Podcasts about eliot

We were made by a Maker to be makers. Bruce Herman joins Evan Rosa to diagnose the quiet illness of a passive consumer culture that trains us to sit in front of screens and scroll and take, rather than make. “When we're not making something, we're not whole. We're not healthy.“ His cure is stubbornly ordinary: go make a loaf of bread, grab a stick and start carving, make a good meal or a good cocktail for the person visiting you—anything is resistance to this hypnotic, passive culture. From episode 216 of the podcast, in this segment, Herman traces what it means to receive art not as a consumer but through submission—not master and slave, but subject to subject, that vulnerable openness that lets a poem or a painting change your life. He reflects on making as human wholeness, the difference between art and info-tainment, why suffering can rip us open to beauty (from Walker Percy's writing to Christian Wiman's poetry), Rilke's charge that “you must change your life,“ hospitality as the ultimate act of art, and Herman's closing counsel to make out of love, not fear. Episode Highlights We are in relationship, and we were made by a Maker to be makers. If we let that go somehow and we become mere consumers, I think we begin to enter into some kind of illness of one sort or another. When we're not making something, we're not whole. We're not healthy. And I don't want to make an idol out of health either, but I do think our culture is unhealthy right now. We think of it as, we're discerning buyers. But the fact is we're being turned into very passive creatures. One of the best things you can do is go make a loaf of bread. Go out and grab a stick and start carving it. Anything is resistance to this sort of hypnotic passive culture. If you want to really receive what a poem is communicating, you have to submit to it. You have to let yourself go and enter into what might feel like a bad risk of being changed. Not submit in a sense that I'm a master and you're my slave. It's more like you're a subject and I'm a subject. Mutual submission. We're so guarded so much of the time that it takes something catastrophic to open us up again. Do away with the nonsense that you're not an artist. You can't help it. You were made by a Maker to be a maker. End of story. The ultimate act of art is hospitality, where you're welcoming someone in, to make something beautiful for them. Challenge the bad news with a recognition that daily kindnesses are being poured out everywhere, on every street. Don't give in to fear, because it's not a basis for anything good. About Bruce Herman Bruce Herman is a painter, writer, and educator whose work has been shown in more than 150 exhibitions across the United States and internationally, and held in collections including the Vatican Museums in Rome, the Cincinnati Museum of Fine Arts, and the Grunewald Print Collection of the Hammer Museum in Los Angeles. He taught at Gordon College for nearly four decades, where he founded the art department and held the Lothlórien Distinguished Chair in Fine Arts. His books include “Through Your Eyes“ and “Ordinary Saints,“ and he was a collaborator on the touring “QU4RTETS“ project with Makoto Fujimura, Christopher Theofanidis, and Jeremy Begbie. His most recent book, “Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art,“ was published by IVP Academic in 2025. Helpful Links and Resources Makers by Nature, Bruce Herman's 2025 book from IVP Academic: https://www.ivpress.com/makers-by-nature Bruce Herman's website and painting archive: https://www.bruceherman.com Bruce Herman, artist bio and background: https://www.bruceherman.com/about Archaic Torso of Apollo by Rainer Maria Rilke (“You must change your life“), trans. Stephen Mitchell: https://poets.org/poem/archaic-torso-apollo Real Presences by George Steiner, on courtesy and hospitality in art: https://press.uchicago.edu/ucp/books/book/chicago/R/bo3684420.html Christian Wiman: https://poetryfoundation.org/poets/christian-wiman QU4RTETS, the collaborative project on T. S. Eliot's Four Quartets: https://www.bruceherman.com/series Show Notes Made to make We are in relationship; identity begins there, not in isolation Makers by nature—letting the maker-impulse go tips us toward illness, moral, mental, and emotional Wholeness and health—the claim that not-making leaves us unwell, without idolizing health Consumer culture—the commercial aim to sell, and to keep us passive in front of screens Discerning buyers, or passive creatures? The illusion of control while being trained to take Screens and scrolling Political theater and infotainment—very little real journalism left, mostly consumer entertainment Neil Postman and amusing ourselves to death as the frame for the diagnosis Making as resistance—bake bread, carve a stick, do anything against the hypnotic pull Reception as submission—a word out of fashion, reclaimed away from enslavement Mutual submission—the erotic analogy, and desire's corruption in the sexual sins To receive a poem you must risk being changed Rilke's Grecian torso and the charge, you must change your life Subject to subject, not master and slave Walker Percy's museum story—a painting that blazed into life, then went quiet Bringing a friend to re-enter the original encounter vicariously The workman through the skylight—catastrophe reopens what habit had closed Guardedness—why it can take suffering to break us open Christian Wiman—cancer, poetry, and being ripped open toward receptivity You might be changed, and it might not be what you wanted; the risk of real encounter Make from love, not fear Do away with the nonsense that you're not an artist Everyday making—a loaf, a meal, a good cocktail, hospitality Hospitality as the ultimate art; George Steiner's Real Presences and courtesia Beauty can be complex, not merely pretty Fear-mongers left and right—and why not to listen Daily kindnesses—the neighbor, the shoveled driveway, the half-decent casserole Welcome to the festival; let the festival begin #BruceHerman #MakersByNature #ForTheLifeOfTheWorld #FaithAndArt #TheologyOfMaking #ArtAndFaith #Creativity #Hospitality #MakeNotConsume #YaleFaithAndCulture

The WIP Morning Show debates if LeBron James would be a championship-caliber fit for the 76ers or if his ball-dominant style would hinder players like Tyrese Maxey. They discuss the evolution of Jalen Hurts as a passer and the current struggles of the Phillies' starting rotation. The segment concludes with a story about Nick Sirianni calling out Eliot over his rankings of head coach and quarterback duos. 01:00 - LeBron James Sixers Fit 09:57 - Jalen Hurts Passing Evolution 13:26 - College Transfers and NIL 18:19 - Phillies Rotation Struggles 23:57 - Sirianni Confronts Eliot

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Eliot Deval revient, sans concession, sur tous les sujets qui font l'actualité. Vous voulez réagir ? Appelez le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur les grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We got flooded houses, dead fish in the harbor, wildfires, and grit. And we say to ourselves, what a wonderful world. July is throwing a tempter tantrum but it's all been made easier with some fantastic shoes in the way of the Topo Athletic Specter Elite and the Tracksmith Eliot Ryder. We're also looking forward to the annual Summer GRIT party, which is happening next weekend here in Baltimore at Hampden Yards. Hope to see you there!ASICS GRIT PARTY DETAILSWhat: 3-mile group run followed by after partyWhen: Saturday, July 25 @ 11:30 a.m. (3-mile group run, after party starts at 12)Where: Hampden Yards, 3601 Hickory Ave, Baltimore, MD 21211Who: You and your family and friendsCost: FREESUPPORT OUR SPONSORS!LMNT The temperatures are climbing up and up, which means you need more salt than you think you do. Crisp and refreshing, all LMNT flavors deliver 1000 mg sodium, 200 mg potassium, and 60 mg magnesium. And if you're an insider, you can get the limited-edition Pink Lemonade or Lemonade Iced Tea. Get your free 8-count LMNT Sample Pack with any purchase: https://drinklmnt.com/thedropSWIFTWICKYou already know that Swiftwick makes our favorite socks for running, from training to race day. Now, you can get the special collab pair we wore in the Grand Canyon. Get yourself ready for the new year and save 15% off your first purchase with code BELIEVE15: https://swiftwick.com/collections/believe

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Tom Kelly, Eliot Shorr-Parks, and Ashlyn Sullivan of the 94WIP Morning Show analyze the Phillies' loss to the Mets last night and discuss the team's trade deadline strategy following Brad Keller's injury. They debate whether the front office should prioritize a new starting pitcher, bullpen help, or an outfield bat, weighing the reliability of the pitching staff against an inconsistent offense. Tom thinks they should go all-in on the pitching staff while Ashlyn and Eliot believe the offense is the problem and needs to be addressed. 01:10 - Morning Show Introduction 06:19 - Pitching Versus Offense Debate 11:02 - Market Availability And Depth

Tom Kelly, Eliot Shorr-Parks, and Ashlyn Sullivan of the 94WIP Morning Show discuss the Phillies' trade deadline strategy and whether the team should prioritize starting pitching or adding a bat. They also debate a potential move for Mike Trout, as Eliot questions Trout's ability to perform in the high-pressure environment of the postseason. 01:04 - Stump The Millennials Tease 03:27 - Phillies Trade Deadline Priorities 07:25 - Mike Trout Trade Debate

We've curated a special 10-minute version of the podcast for those in a hurry. Here you can listen to the full episode: https://podcasts.apple.com/us/podcast/in-good-company-with-nicolai-tangen/id1614211565This live recorded episode of In Good Company features Eliot Higgins, founder of Bellingcat, the world's leading open source investigative collective — a self-taught college dropout who began tracking the Syrian war from his kitchen table. Together with Nicolai Tangen, he unpacks how his team unmasked Navalny's poisoners and tracked the downing of flight MH17 using nothing but publicly available data. Eliot explains the discipline at the heart of his work: never prejudge a situation, follow the evidence before forming an opinion, and guard against your own biases. The conversation also explores why speed matters when truth competes with lies, how AI gives people "permission to deny reality," and what disinformation means for democracy. Tune in for a fascinating conversation! In Good Company is hosted by Nicolai Tangen, CEO of Norges Bank Investment Management. New full episodes every Wednesday, and don't miss our Highlight episodes every Friday. The production team for this episode includes Isabelle Karlsson and PLAN-B's Håkon Klemsdal. Background research was conducted by Une Solheim. Watch the episode on YouTube: Norges Bank Investment Management - YouTubeWant to learn more about the fund? The fund | Norges Bank Investment Management (nbim.no)Follow Nicolai Tangen on LinkedIn: Nicolai Tangen | LinkedInFollow NBIM on LinkedIn: Norges Bank Investment Management: Administrator for bedriftsside | LinkedIn Hosted on Acast. See acast.com/privacy for more information.

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Eliot Shorr-Parks and James Seltzer of the 94 WIP Morning Show analyze LeBron James' potential fit with the 76ers and whether his arrival would disrupt the team's culture. They also discuss Tarik Skubal trade rumors for the Phillies and react to the Eagles' 10.5-win over/under projection. Callers chime in with their favorite non-human movie characters to win Foo Fighters tickets. 02:21 - Jay-Z concert delay story 05:14 - LeBron James decision timeline 08:35 - Phillies trade deadline outlook 14:11 - LeBron and Saquon comparisons 20:05 - NL East division race 24:19 - LeBron's impact on culture 28:59 - Eagles training camp expectations 34:49 - Bronny James discussion

The 94 WIP Morning Show debate whether LeBron James joining the Sixers would improve the team's championship odds or create an unnecessary "circus." They also evaluate the Phillies' position in the NL East, Trevor Zegras' new contract with the Flyers, the World Cup, and the impact of veteran stars on young rosters. 01:50 - Morning Show Takeover 06:00 - LeBron To Sixers 15:10 - Character Contest Begins 43:40 - Phillies Division Race 49:20 - Cristopher Sánchez Fatigue 56:00 - Soccer GOAT Debate 01:00:30 - Trevor Zegras Extension 01:16:10 - Team Culture Issues 01:27:10 - Eliot's Headband History 01:43:00 - LeBron Decision Update 02:04:00 - Vani's Movie History 02:14:40 - Eagles Training Camp 02:32:00 - Phillies Deadline Strategy 03:06:10 - Final Time's Yours

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Charles Baudelaire (1821–1867) fue un poeta, crítico de arte y traductor francés, considerado una de las figuras más influyentes de la literatura moderna. Es especialmente conocido por su obra Les Fleurs du mal (Las flores del mal, 1857), un libro de poemas que causó escándalo en su época por tratar temas como la sensualidad, el tedio, el spleen (melancolía existencial), la muerte y el satanismo. Combina el romanticismo con un estilo pre-simbolista, precursor del modernismo.Temas recurrentes: Belleza en lo decadente, lo prohibido, lo urbano, la dualidad del alma humana (ángel/demonio), el hastío moderno.Lenguaje: Rico en simbolismo, imágenes sensoriales y musicalidad poética. Obra principal:Las flores del mal incluye secciones como:Spleen et Idéal (el alma dividida entre lo sublime y lo miserable), Tableaux parisiens (poemas sobre la ciudad de París), Révolte (la rebelión contra Dios o el orden), La Mort (reflexiones sobre la muerte).Seis poemas del libro fueron censurados por "ofensa a la moral pública", y Baudelaire fue multado. Esa censura no se levantó en Francia sino hasta 1949. Es considerado uno de los padres de la poesía moderna.Fue una gran influencia para los simbolistas (como Verlaine, Rimbaud y Mallarmé) y para poetas del siglo XX como T. S. Eliot y Paul Valéry. También tradujo la obra de Edgar Allan Poe al francés, ayudando a difundirla en Europa.

This live recorded episode of In Good Company features Eliot Higgins, founder of Bellingcat, the world's leading open source investigative collective — a self-taught college dropout who began tracking the Syrian war from his kitchen table. Together with Nicolai Tangen, he unpacks how his team unmasked Navalny's poisoners and tracked the downing of flight MH17 using nothing but publicly available data. Eliot explains the discipline at the heart of his work: never prejudge a situation, follow the evidence before forming an opinion, and guard against your own biases. The conversation also explores why speed matters when truth competes with lies, how AI gives people "permission to deny reality," and what disinformation means for democracy. Tune in for a fascinating conversation! In Good Company is hosted by Nicolai Tangen, CEO of Norges Bank Investment Management. New full episodes every Wednesday, and don't miss our Highlight episodes every Friday. The production team for this episode includes Isabelle Karlsson, Halvor Njerve and PLAN-B's Niklas Figenschau Johansen and Håkon Klemsdal. Background research was conducted by Une Solheim. Watch the episode on YouTube: Norges Bank Investment Management - YouTubeWant to learn more about the fund? The fund | Norges Bank Investment Management (nbim.no)Follow Nicolai Tangen on LinkedIn: Nicolai Tangen | LinkedInFollow NBIM on LinkedIn: Norges Bank Investment Management: Administrator for bedriftsside | LinkedInFollow NBIM on Instagram: Explore Norges Bank Investment Management on Instagram Hosted on Acast. See acast.com/privacy for more information.

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On the latest episode of Now, Appalachia, Eliot interviews author Michael Cody about his new Appalachian thriller novel AVALON MOON. Michael was born in Sumter, South Carolina, and grew up in the village of Walnut, jewel of Madison County, North Carolina, not far from the ruins of Runion, a place he has reimagined for stories appearing in Tampa Review, Yemassee, The Chaffin Journal, Still: The Journal, and other publications. He spent his formative twenties living and working as a songwriter in Nashville, Tennessee, where his songs were recorded by Glen Campbell, Gary Morris, and others, including himself. He is the author of Charles Brockden Brown and the Literary Magazine: Cultural Journalism in the Early American Republic (McFarland, 2004) and the novel Gabriel's Songbook (Pisgah Press, 2017). He is co-editor of The Literary Magazine and Other Writings, 1803-1807, volume three of The Collected Writings of Charles Brockden Brown (Bucknell UP, 2019). His collection of short stories, A Twilight Reel, was published in May 2021 by Pisgah Press and won the Short Story / Anthology category in the Feathered Quill Book Awards 2022. His new novel, Streets of Nashville, is scheduled for publication in April 2025 by Madville Publishing. Cody lives with his wife Leesa in Jonesborough, Tennessee, and teaches American literature before 1900, Native American literature, and mythology in the Department of Literature & Language at East Tennessee State University.

On the latest episode of Now, Appalachia, Eliot interviews author Michael Cody about his new Appalachian thriller AVALON MOON. Michael was born in Sumter, South Carolina, and grew up in the village of Walnut, jewel of Madison County, North Carolina, not far from the ruins of Runion, a place he has reimagined for stories appearing in Tampa Review, Yemassee, The Chaffin Journal, Still: The Journal, and other publications. He spent his formative twenties living and working as a songwriter in Nashville, Tennessee. His prior novel, Streets of Nashville, is scheduled for publication in April 2025 by Madville Publishing. Cody lives with his wife Leesa in Jonesborough, Tennessee, and teaches American literature before 1900, Native American literature, and mythology in the Department of Literature & Language at East Tennessee State University.

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Eric and Eliot catch up for the first time in a month after returning from overseas. They break down the latest jackassery, from Graham Platner's campaign implosion to Recep Tayyip Erdoğan gifting revolvers and live, gold-plated ammunition to the heads of state at the recent NATO summit. They assess the NATO summit more broadly and note the caveats to Trump's promise to provide Ukraine a license to produce Patriot missile defense interceptors. Eric unpacks his recent Bulwark piece on the conspiracy of silence at the gathering related to Turkey's democratic backsliding. They also discuss recent investigations into China's assistance to Russia's war effort, the state of the "ceasefire" with Iran, and Rahm Emanuel's speech in Tel Aviv. Finally, they trade observations from their travels to France and Eastern Europe.Eliot's latest in the Atlantic (gift link):https://www.theatlantic.com/ideas/2026/07/america-france-enduring-relationship/687844/?gift=KGDC3VdV8jaCufvP3bRsPg9Zn56KAT0A_Vk94nJcGVU&utm_source=copy-link&utm_medium=social&utm_campaign=shareEric's latest in the Bulwark:https://www.thebulwark.com/p/the-one-word-trump-wont-say-in-turkey-nato-summit-democracy-human-rights-europe-erdoganNate Swanson on Iran overplaying its hand:https://www.foreignaffairs.com/iran/iran-won-war-may-lose-peaceHoward Altman on the problems with the Ukraine Patriot licensing deal:https://www.twz.com/land/ukraine-built-patriot-missiles-wont-be-defending-the-countrys-skies-anytime-soonMichael Weiss, Roman Dobrokhotov, and Christo Grozev on China and Russia's targeting of Starlink:https://theins.press/en/inv/294635Shield of the Republic is a Bulwark podcast co-sponsored by the Miller Center of Public Affairs at the University of Virginia.

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Chaque jour dans l'Heure des Pros, Eliot Deval livre son regard sur l'actualité. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Tous les jours, actualité, débats et bonne humeur rythment L'Heure des pros.Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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Can't afford to do much traveling this summer?That's okay, we're going to take you to far-flung places around the world: western Africa, Italy, Japan, Cuba and more. And we'll introduce you to a handful of people carrying on traditions passed down in their families for generations, even centuries.In Italy, you'll meet one of the only women making the world's rarest pasta.In west Africa, the man who plays one of the oldest instruments in the world.In Scandinavia, the last nightwatchman. And in Germany, a matchmaking tree and a 500-year-old tradition.All their stories and more are featured in the book, Custodians of Wonder.We're talking with the book's author, BBC journalist Eliot Stein on this hour of All Sides.Guest:Eliot Stein, BBC journalist/author, Custodians of Wonder: Ancient Customs, Profound Traditions, and the Last People Keeping Them Alive

Can't afford to do much traveling this summer?That's okay, we're going to take you to far-flung places around the world: western Africa, Italy, Japan, Cuba and more. And we'll introduce you to a handful of people carrying on traditions passed down in their families for generations, even centuries.In Italy, you'll meet one of the only women making the world's rarest pasta.In west Africa, the man who plays one of the oldest instruments in the world.In Scandinavia, the last nightwatchman. And in Germany, a matchmaking tree and a 500-year-old tradition.All their stories and more are featured in the book, Custodians of Wonder.We're talking with the book's author, BBC journalist Eliot Stein on this hour of All Sides.Guest:Eliot Stein, BBC journalist/author, Custodians of Wonder: Ancient Customs, Profound Traditions, and the Last People Keeping Them Alive

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This week on the Just Sayin Podcast, the hilarious Eliot Glazer makes his triumphant return to promote his new book “The Terrible, Horrible, No Good, Very Bad Gay.” Available now to order and avail in stores August 11th. Order here at bit.ly/VeryBadGay This week we dive into the 4th of July, Our Lillith Fair Astrology signs, Queer Eye Drama…surprise, growing up not knowing, and of course Taylor and Travis. Make sure to get Eliot's book for your summer reading pleasure and like and subscribe in the comments below. More Justin! ⁠IG: ⁠⁠https://www.instagram.com/justinmartindale/⁠⁠⁠ ++++++++++++++++++++++++++++ Produced by Keida Mascaro IG: ⁠⁠⁠https://www.instagram.com/keidamascaro/⁠⁠⁠ Alphabet City Studio ⁠⁠⁠https://keidamascaro.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The WIP Morning Team reignites the MLB All-Star Game starter debate and wonder if Cristopher Sanchez still deserves to get the nod after a disastrous outing against the Royals yesterday. James and Eliot go back and forth on who Rob Manfred will choose to start the game between Sanchez and Brewers young ace Jacob Misiorowski. Joe also continues the discussion about Joel Embiid's roster status and reacts to some audio from Celtics President of Basketball Operations Brad Stevens.

The WIP Morning Team plays a game where they attempt to assemble a new US Men's National Team from all-time great athletes in their prime who'd be able to beat Belgium. Joe, Eliot, James and Rhea take turns drafting players such as Wilt Chamberlain, Myles Garrett and Michael Jordan for their team.

The WIP Morning Team compares the massive contract of Joel Embiid to those of Jaylen Brown and Jayson Tatum that caused the Celtics to move on from Brown and wonder if Mike Gansey and Bob Myers are possibly considering a similar move. Later, Joe, Eliot, James and Rhea get into an intense debate about the athletic ability of soccer players versus other professional sports in the US.

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Joe DeCamara and Eliot Shorr-Parks on the 94 WIP Morning Show react to the blockbuster trade bringing Jaylen Brown to the Philadelphia 76ers. They debate if the team is now a legitimate title contender and whether pursuing LeBron James is necessary given Joel Embiid's injury history. While Joe believes LeBron is a championship insurance policy, Eliot argues that the superstar would be a major distraction for the franchise. 01:00 - Weekend Sports Recap 02:48 - Jaylen Brown Trade Impact 04:50 - Sixers Title Contender Status 10:41 - LeBron James Signing Debate

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Jellicle songs for Jellicle Cats. But what the hell are Jellicle Cats? Why do we have to meet so many of them? Why did Andrew Lloyd Webber decide that a collection of T.S. Eliot poems for children was a solid basis for a musical? Why was everyone so adamant that it had to be adapted into a movie? Why was Tom Hooper deemed the man to do it? Why has he yet to answer for his crimes? Why did we land on ‘digital fur technology'? Why does Rebel Wilson keep unzipping her cat skin? And eating cockroaches with human faces? Why is James Corden allowed to do this? Why is Macavity naked? Why is Cat Taylor Swift so sexy? Why does Judi Dench stare straight into our souls to tell us that a cat is not a dog? WHY ARE WE STILL BEING INTRODUCED TO CATS???None of these questions have answers—by the film, our research or us—but we lightly lose our minds all over again trying to find them. We're joined by returning guest Emily Tatham and first-timer Tom Capon (who have collectively seen the film a dozen times) to reignite the cultural discussion of CATS, Tom Hooper's 2019 abomination that single-handedly opened the gates of Hell. Come with us… if you dare…Follow the podcast on Twitter, Bluesky and Instagram and be sure to subscribe so you don't miss an episode! Get in touch with us either via socials or email rambinaboutamblin@gmail.com.Ramblin is created and produced by Andrew Gaudion and Joshua Glenn. A special thanks as always to Emily Tatham for the artwork, and Robert J. Hunter-Clayton & Greg Sheffield for the theme music.You can listen to The Robert J Hunter band's new single 'Left Me Yet' here: ⁠https://ffm.to/rjhleftmeyet And you buy tickets to their upcoming album launch show on October 10 here: ⁠https://events.talentbanq.com/events/talentbanq/2123808⁠

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Christina Hello, everyone, I'm Christina Darnell, the managing editor of MinistryWatch. Welcome to the MinistryWatch podcast. In today's extra episode, I talk with Warren Smith about some news items that are slightly (even significantly) outside of our normal charity and philanthropy “beat.” So, Warren, what's up first?  Warren William Bennett famously said, “The plural of anecdotes is not data.” Journalists who write about religion often forget that reality. Christina The latest example came from Carson Daly of the Today Show. He wants us to believe that young people are packing Catholic Churches, and they are leading a Catholic resurgence in this country. But you're not buying it. Warren I'm not. The data tell a different story. I turned to the 2023–24 Pew Research Center Religious Landscape Study, based on nearly 37,000 randomly selected American adults, for a reality check. Among its findings: About 19 percent of U.S. adults identify as Catholic, unchanged since 2014 — but well below historical levels. Even more telling: 43 percent of Americans raised Catholic no longer identify as Catholic. Only 1.5 percent of American adults have become Catholic after being raised in another religion or with no religion. Catholics have experienced the largest net losses of any major Christian tradition through religious switching. Christina What about young people? That seemed to be the focus of the Carson Daly piece. Warren It was, but even among young people, the data don't support that conclusion. Among Americans ages 18–24, 12 percent have left Catholicism, while only 1 percent have converted into it. Pew concluded there is “no clear evidence” of a nationwide religious revival among young adults. Christina Why has this revival narrative been so persistent. We've been seeing it in the Protestant church as well. Warren Journalists want to find unusual stories. The slow secularization of religion over the past 50 years is not unusual. It's been told, and journalists are looking for a new story. As the old saying, “Dog bites man” is not a story. “Man bites dog” is a story. As for the Catholic resurgence story? Well, to torture the metaphor: “That dog won't hunt.” Carson Daly might be able to find a parish whose young adult Mass grows from 50 to 400 people, but that does not make up for the thousands of parishes experiencing gradual (and sometimes significant) decline. Christina Years ago, David Letterman had a routine that he called “Stupid Pet Tricks.” The first story we did, plus the next one, might qualify this episode of the podcast for its own “Stupid Media Tricks” segment. Warren You're right. This week saw another significant media story that caused me to wonder. In this case, veteran National Public Radio Supreme Court reporter Nina Totenberg wrote a story that Justice Samuel Alito had retired. Christina And, to be clear, Justice Alito has not retired. Warren That's right. But the story that he had retired made it through NPR's editing process and onto the website before someone discovered the mistake. And, of course, if it makes it to one website, the algorithms soon have it everywhere. Christina About an hour after publication, NPR retracted the story, issued a correction, and apologized. But the damage had been done. Warren To be fair, the damage was not severe – except, perhaps, to the credibility of NPR. But it does provide a lesson in how modern media work. Charlie Warzel, writing for The Atlantic, does a fascinating post-mortem on the episode, saying the error highlights several habits of modern journalism that are pathological. Among them: “That a breakneck news cycle is forcing even the best reporters and editors to move too fast, that modern beat reporting itself has become too consumed with being first to report stories.” Warzel's story is a smart look at how the journalistic sausage is made. I recommend it. You can find a link in today's show notes. Christina Our next story is also a media story, of sorts. Warren I had not thought of it that way, but I think you're right. Our friend Joseph Slife forwarded me a story that Michigan's Cornerstone University was offering a degree that could be completed “100%” on a smartphone. Christina Warren, did you check the date on that story. Are you sure it's not an April Fools Day prank? Warren I did check, because that was my first thought. Alas, it is not. According to The College Fix, “Cornerstone University, located in Grand Rapids, is offering an associate degree and bachelor's degree in strategic business management along with a master's in organizational leadership through its new program. Students pay a fixed rate of $2,400 per four-month term or $3,750 for graduate level work. The intended audience is working adults.” Christina That's pretty cheap, and – as a working adult – I couldn't imagine trying to get to a nearby college a couple of nights a week for classes. Warren I get that. 100  percent. I am not a Luddite. I use my iPhone for a lot of things – including learning. YouTube videos have helped me learn new licks on the guitar, have helped me repair my toilet, and have helped me gain new insights into the human condition. Christina But learning via iPhone is a different experience than face-to-face, in classroom learning. Warren That's exactly right. Especially from a wise and well-qualified teacher, in a community with other learners who are grappling with the same ideas — both in class, but also around the dinner table in the dining hall. Christina So what you're saying is that virtual learning is not worthless. It is just different. Warren I do not oppose colleges offering programs virtually, but to offer accredited degrees that carry all the prestige and credentialing power of an in-person degree…well…that is just bearing false witness. Christina Let's conclude today with news that the Texas State Board of Education passed a new required reading list that includes Bible passages. Warren On Friday, June 26, the Republican-controlled board voted 9-5-1 to approve a first-of-its-kind list that will affect more than 5 million public school students. Required readings for younger students include illustrated Old Testament stories such as Noah's Ark and David and Goliath. By upper elementary school, students read New Testament passages about Jesus' teachings and parables. Middle school and high school lessons pair scriptural themes with classic literature. Christina Most Christian groups are praising this decision. But you say…not so fast. Warren I will have to say that net-net I am glad they are reading the Bible in the classroom. You simply cannot understand most of Western literature – from Dante to Shakespeare to Faulkner to Eliot – without some biblical literacy. And I know that there are a lot of great public school teachers who will handle these texts with care and respect. Christina I sense a big fat…however…coming on. Warren Ha. So I'll say it.  However… I do wonder what will happen when you put scripture into the hands of militantly secularized teachers, and you give them a platform to air their grievances. They may be forced to read the bible, but what if the teacher spends the rest of the class presenting arguments for its unreliability? Christina So are you opposed to reading the Bible in classrooms? Warren Absolutely not. I'm very much in favor of it, but I do wonder how it's going to be taught. I would recommend that parents in Texas remain vigilant. Time will tell whether this was a positive innovation for the classroom, or one full of unintended consequences. Until then, though, I know that “God's word will not return void.” So, I trust that the positive impact of scripture reading will be greater than any efforts to undermine it. Christina Any final thoughts before we go? Warren If you have not discovered our YouTube channel, check it out here. We now have nearly 200 videos there, and they have attracted tens of thousands of views. Subscribe, like, and share to spread the word about our work. I am in Albuquerque next month. If you live in the Land of Enchantment, one of my favorite states, reach out to me. I would love to share a meal or a cup of coffee with you. My email is wsmith@ministrywatch.com. We'd love to have your financial support as we approach our fiscal year end. Just go to www.ministrywatch.com/donate Christina The producer for today's program is Jeff McIntosh. I'm Christina Darnell, along with Warren Smith. Until next time, may God bless you.

In this episode, Anderson Advisors' Barley Bowler, CPA, and Eliot Thomas, Esq., tackle listener tax questions spanning real estate, trading, and business structures. They explain how California's clawback rules and residency tests apply to precious metals gains when relocating to Tennessee, and outline how a trade structure with a corporate partner can shift trading income while avoiding personal holding company tax. Barley and Eliot also cover entity options for leasing a personal vehicle to a business, the filing requirements for out-of-state rental income, and how a property management S-Corp can be used to offset W-2 income through short-term rental material participation. Other topics include strategies for minimizing capital gains on a long-term rental sale — including 1031 exchanges and cost segregation studies — offsetting capital gains from a personal residence sale with business losses, and how non-dividend distributions are taxed as a return of capital. Tune in for expert advice on these and more!   Submit your tax question to taxtuesday@andersonadvisors.com   Highlights/Topics: 00:00 Intro to Tax Tuesday with Eliot and Barley 08:06 — "I've lived in California for decades but am now moving to Tennessee. Once in Tennessee, I will sell some of my precious metals to go toward buying a personal residence. Will California try to claw back taxes on the precious metal gain since I purchased it while living in California? How long do I have to be a resident of Tennessee before I am under Tennessee taxation rules for selling precious metals?" — Clawbacks don't apply; timing and residency ties to California matter most. 18:24 — "As an equity options trader (not eligible for TTS status), what is a good entity structure for tax advantages when my partner has an SMLLC for business?" — A trade structure with a C-Corp partner shifts and protects gains. 26:05 — "I have a trading structure. Please explain the tax treatment guidelines when investments in securities are sold, when a K-1 is triggered, etc." — Gains split by ownership percentage; K-1s issue once the 1065 is filed. 36:05 — "I'm wondering if I can purchase a vehicle and lease it to my business year by year — is that a possible tax advantage for a private investigation business?" — Possible, but reimbursing mileage through an S-Corp is simpler and safer. 44:20 — "I live in Washington State. If I buy a rental in Oregon, do I have to file Oregon tax and pay Oregon tax on the property located there?" — Yes — the source state taxes rental income regardless of residency. 47:02 — "I run three Airbnb properties and have an LLC taxed as an S-Corp that I use as a management company, where all revenue and expenses flow into it. It does not take depreciation since the LLC doesn't own the property — we have the deeds in our personal name. How can I take advantage of the loss and depreciation to offset our W-2 in this case?" — Short-term rentals need material participation, not REP status, to offset W-2. 1:04:27 — "How can I avoid or minimize capital gain taxes if I sell a rental property I've had for seven years?" — Use passive losses, a cost-seg study, 1031 exchange, or capital loss harvesting. 1:10:32 — "Can a long-term capital loss (from the sale of a business) be used to offset a long-term capital gain from the sale of a personal residence?" — Yes, after applying Section 121's home-sale exclusion and depreciation recapture rules. 1:15:24 — "Are non-dividend distributions considered a return of capital and therefore not taxed?" — Only partly — earnings, then basis return, then capital gain, in order. Resources: Tax and Asset Protection Events https://andersonadvisors.com/real-estate-asset-protection-workshop-training/?utm_source=Apple%20Podcast&utm_medium=social&utm_term=anderson&utm_content=How%20to%20Avoid%20Costly%20Capital%20Gains%20Taxes%20When%20Selling%20a%20Rental%20Property&mls=Social%20Media Schedule Your FREE Consultation https://andersonadvisors.com/strategy-session/?utm_source=Apple%20Podcast&utm_medium=social&utm_term=anderson&utm_content=How%20to%20Avoid%20Costly%20Capital%20Gains%20Taxes%20When%20Selling%20a%20Rental%20Property&mls=Social%20Media Anderson Advisors https://andersonadvisors.com/ Toby Mathis YouTube https://www.youtube.com/@TobyMathis Toby Mathis TikTok https://www.tiktok.com/@tobymathisesq Clint Coons YouTube https://www.youtube.com/@ClintCoons

we were late last week, so to make it up, we are early this week! This week, our good buddy and comic book writer extraordinaire Eliot Rahal stops by the Show show to sit in when Me and Trae sort of just do the show in front of him lol.  We discussed a scandal about a Lego resale shop that apparently stole a bunch of peoples priceless collections. Speaking of collectibles, That naturally turn the conversation to comic books, which Eliot is so well-versed on   Please pre-order Eliot's new comic book and check out his old one (which CHO Loves!) Hot Lunch Special https://aftershockcomics.com/collections/hot-lunch-special   CoreyWritesForYou.com TraeCrowder.com   sponsors    BlueChew.com promo code POA  JoinBilt.com Promo Code POA GetSoul.com/POA     

In this special episode of Tank Talks, Matt Cohen brings listeners inside Toronto Tech Week with a live podcast studio recorded at the Toronto Homecoming event. This episode captures a fast-moving snapshot of the Canadian tech ecosystem through candid conversations with Boris Wertz of Version One, Lawrence Mandel and Farhan Thawar of Shopify, Ben Vinegar of Modem, Andrew Chau of Neo Financial, Fahd Ananta of Opendoor, and Eliot Pence of Dominion Dynamics. Across venture capital, AI-native engineering, product management, fintech, defense tech, and startup turnarounds, the episode explores why Toronto Tech Week feels like a real inflection point for Canadian founders, operators, investors, and returning global talent.Matt and the guests dig into the biggest questions shaping startups in 2026: how AI is changing the speed of company-building, why “AI wrappers” are becoming harder to defend, how Shopify is rethinking engineering culture around AI, what agentic coding still gets wrong, why Neo Financial is taking on Canada's banking oligopoly, what Opendoor's turnaround reveals about velocity, and how Dominion Dynamics is building sovereign Canadian defense technology for the Arctic. The recurring theme is clear: Canada has talent, capital, technical depth, and ambition, but the ecosystem needs to move faster, take bigger risks, and stop hiding its best builders under a very polite rain jacket.Whether you're a Canadian founder, venture capitalist, AI operator, fintech builder, defense tech investor, or someone trying to understand why Toronto Tech Week has become such a high-energy gathering for the startup community, this episode is packed with sharp insights from leaders building at the edge of what comes next.Boris Wertz on Early-Stage Investing in a No-Playbook AI Market (02:16)Boris Wertz of Version One Ventures compares Toronto Tech Week to other tech gatherings and explains why today's early-stage investing environment is unlike anything he has seen before. He discusses the faster pace of innovation, why founders need to be nearly perfect from the start, and how AI-native companies require a different mindset than traditional SaaS startups.Lawrence Mandel on Shopify's AI-Native Engineering Culture (07:13)Lawrence Mandel shares how Shopify's engineering organization is building for merchants, APIs, analytics, and the third-party ecosystem while operating with a mostly remote team. He explains how Shopify's intern program, engineering culture, and AI-first mindset are shaping the next generation of Canadian technical talent.Farhan Thawar on Remote Work, Bursts, and Shopify's Meeting Armageddon (16:46)Farhan Thawar shares a blunt view on Shopify's remote-first culture, saying most companies should not simply copy it unless they are deeply intentional. He explains Shopify's “bursts,” company-wide summits, hackathons, and Meeting Armageddon, where recurring meetings are deleted so teams can rebuild their calendars from first principles.Ben Vinegar on Modem and AI Product Management (31:52)Ben Vinegar introduces Modem as an AI product management platform focused on the non-coding work behind software development. He explains why user conversations, product feedback, and customer experience are harder to understand deterministically, and why LLMs create a new way to analyze human signals at scale.Andrew Chau on SkipTheDishes, Neo Financial, and Taking on Canadian Banking (45:23)Andrew Chau shares the origin story of SkipTheDishes and how that experience led him to build Neo Financial. He explains why Neo chose one of the hardest and most regulated industries in Canada, and why the big five banking oligopoly creates a massive opportunity for a better consumer banking experience.Fahd Ananta on Opendoor, Turnarounds, and Speed (59:20)Fahd Ananta shares how he joined Opendoor during its turnaround after reconnecting with Kaz from Shopify. He explains how a simple congratulatory message turned into a strategic document, a fast offer, and a move into one of the most closely watched public-company turnaround stories in tech.Eliot Pence on Returning to Canada to Build Dominion Dynamics (01:04:34)Eliot Pence shares why he is moving back to Canada after years abroad and why he believes this is a unique moment for Canadian ambition. He explains that Dominion Dynamics is being built in Canada because the customer is here and because Canada is reinvesting in defense.About Boris WertzBoris Wertz is the founder of Version One Ventures, an early-stage venture capital firm known for backing ambitious technology companies across emerging markets and frontier categories. A longtime investor in the Canadian and global startup ecosystem, Boris brings a clear-eyed perspective on how venture has changed in the AI era, why founders now need to move with more speed and precision than ever, and what separates truly defensible companies from short-lived AI wrappers.Connect with Boris Wertz on LinkedIn: https://www.linkedin.com/in/bwertz/Visit the Version One website: https://versionone.vc/About Lawrence MandelLawrence Mandel is a VP of Engineering at Shopify, where he helps lead major parts of Shopify's core technical infrastructure, including merchant-facing systems, analytics, API layers, and the third-party developer ecosystem. With more than eight years at Shopify and a team of hundreds of engineers, Lawrence has been closely involved in how one of Canada's most important technology companies builds, hires, trains, and adapts in an AI-native world.Connect with Lawrence Mandel on LinkedIn: https://www.linkedin.com/in/lmandel/Visit the Shopify website: https://www.shopify.com/About Farhan ThawarFarhan Thawar is a senior engineering leader at Shopify and one of the most distinctive voices in Canadian tech on AI, software development, and engineering culture. Known for his practical, high-conviction thinking, Farhan has helped shape how Shopify approaches remote work, engineering velocity, AI tooling, internal systems, and company-wide habits like Meeting Armageddon and Delete Code Club. His perspective blends deep technical experience with a founder-style obsession for speed, leverage, and better systems.Connect with Farhan Thawar on LinkedIn: https://www.linkedin.com/in/fnthawar/Visit the Shopify website: https://www.shopify.com/About Ben VinegarBen Vinegar is the founder and CEO of Modem, an AI product management platform built to help teams understand users, product feedback, and the non-coding work behind building great software. Before starting Modem, Ben was VP of Engineering at Sentry, where he spent years working on developer tools, engineering productivity, and software observability. His work now sits at the intersection of AI, product development, user insight, and the future of agentic software workflows.Connect with Ben Vinegar on LinkedIn: https://www.linkedin.com/in/benvinegar/Visit the Modem website: https://modem.dev/About Andrew ChauAndrew Chau is the co-founder and CEO of Neo Financial, one of Canada's most prominent fintech companies, and a co-founder of SkipTheDishes. After helping build and exit one of Canada's breakout consumer technology companies, Andrew turned his attention to one of the hardest markets in the country: banking. Through Neo, he is focused on giving Canadians a modern alternative to legacy financial institutions, with digital-first products spanning credit cards, savings, checking, mortgages, rewards, and major brand partnerships.Connect with Andrew Chau on LinkedIn: https://www.linkedin.com/in/andrew-chau-1046749/Visit the Neo Financial website: https://www.neofinancial.com/About Fahd AnantaFahd Ananta is an operator and investor with experience across Shopify, Opendoor, and Roach Capital. He recently joined Opendoor during a major turnaround period, bringing with him the systems-driven operating mindset shaped by his time around Shopify's culture of speed, abstraction, and company-building discipline. Fahd represents a new kind of Canadian tech operator: globally experienced, deeply technical, quietly intense, and focused on helping large, complex companies move faster.Connect with Fahd Ananta on LinkedIn: https://www.linkedin.com/in/fananta/Visit the Opendoor website: https://www.opendoor.com/About Eliot PenceEliot Pence is the founder of Dominion Dynamics, a Canadian defense technology company focused on sovereign capability, Arctic security, and dual-use technology. A former leader at Anduril, Eliot returned to Canada to build a defense company designed for speed, risk-taking, and real-world deployment. His work is centered on helping Canada rebuild ambition in national security, defense procurement, Arctic infrastructure, and the kind of company-building required to create globally consequential Canadian technology.Connect with Eliot Pence on LinkedIn: https://www.linkedin.com/in/eliotpence/Visit the Dominion Dynamics website: https://www.defendthedominion.com/Connect with Matt Cohen on LinkedIn: https://ca.linkedin.com/in/matt-cohen1Visit the Ripple Ventures website: https://www.rippleventures.com/This episode is brought to you by Deel. Receive our exclusive offer here: https://www.deel.com/partners/tanktalks/?utm_source=podcast&utm_medium=partner-sourced&utm_content=rippleventures&utm_place=organic-community This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tanktalks.substack.com

Eliot Shorr-Parks joins Ike Reese, Spike Eskin, and Jack Fritz to analyze potential Sixers draft picks and reflect on his unconventional eight-year career as a busboy. They examine the financial implications of Jalen Carter's upcoming contract and discuss the longevity of the Eagles' defensive core. The conversation concludes with a debate over Bryce Harper's individual accomplishments and his impact on the Phillies' team dynamic.

Books Referenced: -Faith, Hope and Poetry by Malcolm Guite Mentioned as the primary source for defining imagination as an "active power of perception" and "reason's twin faculty."-Leisure: The Basis of Culture by Josef PieperRecommended as a foundational work on contemplation, leisure, culture, and the rich inner life.-Disruptive Witness by Alan NobleMentioned as one of Noble's influential books.-On Getting Out of Bed by Alan NobleMentioned as another significant work by Alan Noble.-Fear and Trembling by Søren KierkegaardReferenced by Nathan in discussing imagination, fear, and possibility.-The Brothers Karamazov by Fyodor DostoevskyUsed as an example of a book too rich to simply "download" as information.-Julius Caesar by William ShakespeareRecommended as a timeless lens for understanding political anger, betrayal, and power.Essays & Articles-Tradition and the Individual Talent by T. S. EliotDiscussed extensively as an example of entering "the Great Conversation" between tradition and individuality.-"The Great Conversation" (concept)Referenced as the tradition of engaging with classic works across generations.In this episode of Thinking Out Loud, Nathan and Cameron explore the power of imagination, its relationship to reason, and why it is essential for human flourishing, Christian discipleship, moral decision-making, empathy, creativity, and a rich inner life. Drawing on the insights of Malcolm Guite, Blaise Pascal, Josef Pieper, T.S. Eliot, Aristotle, Søren Kierkegaard, Shakespeare, and Fyodor Dostoevsky, Nathan and Cameron discuss how imagination helps people perceive reality, envision a better future, cultivate contentment, engage deeply with Scripture, and participate in the great conversation of human thought. They also examine the dangers of fantasy, distraction, and deception, while making a compelling case for reading great books, slowing down, practicing reflection, and developing the imagination as a gift from God. If you're interested in Christian worldview, apologetics, philosophy, theology, classical education, faith and culture, spiritual formation, and the role of imagination in everyday life, this conversation offers practical wisdom and thought-provoking insights.

Erin Brockovich (2000) (directed by Steven Soderbergh) is based on the true story of Erin Brockovich, a legal assistant without formal training, who uncovers one of the most significant environmental lawsuits in U.S. history: the case against Pacific Gas and Electric for contaminating groundwater in Hinkley, California. The film, which features an Oscar-winning performance by Julia Roberts in the title role, explores the role of lawsuits in exposing truth and gaining compensation for victims, the gendered dynamics of legal advocacy, and the challenges of taking on entrenched power structures in society.Timestamps:0:00     Introduction1:59       Who is Erin Brockovich?3:11       Obstacles to holding corporations accountable5:49      How Erin Brockovich overcomes those obstacles8:10      Imbalance of power and resources14:40    Hinkley, California18:00    Accessing records21:16     Tort reform, punitive damages, and proportionality27:10     States and environmental regulation32:22    Causation and attribution science37:30    Whistleblowers              41:17      Finding the “smoking gun”42:53    The practice of law and parentingFurther reading:Banks, Sedina “The ‘Erin Brockovich Effect': How Media Shapes Toxics Policy,” 26 Environs Env't L. Poly' J. 219 (2003)Brockovich, Erin and Eliot, Marc, Take It from Me: Life's a Struggle but You Can Win (2002)Chen, Sarah Small, “Toxic Film: Analyzing the Impact of Films Depicting Major Contamination Events on the Regulation of Toxic Chemicals,” 35 Georgetown Env't L. Rev. 561 (2023)"'Erin Brockovich' Made their Town Famous: They Still Don't Have Clean Water,” Wash. Post (Dec. 27, 2024)Martens, Daniel L. “Chromium, Cancer, and Causation: Has a Death-Blow Been Dealt Chromium Cases in California?” 16 Natural Resources & Env't 264 (2002)McCann, Michael McCann & Haltom, William, “Ordinary Heroes vs. Failed Lawyers – Public Interest Litigation in Erin Brockovich and Other Contemporary Films,” 33 Law & Soc. Inquiry 1045 (2008)“Still Toxic After All These Years,” Grist (Jan. 29, 2019)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.htmlYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

Eliot reviews the week's jackassery and offers his thoughts on Juneteenth and the upcoming 250th anniversary of the signing of the Declaration of Independence. He then welcomes Ambassador Deborah Lipstadt, distinguished professor at Emory University and prolific author. She explains her background as a historian of the Holocaust, her work documenting Holocaust denial, and her experience being sued by British Holocaust denier David Irving. They discuss her work as Special Envoy for Monitoring and Combating Antisemitism from 2022 to 2025, which included efforts to bring Saudi Arabia into the Abraham Accords and creating the Global Guidelines for Countering Antisemitism. They explore the political and ideological forces behind the current global rise in antisemitism before pivoting to the threat it poses to democracy and the state actors exploiting it to sow division in the United States.David Irving v. Penguin Books Ltd. and Deborah Lipstadt:hdot.orgINSS Report on China's online campaign to sow division in America:https://www.inss.org.il/publication/china-usa-influence/George Washington to the Hebrew Congregation in Newport, Rhode Island:https://founders.archives.gov/documents/Washington/05-06-02-0135Letter from the Hebrew Congregation in Newport, Rhode Island to President George Washington:https://www.gwirf.org/files/moses_seixas_letter.pdfShield of the Republic is a Bulwark podcast co-sponsored by the Miller Center of Public Affairs at the University of Virginia.

Happy Pride, lil onions! Raise your hand if you've ever been bullied because you can't dance. Now raise the other hand if it was at the hands of your own cult. That's right, the siblings are finally talking about Cats (1998). Carie and Ross break down the absolute fever dream that is Andrew Lloyd Webber's reimagining of T.S. Eliot's Old Possum's Book of Practical Cats. Carie ragebaits Ross by bringing up the disastrous Tom Hooper adaptation. Ross puzzles over the real reason why Grizabella is ostracized from the kitty cat cult. And the siblings reflect on the message of the musical concerning mortality, regret, and grief over what life was like in youth.  SUPPORT US ON PATREON! 

With Eric on vacation, Eliot welcomes Kenneth Pollack, VP for Policy at the Middle East Institute, to the show. Ken outlines MEI's mission before providing analysis on the current state of the Iran war. They discuss the difficulty of ending a conflict when both sides believe they are winning, and whether we are on the cusp of significant concessions or escalation. They explore whether the war was a good idea badly executed or a bad idea badly executed. The pair also speculate about what a successfully prosecuted war effort would have looked like before turning to the likely trajectory of the Iranian regime in the future. Ken explains the broader implications of the war for the Gulf States, Israel, China, Russia, and Turkey before closing with a conversation about why the United States cares about the region and why it presents such an enduring challenge.Shield of the Republic is a Bulwark podcast co-sponsored by the Miller Center of Public Affairs at the University of Virginia.

Maggin has rleased his 3rd superman universe novel Lex Corp, a first person narritive of Luthor telling his own story. Now He also is reading the book chapet by chapter as a free weekly podcast. You can also hera him read his ast Son Of Krypton and Miracle Monday books as well. 

James Seltzer and Eliot Shorr-Parks react to the latest AJ Brown story and ESP gives his thoughts on the Eagles' first day of mandatory mini camp. And of course, we have to talk about Eliot's haircut.