog From Swerve of Shore to Bend of Bay r/jamesjoyce r/wakepod WAKE on YouTube WAKE Part 1 Supercut WAKE Part 2 Supercut Benstock, Bernard. Joyce Again's Wake. Collard, David. Multiple Joyce. London: Sagging Meniscus P, 2022. The legacy of Simon Loekle The Wake in pictures, Peter Quadrino FW as simulacrum Katarzyna Bazarnik JOYCE, LIBERATURE AND WRITING OF THE BOOK Collected Epiphanies of James Joyce: A Critical Edition John Gordon filling the gaps Documents from Furina:  i. Christmas Eve, written in Trieste in 1904 as attested to his brother Stanislaus; a short story (finished but fair copy incomplete) intended for Dubliners but withdrawn due to unknown reasons; a fragment was later reincorporated into Clay. ii. The Cat of Beaugency, dit The Cat and the Devil, written on 10 August 1936 in Villers-sur-Mer in a letter to his grandson, the late Stephen James Joyce; epistolary, infantile fable. iii. The Cats of Copenhagen, written on 5 September 1936 in Copenhagen's Turist Hotel in a postcard to his grandson (one may perhaps consider it a sort-of 'sequel' to the previous entry), the late Stephen James Joyce; epistolary, infantile fable. iv. The incipit of the holograph manuscript of The Dead, from the collections of Yale University. v. The original version of the short story The Sisters, as published (under the pseudonym Stephen Dædalus) in the "Our Weekly Story" section of The Irish Homestead on 13 August 1904; as commissioned by George William "Æ" Russell, who later appeared in Ulysses. vi. An extract from a letter (dated 14 August 1925) to Harriet Shaw Weaver: a poem called The Waste Land; a parody of T. S. Eliot's chef d'œuvre of the same name. vii. An extract from a similar, earlier letter (dated 13 June 1925) to the same recipient: a poem called Canto; a parody of Ezra Pound's modernist epic - it is not a parody of any particular canto but a general jab at the style. viii. The history and evolution of the poem "Tilly", the first and 'bonus' poem of Pomes Penyeach; written in Dublin in 1904. ix. A remastered and enhanced version of Joyce declaiming John F. Taylor's oration from the seventh episode, 'Aeolus', of Ulysses. x. A recording of Joyce's only other musical composition (aside from The Ballad of Persse O'Reilly) - Bid Adieu - setting the eleventh entry from his début collection of poetry, Chamber Music. The singer is tenor Kevin McDermott and the pianist is Ralph Richey. xi. The full text - part I and part II - of Finn's Hotel; eleven 'epicleti' which were sketches of the Work in Progress, written in Paris and Bognor Regis in 1923. .pdf available here. xii. C. K. Ogden's 1932 translation of the last four pages of the Anna Livia Plurabelle closing chapter of Book I, as supervised by the artist, intoBasic English, along with the translator's preface. Ben Watson and Frank Zappa Ben Watson: Finnegans Wake vs. Theory Here Comes Everybody's Karma For early drops, community and show notes, join us at our free Patreon, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wakepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or check out our Linktree, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/wake.pod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!

Elizabeth previews a selection of stories from Dubliners by James Joyce published in 1914.This season is a premium exclusive. To enjoy it and our entire catalog of sleepy books try The Sleepy Bookshelf Premium free for 7 days: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sleepybookshelf.supercast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Are you loving The Sleepy Bookshelf? Show your support by giving us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Follow the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Vote on upcoming books via the Survey on our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sleepybookshelf.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Listen to the music from The Sleepy Bookshelf in a relaxing soundscape on Deep Sleep Sounds:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/watch?v=zxRt2AI7f80⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Having an issue with The Sleepy Bookshelf or have a question for us? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our FAQs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Connect: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you so much for joining us here at The Sleepy Bookshelf. Now, let's open our book for this evening. Sweet dreams

According to a City Council Chief, some inner-city Dubliners have no sense of pride, and dump their waste daily in the street.Henry McKean has been investigating, and joins Kieran to discuss.

fWotD Episode 2830: James Joyce Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 2 February 2025 is James Joyce.James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, poet and literary critic. He contributed to the modernist avant-garde movement and is regarded as one of the most influential and important writers of the 20th century. Joyce's novel Ulysses (1922) is a landmark in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, particularly stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, letters, and occasional journalism.Joyce was born in Dublin into a middle-class family. He attended the Jesuit Clongowes Wood College in County Kildare, then, briefly, the Christian Brothers–run O'Connell School. Despite the chaotic family life imposed by his father's unpredictable finances, he excelled at the Jesuit Belvedere College and graduated from University College Dublin in 1902. In 1904, he met his future wife, Nora Barnacle, and they moved to mainland Europe. He briefly worked in Pula and then moved to Trieste in Austria-Hungary, working as an English instructor. Except for an eight-month stay in Rome working as a correspondence clerk and three visits to Dublin, Joyce resided there until 1915. In Trieste, he published his book of poems Chamber Music and his short story collection Dubliners, and he began serially publishing A Portrait of the Artist as a Young Man in the English magazine The Egoist. During most of World War I, Joyce lived in Zürich, Switzerland, and worked on Ulysses. After the war, he briefly returned to Trieste and then moved to Paris in 1920, which became his primary residence until 1940.Ulysses was first published in Paris in 1922, but its publication in the United Kingdom and the United States was prohibited because of its perceived obscenity. Copies were smuggled into both countries and pirated versions were printed until the mid-1930s, when publication finally became legal. Joyce started his next major work, Finnegans Wake, in 1923, publishing it sixteen years later in 1939. Between these years, Joyce travelled widely. He and Nora were married in a civil ceremony in London in 1931. He made a number of trips to Switzerland, frequently seeking treatment for his increasingly severe eye problems and psychological help for his daughter, Lucia. When France was occupied by Germany during World War II, Joyce moved back to Zürich in 1940. He died there in 1941 after surgery for a perforated ulcer, at age 58.Ulysses frequently ranks high in lists of great books, and the academic literature analysing his work is extensive and ongoing. Many writers, film-makers, and other artists have been influenced by his stylistic innovations, such as his meticulous attention to detail, use of interior monologue, wordplay, and the radical transformation of traditional plot and character development. Though most of his adult life was spent abroad, his fictional universe centres on Dublin and is largely populated by characters who closely resemble family members, enemies and friends from his time there. Ulysses in particular is set in the streets and alleyways of the city. Joyce is quoted as saying, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."This recording reflects the Wikipedia text as of 00:49 UTC on Sunday, 2 February 2025.For the full current version of the article, see James Joyce on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

On this episode we debated a Gript Media article which claimed "Dublin's St. Patrick's Day Parade listed as Islamist terrorism target". Is this scare mongering or something to be afraid of.

Stephen Ormond, known as The Rock during his fighting career, knows all about The Rocky Road in boxing. A teenage elite champion who comes from a boxing dynasty, he's related to the legendary Spike McCormack on his mother's side, while his father and uncles were all champions in the ring as well, iconic fighting Dubliners all. He boxed as a pro for over a decade, with 33 fights in all, winning the WBO European, IBF inter-continental and WBU world titles, and was never, ever in a dull fight. Ormond was a well-schooled, aggressive boxer-puncher who shared the sparring ring with Conor McGregor but never once s***-talked another fighter to get to where he wanted to go. Ultimately, a world title shot passed him by, but he's determined to reach the holy grail, this time as a trainer. That's led to the opening of Stephen Ormond Boxing down at the Colosseum Gym in Kylemore, where we met for a chat about his ideas on what makes a successful pro, and a look back at his best night yet in boxing. We're also joined by his old mate Luke Keeler, a year on from his first appearance on the show, while there's also something of an exclusive towards the end of the episode as hype man supreme, cutman and uisce guru Mark Kennedy lends his thoughts on Ormond's potential as a coach, and irish-boxing.com's effervescent roving reporter Matt Meehan gives his take on the events of the day. Hosted on Acast. See acast.com/privacy for more information.

Are you on the level?Topics in this episode include discussion of whether or not Leopold Bloom is a freemason, how well Nosey Flynn knows the business of the other Dubliners, why Bloom never thinks about being a freemason, whether or not Tom Kernan is in the craft, whether or not you can leave the freemasons, freemason symbols and lore, whether Bloom has connections to the upper echelons of Dublin society, the Hungarian lottery tickets scandal, what James Joyce knew about freemasons, times when Bloom deploys freemason symbols, the Catholic Church's campaign against the freemasons, how that campaign was also antisemitic, and why Æ was talking about octopuses.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.On the Blog:Was Leopold Bloom a Freemason?Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube

We are bringing Indo Daily listeners an episode from The Sunday World's excellent new food and lifestyle podcast 'Under the Grill' this weekend. In each episode Kevin Dundon and Caoimhe Young sit around the kitchen table with some of Ireland's best loved personalities. Today Eurovision winner Niamh Kavanagh joins the team in the kitchen in this week's episode, in association with Philadelphia. The singer is a born entertainer and not only when it comes to music – making dinner for 20 to 30 people wouldn't knock a sparkle off her. The Dubliner chose bread & butter pudding for childhood dish on the already popular podcast series. Hosts: Kevin Dundon & Caoimhe Young Guest: Niamh KavanaghSee omnystudio.com/listener for privacy information.

The man of many voices, Matt Friend, is back! We're ringing in the holidays at The Dubliner near Capitol Hill. Join Major, Matt and all of Matt's “friends:” Donald Trump, Joe Biden, JD Vance, Tim Cook, Bill Gates, Gavin Newsom, Mitt Romney, Jeff Goldblum, Jennifer Coolidge and many, many more. Happy Holidays, all!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Legendary fiddle player John Sheahan brings his brand-new show The Dubliners Encore around Ireland from 23 Jan, they've sold out two Helix Shows and just put a 3rd on sale. John and his daughter Ceoladh who is Creator and Producer The Dubliners Encore Show joined Pat this morning on the show.

Young people leaving the country was a big issue during the recent general election campaign. Over the next two weeks, we'll be speaking to those people who have chosen a different life abroad. Today Cormac speaks to Dubliner Ross Beaton on the line from Abu Dhabi.

New York Fight Night Preview with Emmet Brennan! Delighted to have Irish Olympian and Pro Boxer Emmet Brennan as my final guest of Season 5 of Navigating New York!Emmet, a proud Dubliner, is fighting his 5th Professional Fight right here in New York City on Friday, December 6th, at the Melrose Ballroom in Astoria, Queens.

West Virginia Senator Joe Manchin is headed for the exits after 14 years in the senate. Manchin was a Democrat for most of his political life but left the party to become an independent earlier this year. Join us at The Dubliner for a candid conversation about the 2024 election, the successes and failures of the Biden administration and learn what's next for the 77-year old Manchin who leaves congress after a career serving as a state legislator, secretary of state, governor and U.S. senator. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Luke Kelly Tribute Concert will take place in Doolin this weekend. It's the fourth year of the tribute to the legendary Dubliners' singer. Sunday's show promises a fantastic line-up! To find out more, Peter O'Connell was joined in-studio by Katie Theasby. Photo (c): Clare FM

A website created the fake event out of thin air. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Meta's Orion prototype offers a glimpse into our AR future, an AI-generated ad left thousands of Dubliners waiting for a Halloween parade that never came, and an Okta vulnerability allowed accounts with long usernames to log in without a password. It's Monday, November 4th and this is Engadget News. Here is Karissa Bell's review of Meta's Orion prototype: https://www.engadget.com/ar-vr/metas-orion-prototype-offers-a-glimpse-into-our-ar-future-123038066.html Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Jimmy is a great coach, loved him when he travelled to international training camps with Ireland, great pad man.” When you're getting praise like this from the notoriously hard-to-please Paddy Barnes, then you must be doing something right. And today's guest Jimmy Halpin has been doing something right for 40 years now. Before that, the young Dubliner had talent as a boxer but didn't quite manage to match that with a bulging collection of medals, with his last fight coming in 1981 when, three years out of the ring by then, he ‘got a hiding' when he returned for one night only on a benefit for the Stardust victims. However the lessons he learned still stand to him to this day. Jimmy is loved by his boxers and adored by other coaches, but he takes no bull either and his forthright honesty (or constructive criticism) sometimes leads to disagreements along the way. He trained Ireland's first female fighter (and first female world champion) Deirdre Gogarty when she first walked through the doors at St Saviours in Dublin, and taught double Olympic champion Kellie Harrington many of the moves that led to her topping podiums in Tokyo and Paris. Jimmy worked his magic with Cathal O'Grady, Darren Sutherland and Emmet Brennan - Olympians all - at club level and worked alongside Billy Walsh with the Irish high performance team for over a decade. Now, at 72, he's still giving back as a volunteer, touring clubs all over Dublin, mainly, and giving pointers to coaches and boxers alike. As he says, his mission was to create universal boxers before there was even a term for it. His passion for boxing is infectious and as Jimmy says, once you're in the club - whether you're a novice or a potential world champion - you're deserving of his time, and he'll strive to help you improve. As for the best fighter he worked with during his time in Ireland? I'll give you a clue - it's someone who's got the full set of medals, anyway. Hosted on Acast. See acast.com/privacy for more information.

On the 94th episode of the What is a Good Life? podcast, I am delighted to introduce our guest, Jennifer Murphy. Jennifer is an Irish mythologist, anthropologist, creativity mentor, and the founder of The Celtic Creatives. A Dubliner born and bred, from the time she could talk, Jennifer's grandmother, Frances O'Sullivan, filled her ears with tales from Irish myth and folklore, fuelling a now 40-year fascination with the stories of her lineage. Jennifer's apprenticeship in following her soul's breadcrumbs over the past twenty years has guided her work and formal studies in Medieval Irish and Celtic Studies, Sociocultural Anthropology, Creativity and Innovation, and Jungian Psychology and Art Therapy. She supports creatives from diverse fields to (re)connect with the mythopoetic imagination of Ireland, using ancient wisdom to inform modern creativity through myth, dreamwork, imagination, and the body. She is currently writing a book on what Irish mythology can teach us about our creativity.In this glorious conversation, Jennifer shares her journey of listening to her soul's story—a path which has revealed her Dán (soul's gift) and includes balancing the masculine and feminine, Sus and Imbas—the scientific and divine inspiration—exploring dreams, other worlds, and Irish mythology, and imbuing everything around us with life.This whole episode may offer you many new lines of inquiry, as well as ways of perceiving this world, which may be integral to experiencing your own good life.Subscribe for weekly episodes, every Tuesday, and check out my YouTube channel (link below) for full interviews and clips.For further content and information check out the following:Jen's Website: https://www.celticcreatives.com/Jen's Substack: https://celticcreatives.substack.com/Jen's Instagram: https://www.instagram.com/celticembodiment/- For the What is a Good Life? podcast's YouTube page: https://www.youtube.com/@whatisagoodlife/videos- My newsletter: https://www.whatisagood.life/- My LinkedIn: https://www.linkedin.com/in/mark-mccartney-14b0161b4/Contact me at mark@whatisagood.life if you'd like to explore your own lines of self-inquiry through 1-on-1 coaching, take part in my weekly free silent conversations, discuss experiences I create to stimulate greater trust, communication, and connection, amongst your leadership teams, or you simply want to get in touch.00:00 Introduction03:00 What is my Dán (Soul's gift)?09:48 Taking up the path of the soul15:00 Wisdom: Sus and Imbas20:00 Balancing masculine and feminine energy23:30 Exploring the masculine & unconscious27:30 Mythology - exploring the story of the soul30:30 Exploring dreams & other worlds33:30 The land is alive with soul35:30 Other worlds & connecting with land39:10 Reconnecting to the divine45:40 The Irish psyche & mythology49:48 Connecting with the language and folklore55:30 What is a good life for Jen?

Even when Interpol slapped a “Red Notice” on Sean McGovern, the Irish career criminal hiding out in Dubai was probably not too concerned.That Red Notice came about because the DPP in Ireland directed that McGovern, Daniel Kinahan's closest and most trusted lieutenant, should face charges relating to the 2016 murder of Noel Kirwan (62) as part of the Kinahan-Hutch feud and the notice requested police authorities around the world to find and arrest the Dubliner.McGovern would likely have considered the UAE a safe haven, far from the reaches of US and European law enforcement agencies. But he was wrong. Last Thursday morning he was finally arrested at his home in Dubai.So what has changed in the UAE, where authorities have proven to be notoriously reluctant to co-operate with extradition requests from western law enforcement agencies.What will happen to McGovern now? And what does it mean for the Kinahan cartel leadership who consider themselves safe in Dubai – father Christy and his sons Daniel, Christy jnr? Could they also be on their way back to Dublin to face justice in the near future?Irish Times crime and security editor Conor Lally explains the background.Presented by Bernice Harrison. Produced by Suzanne Brennan. Hosted on Acast. See acast.com/privacy for more information.

KC radio legend, Bob Fescoe joins me to talk 49ers vs. Chiefs.2:00: Bob Fescoe joins the show to continue Chiefs Week5:18: What is the Spagnuolo secret sauce?8:08: The genius of Andy Reid16:39: What is most responsible for the Travis Kelce drop-off: Hint, it's not Taylor Swift28:39: PluceMania V: Sunday of the 49ers bye week at The Dubliner at noon 30:02: The Chiefs are a problem, man33:550: Did you see the Raiders and the Jets are trading a pair of clown shoes?37:15: Damon takes out Jerry Jones for threatening a radio host46:12: Today in historySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dan Manucci has coached Brock Purdy since the 9th grade. When did he know he was working with someone special?1:34: Dan Manucci, who coached Brock Purdy starting in 9th grade, joins the show10:08: Sidenote: Brock was a hell of a baseball player before he went all in on football 16:58: The moment Dan knew Brock had a chance at the NFL level24:45: Brock's 1st impression of Kyle Shanahan: ‘A bit of a ball-buster'35:22: PluceMania 4 will be at the Dubliner during the bye week39:44: Today in history:45:10: An important note: Glen Kuiper and his family have been thrilled by the positive response to his interviewSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We discuss the Dubliners short story, "Grace", in the final episode of our Dubliners series.Listen to the full episode at patreon.com/barnaclecast

Americana, Roots, Folk, Blues and Country music. Featured Artists . New and classic tracks.Episode includes Jackson Browne, Willie Nelson, Nina Simone and The Dubliners.A SPECIAL ON POLITICAL SONGS.

There are few feuds like the 111-year-old dispute between Arsenal and Tottenham over who exactly owns North London. These two first met in 1896, but that was when Arsenal were in Woolwich, south of the River Thames. It wasn't until the Gunners crossed the waterway in 1913 and set up shop in Tottenham's neighborhood that the trouble began, and it hasn't let up since. Though as an Arsenal fan, I feel obligated to weigh in on who owns what: the red side may be seeking a first league title in two decades, but Tottenham haven't won the first division for 63 years. They've won two trophies in the last 30, and they were both League Cups.There might be just a bit of Arsenal partisanship in this episode, because joining the show to preview this North London derby is Andrew Mangan—blogger, podcaster, and proprietor at Arseblog, the foremost Arsenal fan channel. We delved into his path to The Arsenal as a Dubliner, Arsenal's rather disastrous injury and suspension situation coming into this one, those frightening times when Mauricio Pochettino threatened to win Spurs a trophy, his memories of the Sol Campbell transfer—an all-time North London flashpoint—and why he wants bad things to happen to Tottenham, everywhere and all the time. Hosted on Acast. See acast.com/privacy for more information.

We discuss the Dubliners story, “Ivy Day in the Committee Room"To listen to the full episode, please visit patreon.com/barnaclecast

“Dubliners were proud of Endymion. They were proud that they tolerated Endymion, but also that he tolerated them. Most people watched him and remembered him with affection, and only a few were aware of the darker side to some of his mutterings.” - John SimpsonSupport us on Patreon to access episodes early, bonus content, and a video version of our podcast.On the Blog:Who was the real Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell?Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube

We discuss Dubliners stories “A Painful Case” and “A Mother” Listen to the full episode at patreon.com/barnaclecast

This week on The Literary Life we return to the podcast vault for a re-airing of Episode 11, in which Cindy Rollins and Angelina Stanford enjoy a discussion of the short story “Araby” by James Joyce. Delving into “Araby,” Angelina talks about the history and development of the short story form. Cindy gives a little of her own background with reading James Joyce and why she loves his short stories. Angelina and Cindy also discuss the essential “Irishness” of this story and all the tales in The Dubliners. Angelina walks us through the story, highlighting the kinds of questions and things we should look for when reading closely. Themes discussed in this story include: blindness and sight, light and darkness, romanticism, religious devotion, the search for truth, money, courtly love, and the knight's quest. If you want to find replays of the 2019 Back to School online conference referenced in this episode, you can purchase them in Cindy's shop at MorningTimeforMoms.com. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. Commonplace Quotes: Whoever wants to become a Christian must first become a poet. St. Porphyrios of Kafsokalyvia A ritual for letting a son or daughter go free, handing them over under the protection of God, is not something that we naturally include as part of growing up today in the West. Yet we are here reminded of one of the most important steps of all of the transitions in life, moving from the confines of the family into freedom and maturity. Esther de Waal Huxley Hall by John Betjemen In the Garden City Cafe‚ with its murals on the wall Before a talk on “Sex and Civics” I meditated on the Fall. Deep depression settled on me under that electric glare While outside the lightsome poplars flanked the rose-beds in the square. While outside the carefree children sported in the summer haze And released their inhibitions in a hundred different ways. She who eats her greasy crumpets snugly in the inglenook Of some birch-enshrouded homestead, dropping butter on her book Can she know the deep depression of this bright, hygienic hell? And her husband, stout free-thinker, can he share in it as well? Not the folk-museum's charting of man's Progress out of slime Can release me from the painful seeming accident of Time. Barry smashes Shirley's dolly, Shirley's eyes are crossed with hate, Comrades plot a Comrade's downfall “in the interests of the State”. Not my vegetarian dinner, not my lime-juice minus gin, Quite can drown a faint conviction that we may be born in Sin. Book List: To Pause on the Threshold by Esther de Waal The Dubliners by James Joyce Ulysses by James Joyce A Portrait of the Artist as a Young Man by James Joyce Angela's Ashes by Frank McCourt The Abbot by Sir Walter Scott The Memoirs of Vidocq by Eugene Françios Vidocq Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at www.facebook.com/CindyRollinsWriter. Check out Cindy's own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Major sits down with authors Brody and Luke Mullins to talk about Washington's favorite pastime - and it's not baseball. Their new book, “The Wolves of K Street,” argues that the last few decades of lobbying members of congress and policymakers has only benefited corporations and the lobbyists themselves, leaving behind the general public. Join us at The Dubliner on Capitol Hill (where lawmakers and lobbyists have been meeting for 50 years!). See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.