Podcasts about emile zola

durée : 00:03:45 - Au collège Emile Zola de Royan la sonnerie change toutes les semaines

C'est une affaire dont on parle beaucoup en France, le déménagement d'une école maternelle à cause d'un point de deal, un point de vente de drogue. Hier lors d'un referendum local, les parents d'élèves de l'école Emile Zola, à Saint Ouen près de Paris, ont approuvé le départ des enfants vers d'autre locaux. La polémique est vive, car cette décision apparaît comme un recul du service public devant la délinquance.

Depuis plusieurs années maintenant, le trafic de drogue gangrène de plus en plus les villes de France. Notamment à Saint-Ouen, en Seine-Saint-Denis, où la cour de l'école Emile Zola est investie par les trafiquants. Face à cela, les parents d'élèves devront décider s'ils doivent ou non déplacer plusieurs classes.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Depuis plusieurs années maintenant, le trafic de drogue gangrène de plus en plus les villes de France. Notamment à Saint-Ouen, en Seine-Saint-Denis, où la cour de l'école Emile Zola est investie par les trafiquants. Face à cela, les parents d'élèves devront décider s'ils doivent ou non déplacer plusieurs classes.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Depuis plusieurs années maintenant, le trafic de drogue gangrène de plus en plus les villes de France. Notamment à Saint-Ouen, en Seine-Saint-Denis, où la cour de l'école Emile Zola est investie par les trafiquants. Face à cela, les parents d'élèves devront décider s'ils doivent ou non déplacer plusieurs classes.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nous sommes le 24 avril 1866. Charles Monselet, chroniqueur pour « Le Journal illustré », hebdomadaire, créé deux ans plus tôt, se positionnant sur le créneau des illustrés destinés aux familles de la classe moyenne, disponible en kiosque, le dimanche, pour la modique somme de 10 centimes, s'interroge sur les codes qui régissent le genre littéraire dans lequel il exerce ses talents. Il écrit : « Ô mes confrères ! enseignez-moi les rubriques de votre profession ; apprenez-moi comment on intéresse, comment on plaît, comment on s'empare de l'attention et surtout comment on la retient ; révélez-moi les moyens par lesquels on force les passants à se retourner. Il y a des charmeurs de lecteurs comme il y a des charmeurs de serpents. Enseignez-moi l'air qui captive et qui séduit. » Le moins que l'on puisse dire, c'est que notre homme va exceller dans cette discipline et dans d'autres. Érudit, poète, grand gastronome, journaliste et critique littéraire, dramaturge, romancier, amateur de bons mots, peu avare dans l'art de décocher les flèches, Monselet, passionné par le XVIIIe siècle, sera le témoin précieux d'une bonne partie du suivant. Salué, fêté, de son temps, il va pourtant rejoindre la cohorte des oubliés de la postérité. Il n'a pas eu le génie de son ami Victor Hugo ou celui d'un Flaubert, d'un Zola, ceux-là qui ont rejoint le panthéon des flamboyants, mais il mérite d'être redécouvert car, comme beaucoup d'autres seconds ou petits rôles de l'histoire de la littérature, il est un magnifique baromètre de compréhension d'une époque. Une époque qui, comme la nôtre aujourd'hui, est marquée par le monde des médias. Donnons sa revanche à Charles Monselet … Avec nous : Valérie André, directrice de recherches en histoire de la littérature à l'ULB et Paul Aron, professeur de littérature à l'Université libre de Bruxelles, directeur de recherche honoraire au FNRS. « Abécédaire Monselet » ( avec Jean-Didier Wagneur et la collaboration de Françoise Cestor) ; éd. Du Lérot. Sujets traités : Charles Monselet, poète, grand gastronome, journaliste et critique, littéraire, dramaturge, romancier, Victor Hugo, Gustave Flaubert, Emile Zola Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Stéphane Bern nous raconte le destin hors-norme d'un écrivain dont l'œuvre l'était tout autant, hors-norme : Honoré de Balzac, le père de “Comédie Humaine” qui a été honoré par ses pairs de son vivant, mais aussi - différemment - 40 ans après sa mort, par Emile Zola et le sculpteur Rodin qui l'a immortalisé avec un bronze qui a fait beaucoup parler... Comment Balzac est-il devenu un monument de la littérature ? Pourquoi Auguste Rodin a-t-il été choisi afin de réaliser une statue à son effigie ? Comment le sculpteur a-t-il mené l'enquête pour représenter fidèlement l'écrivain ? Pour en parler, Stéphane Bern reçoit Isabelle Collet, conservatrice générale, cheffe du département scientifique et des collections du Musée Rodin et commissaire, avec Marine Kisiel, de l'exposition "Corps In.visibles, une enquête autour de la robe de chambre de Balzac", présentée au Musée Rodin jusqu'au 2 mars 2025. Au Coeur de l'Histoire est réalisée par Mathieu Fret. Rédaction en chef : Benjamin Delsol. Auteur du récit : Jean-Christophe Piot. Journaliste : Armelle Thiberge.

Stéphane Bern nous raconte le destin hors-norme d'un écrivain dont l'œuvre l'était tout autant, hors-norme : Honoré de Balzac, le père de “Comédie Humaine” qui a été honoré par ses pairs de son vivant, mais aussi - différemment - 40 ans après sa mort, par Emile Zola et le sculpteur Rodin qui l'a immortalisé avec un bronze qui a fait beaucoup parler... Comment Balzac est-il devenu un monument de la littérature ? Pourquoi Auguste Rodin a-t-il été choisi afin de réaliser une statue à son effigie ? Comment le sculpteur a-t-il mené l'enquête pour représenter fidèlement l'écrivain ? Pour en parler, Stéphane Bern reçoit Isabelle Collet, conservatrice générale, cheffe du département scientifique et des collections du Musée Rodin et commissaire, avec Marine Kisiel, de l'exposition "Corps In.visibles, une enquête autour de la robe de chambre de Balzac", présentée au Musée Rodin jusqu'au 2 mars 2025. Au Coeur de l'Histoire est réalisée par Mathieu Fret. Rédaction en chef : Benjamin Delsol. Auteur du récit : Jean-Christophe Piot. Journaliste : Armelle Thiberge.

Qui se souvient de Madame Zola ? Née Eléonore, dans un milieu populaire, devenue Gabrielle l'affranchie parmi les peintres de l'époque et épouse l'ami de Cézanne, Emile Zola. Zola l'auteur des Rougon Macquart, 20 volumes de l'Histoire naturelle et sociale d'une famille sous le second Empire, Zola le chef de file des Dreyfusards dénonçant dans J'accuse le complot ourdi contre le capitaine juif et toujours à ses côtés, Alexandrine. Flamboyante Zola est le troisième roman de Jean-Louis Milesi. Il décrit la part d'ombre d'un monument de la littérature, sa double vie conjugale, ses mensonges, sa peur de vieillir sans enfant. Une histoire qui pour une fois se raconte du point de vue de son épouse, Alexandrine.Jean-Louis Milesi est l'invité de Sur le pont des arts. Flamboyante Zola vient de sortir aux Presses de la cité. Au programme de l'émission :Chronique Pionnières de la culture Marjorie Bertin nous raconte la vie d'Artemisia Gentileschi. Cette peintre issue du caravagisme est l'une des rares femmes de l'époque moderne à avoir pu vivre de son art.Reportage Direction Kigali au Rwanda, notre correspondante Lucie Mouillaud nous fait découvrir la danse des Intore. Cet art, pratiqué par les jeunes combattants d'élite issus de la noblesse tutsie, est entré au patrimoine mondial immatériel de l'Unesco en décembre 2024.Playlist du jour- Sarabland -  Senny Camara et Cory Seznec - Matcha Queen – Yoa- Need Me - Rita Ange Kagaju feat Kivumbi King.

Qui se souvient de Madame Zola ? Née Eléonore, dans un milieu populaire, devenue Gabrielle l'affranchie parmi les peintres de l'époque et épouse l'ami de Cézanne, Emile Zola. Zola l'auteur des Rougon Macquart, 20 volumes de l'Histoire naturelle et sociale d'une famille sous le second Empire, Zola le chef de file des Dreyfusards dénonçant dans J'accuse le complot ourdi contre le capitaine juif et toujours à ses côtés, Alexandrine. Flamboyante Zola est le troisième roman de Jean-Louis Milesi. Il décrit la part d'ombre d'un monument de la littérature, sa double vie conjugale, ses mensonges, sa peur de vieillir sans enfant. Une histoire qui pour une fois se raconte du point de vue de son épouse, Alexandrine.Jean-Louis Milesi est l'invité de Sur le pont des arts. Flamboyante Zola vient de sortir aux Presses de la cité. Au programme de l'émission :Chronique Pionnières de la culture Marjorie Bertin nous raconte la vie d'Artemisia Gentileschi. Cette peintre issue du caravagisme est l'une des rares femmes de l'époque moderne à avoir pu vivre de son art.Reportage Direction Kigali au Rwanda, notre correspondante Lucie Mouillaud nous fait découvrir la danse des Intore. Cet art, pratiqué par les jeunes combattants d'élite issus de la noblesse tutsie, est entré au patrimoine mondial immatériel de l'Unesco en décembre 2024.Playlist du jour- Sarabland -  Senny Camara et Cory Seznec - Matcha Queen – Yoa- Need Me - Rita Ange Kagaju feat Kivumbi King.

Tom Kearney is a Hampstead resident of over a quarter of a century and year-round swimmer at the nearby Ponds. He has a life well lived. In this podcast we talk about that life and the very special place that swimming in open water has in it. The late Al Alvarez, poet and author of the book ‘Pond Life', Tom's friend in Hampstead, brought him to swimming at The Ponds, something that he says has saved his life. On the eighteenth of December 2009, Tom was knocked over by a bus in London's Oxford Street, and was in near-death coma for two weeks, making a miraculous recovery subsequently. We talk about how the accident transformed his life, and how daily swimming is central to this transformation. We talk about poetry and The Ponds. About the central importance of family, of living each day to the full. About his campaigning for bus safety in London - ‘If you shut up truth, and bury it underground it will but grow' (Emile Zola). For Tom, campaigning and swimming outside all year round are not dissimilar - they're uncomfortable, require both physical and mental stamina, and every time you do it you achieve something that, in a different life, you'd have thought impossible. We talk about how life is serious business, but there is plenty of time for laughter, especially in relation to the East German Ladies Swimming Team (a Hampstead Men's Pond thing), which Tom is also a central part of. Tom brims with positivity, a Hampstead intellect who swims and appreciates all that life can offer.

Tous les matins à 8H10, Salomé nous donne des infos aléatoires du monde.

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

L'autrice, âgée de 57 ans, nous reçoit dans la chambre de bonne dans le Marais, à Paris, où elle écrit ses livres, à l'occasion de la publication ces derniers mois de son roman, « Jour de Ressac ». Maylis de Kerangal évoque son enfance dans les immeubles Perret, au Havre, auprès d'un père navigateur et d'une mère prof puis au foyer à s'occuper de ses cinq enfants. La télé occupe une place centrale, même si ses parents aiment organiser de nombreuses sorties en extérieur. Elle s'intéresse très vite à des livres empreints d'une certaine noirceur, des contes de fées à Emile Zola. Puis elle rejoint Paris pour ses études, se tournant vers les sciences humaines. Elle travaille à la confection de guides de voyage, doit s'arrêter pour des raisons de santé ét écrit son premier roman. L'écriture deviendra très vite alors le centre de sa vie. Maylis de Kerangal parle longuement de son travail littéraire, de son rapport au lieu, à la langue, aux sentiments et de son dernier livre « Jour de ressac ». Elle revient, enfin, sur son rapport à la mode : « J'ai une passion pour des vêtements que je ne peux pas porter. J'aime beaucoup la haute couture, mais je n'ai pas forcément les moyens de m'en ­acheter. J'aime l'idée de l'exclusivité, de la ­perfection, aussi. L'idée d'un vêtement qui soit issu d'ateliers où les gestes et les matières relèvent d'un certain savoir-faire. J'admire ­énormément ça. »Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Guillaume GiraultMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Bienvenidos una vez más a un Spaces donde hoy hablare de mi. Decir la verdad me ha convertido en un paria, pero prefiero ser un desterrado en la luz que un cómplice en la oscuridad. Los que me conocen saben que llevo 8 años enjuiciado por haber hablado de un caso donde personas poderosas supuestamente estarían envueltas en temas de pederastia. Mi vida cambió de raíz aquel 24 de febrero de 2016 cuando dos policías del grupo EDITE de Castellón, el grupo de la guardia civil de delitos telemáticos, entraron en mi casa gracias a un auto dictado un dia antes por el juzgado de instrucción numero 5 de Vinaroz. Recuerden que entró la policía judicial al domicilio familiar para registrarlo ¡por una denuncia de injurias y calumnias! ¡Algo que no podrán encontrar en ningún otro caso aqui en España! Ese fin de semana celebramos el cumpleaños de mi hija, imagínense. Mi espada de Damocles me ha hecho morir y renacer ya unas cuantas veces, la ultima con la renuncia de mi penúltimo abogado el 13 de mayo de 2024. Les recuerdo “a los malos” que ajusticiar en dia 13 de mayo es cómo hacerlo cuando fusilaban madrileños los franceses pero sumando un 10, esto es, el numero de Dios. Y Dios tiene unos planes inescrutables. Hable largo y tendido sobre todo esto en tres podcast titulados: UTP297 13 Malditos secretos, UTP298 Bar España y los fusilamientos del 13 de mayo y UTP299 13 cervezas con torreznos. Para el que no lo sepa y venga de nuevas les aviso que estoy con medidas cautelares desde el primer momento que me entrevisto la jueza que lleva el procedimiento y aún lo sigue llevando hasta que se inicie el juicio oral. Estamos hablando que desde el 4 de junio de 2019 se me prohibió manifestar o expresar cualquier opinión sobre los hechos a que se refiere este procedimiento por cualquier medio o procedimiento, incluidas las redes sociales mientras que dure la tramitación del presente procedimiento y hasta que recaiga resolución firme que ponga fin al mismo salvo dictado de nueva resolución modificando la presente. Dicho esto, queda poco margen para decir nada más. Ademas de que en todos y cada uno de los papeles que mi penúltimo abogado ponía en mi conocimiento provenientes del juzgado numero 5 de Castellón se me recordaba el cumplimiento del Reglamento Europeo 679/2018 y la Ley 50/1981, de 30 de diciembre, avisándome de que todo el procedimiento es confidencial, que quedaba prohibida su transmisión o comunicación publica por cualquier medio…o sea, que no puedo contar absolutamente nada. Sin embargo, todos hemos sido testigos de cómo en televisión se divulgan todo tipo de datos de los procedimientos judiciales más diversos. Los periodistas afines al sistema pueden publicitar prácticamente cualquier cosa sin trabas, mientras que los que estamos fuera de ese círculo nos enfrentamos a restricciones constantes. Una vez dictada la apertura del juicio oral, como ha sucedido en mi caso, el procedimiento deja de ser secreto. Es entonces cuando es legal hablar de ello, siempre respetando la protección de datos sensibles como nombres completos, DNIs, domicilios o información personal. Yo sin haber sido sentenciado ya he sido “juzgado” entre comillas por algunos medios periodísticos que han publicado mi nombre y los dos apellidos completos, parece que ese dia no habían iniciales para los parias. Yo ni siquiera puede contestar a los medios escritos que cuentan medias verdades, datos inexactos o incluso mentiras tan gordas como la Luna. Mis labios están sellados gracias a las medidas cautelares, por eso no se que pretendían los de Equipo de investigación conmigo, investigación negra que curiosamente, no impidió que dicho equipo de La Sexta localizara mi domicilio y tratara de sonsacarme información que, como ya he explicado, no podia compartir ni con ellos ni con nadie. Así me encuentro en esta situación lamentable: no puedo contaros las múltiples peripecias judiciales y vivenciales que estoy atravesando, muchas de ellas tan variadas como pintorescas. No soy el Lute, pero siento que hasta las gallinas me miran con recelo, como mirarían a un auténtico paria. Me hago la pregunta de porque, tal y como se comenta en mi primer libro, “Blasco Ibáñez desvelado”, en el caso Dreyfus apareció un periodista, Emile Zola con su carta “J ́accuse” que tanta importancia revistió en el “affair Dreyfus” y en el que yo denomino “caso maldito” no aparece ninguno. La wikipedia, esa herramienta del mal, dice sobre este caso: ”Es el Caso Dreyfus, la injusta condena de un militar, de origen judío, envuelto en el deshonor de una acusación de traición fraguada a base de pruebas falsas y silencios “. ¿Quizás al no ser yo judío, masón, del Opus Dei, jesuita, liberal, multimillonario, un erudito, satanista o cualquier otra cosa impide que ningún periodista ni ningún medio se digne a dirigir sus ojos en tan delicado procedimiento? ¡Qué la jueza ha rebajado la petición de pena del fiscal a unos 40 años y se me exige la presentación de una fianza conjunta y solidaria entre los 9 acusados que quedamos de mas de 2 millones y medio de euros! ¡Y se nos da la friolera de un dia para reunir tal cantidad! ¡Y eso no es noticiable! Larga y afilada es la espada de Damocles que ya roza mi sien, mientras yo, arrodillado y en silencio penitente, espero el momento en que atraviese mi carne, brote mi sangre y esta riegue el suelo como un tributo inevitable. Estoy condenado a entregarme como alimento a sus demonios, esos que se disfrazan de dioses, a sus tertulianos “expertos”, a su codicia insaciable y a su deseo de aplastar mis pensamientos y esparcirlos como cenizas. Y yo, sin embargo, debo envainar mi propia espada, someterme al escarnio, recibir las patadas en las costillas, y callar, como si la dignidad no me perteneciera. Eso es lo que nos sucede a los parias. Me pregunto dónde están esas cuentas con miles y miles de seguidores, esos youtubers famosos, esos disidentes de renombre que inundan las redes sociales con su presencia. ¿Por qué ninguno de ellos quiere entrevistarme o contar conmigo para algún programa, podcast, articulo, no sé? Y no me refiero a los falsos disidentes, esos que desde sus programas en horario estelar atrapan en sus telarañas a los pobres que, medio despiertos, caen en su campo de influencia. No mencionaré sus nombres, porque poco a poco la gente empieza a darse cuenta: todos repiten el mismo discurso, todos actúan al unísono, como en Fuenteovejuna. Nunca mejor dicho, porque tratan a su audiencia como si fueran un rebaño de borregos. Todos esos falsos disidentes nunca contarán conmigo, con un paria al que no pueden moldear ni utilizar para sus fines. Mi presencia les es incómoda, porque no encajo en su teatro de apariencias. La búsqueda de la verdad no está entre sus intereses; lo que realmente persiguen es el prestigio, el dinero fácil, los lujos que tanto desprecian de palabra pero ansían en secreto, y sobre todo, alimentar un ego desmesurado. Mientras predican justicia y libertad, se aseguran de no poner en riesgo su posición cómoda y privilegiada. Para ellos, la verdad es un medio para el espectáculo, no un fin en sí misma. ¿Y vds, que pueden hacer vds? Pues hacer de adivinos y explorando mis visceras repartidas por el suelo dictaminar a través de los omentos como hacían los antiguos oráculos romanos. Deben fiarse mas por su instinto que por lo que yo pueda contarles ya que lo que puedo contarles es…nada. A todos esos oídos infames que estarán escuchando esto, a todos esos correveidiles que harán de correos para el mal con mayusculas que se oculta en este llamado caso Bar España, en este caso maldito, solo puedo decirles que hoy no sacaran nada de este técnico preocupado. Mi corazón está con los niños que siguen siendo abusados, no solo aqui, en todo el mundo, y mi alma está en paz con Dios. Podéis seguir torturandome, clavando en mi costado vuestros poderosos puñales pero nunca extraeréis de mí nada mas que la verdad y la compasión. Sí, os compadezco porque vuestros corazones duros como el acero son fríos también como dicho metal y nunca entenderéis porque una persona como yo, que no tenia absolutamente ningún problema en su vida y vivia holgadamente, haya terminado inmolándose ante vuestros duros y fríos corazones. Allá vosotros con lo que hagáis en esta vida porque el castigo eterno lo tendréis mas que merecido. Series los jefecillos en el infierno, y allí no se ficha, allí se trabaja eternamente en una desidia sin principio ni final. Vosotros seréis los funcionarios que nunca se cansan de comer gusanos y putear a la gente por siempre jamas. Asi que lo siento en el alma pero mi espada envainada, no en señal de rendición, sino en ademan de cambio de ciclo, de punto de inflexión, que haga que muchos más guerreros no den su brazo a torcer. Son muchos los ya fallecidos en el caso maldito, Reinaldo Colas, Nuria Carque y otros, el ultimo Joaquin Crespo Marques, Ximo para los amigos, el cual falleció el 30 de septiembre del 2022 y el cual sigue apareciendo en los autos del procedimiento en la zona de acusados…no habéis tenido la decencia siquiera de retirar su nombre. Me callo ya. No entrarán moscas en mi boca por contar absolutamente nada del caso maldito y su interminable procedimiento, que ya roza los 10.000 folios. Una vez abierto, ya no es secreto... aunque para la prensa, en toda esa montaña de papel, no hay nada que consideren digno de titular. Porque para la prensa, hablar de un paria como yo no tiene ningún interés. Al fin y al cabo, cientos de miles de parias mueren cada día, millones son encarcelados, silenciados, vilipendiados y borrados de cualquier memoria colectiva. Somos la letra pequeña en la gran historia de sus telediarios. Mi caso maldito no es más que otro punto invisible en el vasto lienzo del olvido. Y, como paria, eso es exactamente lo que soy para ellos: invisible. Así que, esto es todo lo que tengo que deciros, que no puedo contar absolutamente nada de un procedimiento del cual ya se dictó apertura del juicio oral el 13 de diciembre de 2021. Sí, otro 13. Mi segundo abogado, voy ya por el cuarto, me decía que hasta que el procedimiento no tuviera la altura de un niño de diez años no había que preocuparse. De momento tiene la altura de uno de 9. Ya saben la querencia que tienen con ese numero los oscuros. Jakim Boor, seudónimo utilizado por Francisco Franco decía esto en el diario oficial del régimen, «Arriba», 26 de marzo de 1950: «La masonería no tiene prisa; sabe esperar, recuenta sus fuerzas, mueve sus peones, los previene y el día tal a la hora prevista y en el distrito elegido, generalmente el de un juez afecto, realiza su crimen. Un agente, o varios, de Policía masones estarán prevenidos en los lugares próximos al suceso. Lo demás es fácil: se borran las huellas, se falsea el atestado y el juez extrema su celo masónico desviando la justicia, así como la Prensa o la opinión. Y si aun así se fracasase, se cuenta con hermanos en las altas esferas para poder evitar lo irremediable. Los indultos, las amnistías y hasta las fugas preparadas hacen el resto«. Una supuesta cita bíblica dice tal que así: “Dios le da las peores batallas a sus mejores guerreros.” No existe tal cita en la Biblia. La única cita que nos habla sobre algo parecido la encontramos en Corintios 10:13: “No os ha sobrevenido ninguna tentación que no sea humana; pero fiel es Dios, que no os dejará ser tentados más de lo que podéis resistir, sino que dará también juntamente con la tentación la salida, para que podáis soportar.” Se suele decir que Dios nos prueba y el demonio nos tienta. Pero “pruebas” y “tentaciones” realmente son la misma palabra griega, “peirasmos”. Buscando su etimología veremos que significa prueba, situación difícil o reto pero también tentación o incitación al mal y por último calamidad o sufrimiento. Todo va unido y todo proviene de Dios. Todo. Estas últimas palabras marcaron el final de mi primer libro, Blasco Ibáñez desvelado, una obra de la que me siento profundamente orgulloso. No solo por lo que representa para mí, sino por lo que simboliza para todos aquellos que creyeron en un paria como yo y me ayudaron a transformar mi conocimiento en palabras, mi lucha en tinta, y mis pensamientos en un legado. Este libro no es solo mío; es también de esas almas generosas, maravillosas, que, a su manera, participaron en darle vida. Hoy tengo el honor de contar con algunas de esas personas que confiaron en mí, que me dieron la oportunidad de convertirme en escritor, que no es poca cosa decir. Porque en este mundo, donde las palabras han dejado de ser meros sonidos para convertirse en las armas más potentes de las guerras modernas, este humilde paria logró empuñarlas. Este libro es mucho más que una obra; es un testimonio de resistencia, un acto de fe compartida, y el sueño cumplido de alguien que, a pesar de todo, se atrevió a escribir su verdad. ………………………………………………………………………………………. Libres o esclavos de Manuel Valera Jamás hemos vivido tiempos como los presentes, tiempos en que el poder ejerce con violencia su influjo para no permitir bajo ningún concepto voces que pongan en duda las afirmaciones hechas desde las instituciones, todas ellas en manos de las élites que gobiernan el mundo. Ni siquiera es necesario negar -el término negacionista lo han empleado hasta desgastarlo queriendo señalar con él a cualquiera que no baile el agua al discurso oficial-. Basta con ejercer un mínimo de actitud crítica, escéptica, racional, normal… para ser censurado, silenciado o tachado de loco o conspiranoico -otro insulto de diseño-. Las redes sociales no escapan a este mecanismo. Twitter está tomado por el discurso oficial. La libertad es vigilada, otorgada, luego no es libertad, sino sucedáneo de la misma: o sea, mentira. El poder exige una masa babeante que rumie todos los mensajes que se inoculan mediante los medios de comunicación y demás plataformas del discurso oficial -aquí debemos incluir la ficción, tan sufragada y censurada como los telediarios o los comunicados oficiales-. Así las cosas, no hay experto independiente al que se le dé voz. Sólo lo que ellos digan. A pesar de que el discurso oficial es la voz de unos criminales que mienten, promueven el odio, lanzan mensajes encaminados a la destrucción de la sociedad y hasta presionan para que los incautos que siguen atendiendo a la oficialidad se dejen matar. No hay más que libres o esclavos. No queda término medio. Son las dos partes en que ha quedado dividida la sociedad, sin vuelta atrás ya. Una masa de atemorizados, desinformados, obedientes a las órdenes genocidas de los de arriba. Y enfrente, los apestados por el sistema. Los libres. Los que dicen que todo cuanto se afirma en materia económica, social, sanitaria, bélica, climática, racial, educacional, política, histórica… todo es mentira. Libres o esclavos. Y en cada esclavitud, recordemos, existe una asunción de la misma. A los libres nos pueden matar, pero no esclavizar. Para ser esclavo, hay que estar de acuerdo en ser vilipendiado por el criminal de arriba y por sus miserables empleados. Hay que salir a aplaudir a las ocho a los balcones de la vergüenza. Aplaudir a los que te están asesinando. Libres o esclavos. No hay más. Muchas gracias Manuel, nos despedimos con tu articulo recordando a nuestros oyentes que no tengan miedo y cuiden de sus familias. Nos vemos. ………………………………………………………………………………………. Conductor del programa UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq Invitados Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. Fernando Beltrán @nenucosinpanial Astrólogo y dibujante y poeta a ratos y criticón a veces y miles mundos más, todo para no bostezar. @venusmelibra …. ToniM @ToniMbuscadores …. Conocimiento para el alma | Editorial @ConluzEditorial Literatura, Arte, Historia, Opinión... las humanidades ponen luz a nuestra existencia, volvamos a estudiarlas con otra mirada #conluz ………………………………………………………………………………………. Enlaces citados en el podcast: AYUDA A TRAVÉS DE LA COMPRA DE MIS LIBROS https://tecnicopreocupado.com/2024/11/16/ayuda-a-traves-de-la-compra-de-mis-libros/ UTP297 13 Malditos secretos https://www.ivoox.com/utp297-13-malditos-secretos-audios-mp3_rf_128737399_1.html UTP298 Bar España y los fusilamientos del 13 de mayo https://www.ivoox.com/utp298-bar-espana-fusilamientos-del-13-audios-mp3_rf_128824891_1.html UTP299 13 cervezas con torreznos https://www.ivoox.com/utp299-13-cervezas-torreznos-audios-mp3_rf_129022962_1.html Libres o esclavos https://mvalera.es/libres-o-esclavos/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Epílogo DLD - A PARTIR DE MAÑANA https://www.youtube.com/watch?v=aaXpUjdN5G4

France's most influential writer of its time, Emile Zola , becomes the champion of the victim, even at his own, perhaps fatal expense. We're joined by his great granddaughter, who speaks of the cost Zola paid in fighting for freedom.

Bienvenue dans le 1er épisode d'histoire de travaux de cette rentrée sur Le Chantier ! J'espère que vous allez tous bien et que vous êtes prêts pour un nouveau récit de rénovation... Cette fois-ci, vous allez entendre le témoignage d'Antoine qui vit dans un endroit unique : l'île du Platais, une île sur la Seine à 25 minutes du centre de Paris, sur laquelle on ne peut aller que si l'on est invité ! Alors comment on s'organise quand on achète et rénove une maison sur une île sans pont ?

#acıtatlımayhoş Emile Zola ve ünlü ressam Renoir'dan şeftali benzetmeleri, Japonya'da yetiştirilen dünyanın en tatlı şeftalileri... Aylin Öney Tan şeftalinin izini sürüyor, hikayeler anlatıyor.

#acıtatlımayhoş Emile Zola ve ünlü ressam Renoir'dan şeftali benzetmeleri, Japonya'da yetiştirilen dünyanın en tatlı şeftalileri... Aylin Öney Tan şeftalinin izini sürüyor, hikayeler anlatıyor.

Listen as two grown men cry because "Make Way For Tomorrow" got them thinking about the limited time we all get with our parents. They also talk about embarrassing creative compromises made by the producers of "The Life of Emile Zola". Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Emile Zola et Paul Cézanne ont partagé des pans entiers de leur enfance aixoise. Devenus adultes, les succès de l'écrivain, les difficultés du peintre, auront-ils raison de leur amitié d'enfance ?Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Emile Zola, Noel Streatfeild, and romantic books – welcome to Tea or Books? episode 130! In the first half of this episode, we do a topic suggested by Lindsey – do books need a romantic storyline? In the second half, we

07 Banderas falsas y militares masones Como hemos venido desarrollando en esta serie de videos, el poder-religión, base fundamental que pasa desapercibida para la inmensa mayoría de la gente, opera en la sombra y trasciende fronteras, épocas y tipos de gobierno. Los grises funcionarios son uno de los gremios que forman parte de ese engranaje del poder-religión en la sombra. (poner video del globo Blasco Berlanga globo.mp4)) La figura de Blasco Ibáñez se ha utilizado para ejercer presión entre las masas populares para crear la ilusión que el pueblo también puede ejercer poder, desde la prensa o desde la tribuna del Congreso de los Diputados. Pero las cosas en realidad son bastante más grises y normalmente se planifican a muchos años vista ya que estas viejas castas que detentan el poder real se transmiten el conocimiento de padres a hijos “ad infinitum”. Leyendo el ensayo escrito por José Mas y Maria Teresa Mateu titulado “Vicente Blasco Ibáñez : ese diedro de luces y de sombras” financiado por todos nosotros y patrocinado por la Generalitat Valenciana me di cuenta de que tal y como cuentan los propios autores, todo eran luces. “Creemos haber abordado el estudio de Blasco Ibáñez con cierta novedad y, aunque en el título se alude a las luces y a las sombras, hemos procurado recoger sobre todo las luces: que otros recojan, si lo quieren, las sombras.” En el capítulo 5 vimos como se referían al editor Cabrerizo como si hubiera conocido a un joven Blasco aficionandolo a la lectura, pero una simple búsqueda nos arroja que Cabrerizo murió cuando Blasco tenia 1 año y 10 meses, esa es la credibilidad que debemos otorgar a “las luces”. La verdadera relación entre Blasco y el editor provenía de la tía de Blasco y muy posiblemente su entrada en la masonería sobrevendria por ello. El editor reconocía ser “uno de los fundadores de la Asociación de la Virgen del Pilar de Zaragoza, establecida en la Iglesia parroquial de los Santos Juanes” y los padres de Vicente Blasco Ibáñez decidieron bautizarlo y registrarlo en la Iglesia de los santos Juanes de Valencia. La hermana de su madre y el editor Cabrerizo compartían casa en el padrón municipal de Calatayud como podemos leer en el libro “Los amores de Blasco Ibáñez”: “Doña Ramona Ibáñez había llegado a Valencia llamada por una tía suya, doña Vicenta Martínez Torralva, natural de Calatayud, que contaba sesenta y dos años en la fecha del casamiento de doña Ramona. Doña Vicenta Martínez aparece en el padrón municipal de 1868 como domiciliada en la casa número 11 de la calle de Embajador Vich, en el mismo lugar y casa que habitaba el famoso editor don Mariano de Cabrerizo.” Roca nos cuenta un poco mas en la biografía sobre Blasco Ibáñez: “En medio de las conmociones de la época, el hogar de los Blasco vive en la paz y la prosperidad de un negocio convertido en floreciente gracias a la actividad de Gaspar y a la energía de su mujer. Con ellos vive también la tía Angela, hermana de doña Ramona. Con frecuencia visitan a la madrina en la calle de Embajador Vich, o en la casa que Cabrerizo tiene en la Alameda. Una casa amplia, con extenso jardín. Don Mariano de Cabrerizo tuvo muchísimas veces sobre sus rodillas al niño. Ya viejo, octogenario, Cabrerizo jugaba con él. ¿Qué quieres ser tú?, le preguntaba. Y como el pequeño le mirase con asombro, él mismo se respondía: «Librero. Eso es. Serás librero, como yo. Es un oficio digno de ser estimado. Cabrerizo falleció en Valencia a la edad de ochenta y cuatro años, el día 10 de diciembre de 1868. Pocos meses después todos los bienes del famoso editor eran sacados a pública subasta.” Vemos una relación de la hermana de la madre de Blasco con la masonería a través del editor Cabrerizo. Pero es que podemos relacionar a Pilar Blasco Ibáñez, hermana de Vicente Blasco Ibáñez con la masonería también. Su marido fue Alberto Carsí Lacasa, geólogo de profesión, ocupo cargos importantes durante la República. Teniendo como nombre simbólico CANOPUS al acceder por primera vez a la masonería a través de la logia Cosmos, estuvo también en la Logia Salud, Estabilidad y Poder. Llegó a poseer el grado 33 siendo Soberano Gran Inspector General. Tuvo que huir a Francia al igual que muchos otros masones conocidos tras la llegada al poder de Franco. Esta serie de videos no pretende eclipsar ni desacreditar a nadie; al contrario, nuestro objetivo es poner el foco en las cosas que no suelen contarse. En este caso, y brevemente, nos referiremos a los autores de este ensayo, quienes, tras una breve investigación, descubrimos que llevan muchos años colaborando juntos. Concretamente, los vemos trabajando juntos en la creación de 'Guiones didácticos' y en el libro de texto de Primero de B.U.P. de Lengua Española del año 1975, así como en el libro 'Literatura II: Literaturas Hispánicas' para el segundo año de B.U.P. Ellos dos solitos iniciaron la andadura a la lectura de los jóvenes que desperezándose de la dictadura de Franco tenían que entrar en el reinado de Juan Carlos I y su “democracia”. A la profesora de literatura Maria Teresa Mateu Mateu, doblemente Mateu, la vemos en el BOE de 31 de agosto de 1970, con Franco presente, pidiendo renunciar a su cargo de vocal titular del Tribunal de oposiciones a plazas de Profesores agregados de “Lengua y Literatura Españolas” de Institutos Nacionales y Secciones Delegadas de Enseñanza Media. Es decir, las mismas personas que tenían influencia en lo que se leía durante el régimen de Franco volvieron a tener influencia en lo que se leería durante la democracia. Apaguemos el foco sobre el dedo y miremos La Luna, esa enorme luminaria que nos indica que las idas y venidas de cárceles y entradas y salidas del pais del escritor valenciano no fueron tan duras como parece. El propio Blasco en “Los muertos mandan”, escrito en 1909, nos deja algunas perlas. Curiosamente es el texto de presentación que eligen José Mas y Maria Teresa Mateu para su ensayo: “Venía de Valencia, del penal de San Miguel de los Reyes, llamado Niza, a causa de la dulzura de su clima, por los habituales pensionistas de dichos establecimientos. Hablaba con orgullo de esta casa, lo mismo que un rico estudiante recuerda los años pasados en una universidad inglesa o alemana. Altas palmeras sombreaban los patios, ondeando su capitel de plumas por encima de los tejados. Desde las rejas llegaba a verse toda la extensión de la huerta valenciana, con los frontones triangulares y blancos de sus barracas, y más allá el Mediterráneo, una faja azul inmensa, tras cuyo lomo se ocultaba el peñón natural, la isla amada. Tal vez había pasado por ella el viento cargado de emanaciones salinas y ardores vegetales que se colaba como una bendición en las hediondas cuadras del presidio, ¡qué más podía desear un preso!... La vida era dulce, se comía a sus horas, siempre de caliente; había orden, y el hombre no tenía más que obedecer, dejarse llevar”. Nos narran también alguna de sus primeras escaramuzas con el poder: “A los dieciséis años tuvieron lugar dos hechos importantes en la vida de Blasco: la composición de un soneto en el que se invitaba a degollar a todos los monarcas de Europa y la fuga del domicilio paterno para instalarse en Madrid, ciudad en la que era más fácil seguir su vocación de novelista. El poema contra la realeza le acarreó un proceso que al final fue sobreseído teniendo en cuenta la juventud del poeta.” En el ensayo del profesor Pablo Ramos González del Rivero titulado “Vicente Blasco Ibáñez, alter ego del joven que escribía basura romántica” apunta que: “lo que Blasco Ibáñez escribió entre 1883 y 1894, esto es, en un periodo aproximado de once años, “es aproximadamente el 75% del volumen de lo que escribirá luego en treinta y seis”. El ciclo correspondiente al de su obra repudiada es, de hecho, el más prolífico con diferencia de toda su carrera como novelista.” En julio de 1890 dirigirá una manifestación contra Cánovas del Castillo que provocaría su huida a París. Desde allí colaborará con El Correo de Valencia, con sus «Crónicas de un emigrado». Un año más tarde regresará a Valencia al concedérsele la amnistía. En el capítulo nueve hablaremos de “sus andanzas” en París, pero creanme que no lo paso mal. Durante esa época, escribió voluminosos libros propagandísticos como 'Historia de la Revolución Española' (1890-91), 'La araña negra' (1892), 'Viva la República' (1893) y 'Los fanáticos' (1894). A estos se suman 'París e impresiones de un emigrado' (1891) y el 'Catecismo Federal Republicano' (1892). En estos folletines, los realistas, los carlistas, los curas y los jesuitas son retratados como los villanos, mientras que los alter egos de Blasco, como el anarquista Gabriel Luna en 'La Catedral', Guzmán en 'Viva la República' —un español exiliado por la persecución inquisitorial que comparte los anhelos revolucionarios del pueblo francés— y Agramunt en 'La araña negra', son presentados como los héroes. La dualidad promulgada por la Revolución Francesa está servida. El tema de la Luna es muy recurrente en él con textos como “Piedra de Luna”, “El papa del mar”refiriéndose al papa Luna o “Luna Benamor”. Hay un libro escrito en 1917 y publicado en 1929 por Aleister Crowley titulado “La hija de la Luna. Intrigas magicas del Bien y del Mal” que nos recuerda al libro publicado en 1926 por Blasco “Piedra de Luna”. En el fondo ambos libros hablan sobre los hijos de la Luna. Fritz Springmeier y Cisco Wheeler nos contaron lo que es un hijo de la Luna en su libro “Como los illuminati lograron crear un indetectable y esclavo de control mental total”. “Los rituales actuales llevados a cabo para crear a un niño de la luna son descritos en detalle en 3 de los escritos de Crowley. Una vaga descripción de los rituales puede ser vista al leer el libro de "Niño de la Luna". El ritual se realiza en la villa apodada "El Nido de las Mariposas". La villa era en realidad un templo ocultista tapizado con geometría sagrada. Tenía figuras de sátiros, faunos y ninfas. Tenía estatuas de Artemis. Muchos artículos de plata y estrellas de 9 puntas estaban en la villa, debido a que todos estos objetos son relativos a la Luna en la magia. La mujer que estaba embarazada estaba rodeada de objetos relativos a la luna. La influencia de la luna es repetidamente invocada. Un altar pequeño y triangular de plata de Artemis es usado. Hay una fuente sagrada donde la mujer es lavada. El número 9, el cual es sagrado para la luna va acompañado con su respectiva escuadra. Las plegarias son hechas a Artemis, y hay una recreación de la captura de Diana por Pan. La mujer es entrenada para identificarse a si misma en lo que se conoce como Abuela Luna (en el libro es simplemente llamada Diana o Luna) por medio de identificar sus pensamientos y acciones con las deidades que uno está queriendo invocar.” El nuevo Arzobispo de Valencia, Beato Ciriaco María Sancha y Hervás, tomó posesión en 1892 y como consecuencia de los alborotos promovidos por tal hecho, fueron detenidos todos los redactores de La Bandera Federal entre ellos Blasco. Para nosotros se trató de lo que hoy día llamaríamos un acto creado por la disidencia controlada. Sancha fue arzobispo de Valencia entre 1892 y 1898, nombrado por el papa León XIII en plena guerra entre masonería e iglesia católica. Poco después, en 1902, escribió “Cuento de Sancha la serpiente” donde una pequeña serpiente crece hasta llegar a matar al niño que la había alimentado de pequeña. Poca broma con el blasquismo como leemos en un artículo publicado en marzo de 1911, en el número 194 de la revista Por esos mundos, con la entrevista de Enrique González Fiol a Blasco Ibáñez donde cuenta como estaba reclutando a un ejército al estilo de los masones italianos, los carbonarios alrededor de 1889. Resulta curioso como vemos entre los emblemas de los carbonarios, una rama de la masonería, el típico gorro frigio y el haz de lictores o fasces, manojo de flechas unido por una cinta roja, que luce por ejemplo la Guardia Civil aqui en España. “Luego fundó una juventud revolucionaria... Como no podía conquistar hombres para sus ideas, se dedicó á reclutar muchachos... Aquellos muchachos de entonces, constituyen la generación actual, y muchos son ó han sido concejales y diputados. Creó una organización revolucionaria al estilo de los carbonarios, pero sin ceremonias, organización militar secreta. Los afiliados sólo le conocían á él y á sus dos ayudantes, que formaban el tribunal, pero entre sí no se conocían. Llegó á reclutar cinco mil hombres armados, mejor dicho que se creían armados, porque... En la calle de Malaenes, en las afueras de Valencia, en el último piso, domicilio de un pintor de paredes, se reunía el tribunal para la admisión de neófitos. Todos llegaban diciendo lo mismo: Bueno. Yo en esta societat no entre, si no hiá serietat... Y sobre tot, armes. («Yo no entro en esta sociedad si no hay seriedad. Y sobre todo, armas.» Traducción del autor.). ¿Seriedad? Allí estaba el tribunal más serio que se ha visto jamás. ¿Armas? «Ché, fulano—decía Blasco á uno de sus ayudantes—, baixa un fusil.» Y se le enseñaba un fusil traído de una bohardilla. Bueno, sí, un fusil es ben poc, decía el entusiasta neófito. ¡Che, baixa un atre!, replicaba Blasco. Y se le bajaba otro. El neófito empezaba a creer en el armamento, pero Blasco, para acabar de convencerle, repetía: Che, baixa un atre. Y se le bajaba otro. Y volvía á repetirse la orden. Pero cuando iban á cumplirla, él decía: Bueno. Ya hay bastantes para convencerse de que no estamos desarmados. No bajes otro, que vamos á acabar por no poder movernos aquí... Y no se bajaba el cuarto fusil, porque no tenían más que tres. Eran tres chassepots, procedentes de los zuavos de Argelia, con la bayoneta ondulada como la espada flamígera de San Elías. A la par que ejecutaba este reclutamiento, echó a la calle un semanario que causó gran sensación: La bandera federal, cuyos lectores eran sus cinco mil reclutas.” Este episodio de Blasco es digno de una película de Berlanga. En 1893 Blasco es vuelto a encerrar por otra denuncia a La Bandera Federal junto con Herrero y Llopis. El 11 de abril de 1894 se producen disturbios callejeros por la peregrinación a Roma desde Valencia, lo que provoca la huida de Blasco. El 21 de abril le escribe una carta a su padre hablándole de como le trataba la autoridad: “Anoche a las tres de la madrugada la guardia civil y dos delegados del gobierno civil de Barcelona me detuvieron en la fonda, conduciéndome a la cárcel con todas las consideraciones y respetos, y estoy aquí en esta cárcel mejor que en un hotel. Todo Sabadell está indignadísimo. Le acompañó la hoja que ha circulado a miles inmediatamente por la ciudad”. Al regresar el 29 de abril es encarcelado, cinco días más tarde será puesto en libertad bajo fianza. En un artículo titulado “Blasco Ibáñez, como nunca” donde entrevistan a su hija libertad nos cuenta: “Libertad Blasco (Hija), también recuerda en 'Blasco Ibáñez, su vida y su tiempo' el «No puede ser... No puede ser...» que su progenitor exclamó la noche que doña Ramona sufrió un derrame cerebral. Fue el 12 de mayo de 1894. Una fecha marcada en la historia personal y profesional del autor ya que ese día se estrenaba en Valencia la única obra escrita por él para teatro. En el teatro Apolo de la ciudad, los intérpretes Ramona Valdivia y Fernando Díaz de Mendoza iban a poner sobre las tablas el montaje de 'El juez'. Pero Blasco, que había comido con el director de la obra, sólo pudo acudir a su casa de noche. Allí, don Gaspar, su padre, tenía preparado el ataúd para su esposa. Ese día, en el que el literato tuvo «sentimientos antagónicos», según su hija, no pudo salir a recibir el tributo del público por el éxito del espectáculo.” Por cierto, la obra no tuvo ningún éxito y no volvió a incursionar en ese género literario y como vemos curiosamente el nombre de la protagonista nos recuerda a su madre y obviamente el juez a su suegro. Justo 6 meses más tarde, el 12 de noviembre de ese año se publica el primer número de “El Pueblo”, fundado y dirigido por Blasco aunque como vimos en el capítulo 5 de esta serie titulado Teosofía y manos escondidas, la masonería estaría detrás de la creación de una red de prensa, casinos y centros de educación para combatir el poder de la Iglesia. Según nos cuenta una científica del CESIC en “Vicente Blasco Ibáñez y la literatura de propaganda filomasónica”, dos años antes, en 1892 se puso en marcha aquel proyecto del que un Blasco masón fue participe. El 30 de diciembre El Pueblo será denunciado por vez primera por la publicación de un artículo, denuncia a la que seguirían otras muchas en muy breves intervalos de tiempo. El 24 de febrero de 1895 estalla en Cuba la guerra y las editoriales de El Pueblo tronaban contra dicha guerra. Como consecuencia de un artículo es procesado e ingresa en la cárcel el 6 de septiembre. De allí saldrá bajo fianza 35 días más tarde. De momento ha estado preso unos 40 días más algunas detenciones de horas. El 17 de marzo de 1895 cae el gobierno de Sagasta como consecuencia del asalto a las oficinas de los periódicos El Resumen y El Globo que criticaron los destinos militares de Cuba. El año 1896 comienza con un juicio por su artículo «En pleno absolutismo» que concluye con un fallo absolutorio. El estado de sitio se declara ese año en varios momentos y contextos en España, principalmente como respuesta a las tensiones y disturbios tanto internos como en sus posesiones ultramarinas. Uno de los eventos más significativos de ese año fue el estallido de la Revolución Filipina que comenzó en agosto de 1896. Al proclamarse el estado de sitio huye a Italia disfrazado de marinero, regresando en junio y quedando en libertad provisional. En “Vicente Blasco Ibáñez : ese diedro de luces y de sombras” podemos leer: “El 4 de junio de 1896 se presentó Blasco Ibáñez ante las autoridades militares, quienes le otorgaron la libertad provisional; tal situación de precariedad no arredró al periodista, quien siguió publicando en El Pueblo vibrantes artículos contra la guerra colonial y contra una ley injusta que permitía comprar por mil quinientas pesetas la exención del servicio militar. Transcribamos el comienzo del artículo “Carne de pobres” aparecido el día 19 de agosto: “¿Tienes mil quinientas pesetas? ¿No? Pues dame a tu hijo. Sois pobres y esto basta. Lleváis sobre vuestra frente ese sello de maldición social que os hace eternos esclavos del dolor. En la paz, debéis sufrir resignados y agotar vuestro cuerpo poco a poco para que una minoría viva tranquila y placenteramente sin hacer nada; en la guerra, debéis morir para que los demás, que por el dinero están libres de tal peligro, puedan ser belicosos desde su casa. Resignaos: siempre ha habido un rebaño explotado para bien y tranquilidad de los de arriba.” El propio Blasco escribe sobre su consejo de guerra donde al final es condenado a dos años de prisión correccional: “La escena pasó en un dormitorio, en 1896, pidiendo para mí el fiscal —un coronel— una condena de catorce años de presidio. Dicha escena tuvo una teatralidad que no olvidaré nunca. Después de larguísimo debate, me fue leída la sentencia, por la noche, en medio del patio, entre bayonetas y a la luz de un candil. Se había rebajado la pena a cuatro años de presidio, de los que pasé catorce meses encerrado en uno de los dos penales que tenía entonces Valencia, un convento viejo, situado en el centro de la ciudad y con capacidad para trescientos penados, si bien estaban más de mil. Allí perdí hasta el nombre, sustituido por un número (...) Una parte de mi reclusión la pude pasar, por especial y secreto favor de los empleados, en la enfermería del establecimiento, entre tísicos y cadáveres. Allí compuse un cuento: “El despertar del Buda”…” De esos dos años Blasco pasaría en la cárcel 14 meses que contando los 40 días anteriores, arrojan unos 465 días. El propio Blasco en marzo de 1911 le contó en una entrevista a Enrique González Fiol como fue tratado allí: “Como benevolencia especial, se me consintió dormir en la enfermería del hospital.” En aquella época morían los presos por la tisis y supuestamente Blasco los tenía por allí muriendo pero prefería estar en la enfermería. “…Porque al menos tenía un camastro. Los presidiarios dormían en el suelo, sobre un montón de paja unos; otros encima del petate…” El 28 de marzo de 1897 se le conmutó la pena de prisión por la de destierro. El 31 marchará a Madrid, regresando amnistiado a Valencia, el 18 de septiembre. Le sorprende allí la gran riada del 13 de noviembre, que causa graves inundaciones en la ciudad de Valencia. Sin embargo, las peores inundaciones ocurren el 18 de noviembre, cuando el río Júcar inunda Alcira, la pequeña ciudad valenciana que Blasco eligió luego como escenario de su novela 'Entre naranjos’. “¡Al mar los campos y plantaciones de los que, abusando de la sequedad de su cauce, fueron extendiendo lentamente los límites de sus fincas, haciendo producir cosechas al lecho de las aguas que estas acaban de reconquistar! ¡Abajo los paredones, las vallas, las obras de que los ingenieros se mostraban orgullosos, como si la ciencia pudiera a la larga vencer la fuerza de los elementos! …Sigue el río su obra de destrucción, arrastrando hacía el mar todo cuanto encuentra; muebles y víveres, bestias y viviendas; y ¡oh contraste de la vida!: lo que allá arriba, en los campos, es destrucción y muerto, abajo, en la playa, es remedio de la miseria… …Son los pescadores del rio revuelto, los hijos de la miseria que, exponiendo su vida, encuentran medios de subsistencia en la misma desgracia, registrando las entrañas a la avenida para apoderarse de lo que ha robado. El saco de harina que arrebataron las aguas de algún molino de lo más alto de la provincia será mañana pan tierno y caliente en muchas barracas; el cerdo ahogado estará pronto convertido en embutidos: el vino de tos llanos de Liria calienta gratuitamente los estómagos de esos extraños pescadores del cataclismo; los maderos que cabeceaban sobre la avenida se transformarán en nuevas viviendas; y las sillas, las cómodas, los espejos, vueltos en si después de una loca carrera de tumbos y choques, no podrán explicarse cómo han pasado del estudi del labriego, perfumado por el olor acre del trigo y las frutas, al cuartucho adornado con redes, por cuyas ventanas entra el soplo salitroso y vivificante del mar. …” En 1898 Blasco consigue el apoyo de miles de lectores para defender a su maestro Emilio Zola, con motivo de su carta “J ́accuse” que tanta importancia revistió en el “affair Dreyfus”. ”Es el Caso Dreyfus, la injusta condena de un militar, de origen judío, envuelto en el deshonor de una acusación de traición fraguada a base de pruebas falsas y silencios “. No voy a entrar en quién fue el capitán Dreyfus, tratado como si fuera una víctima de la peste, recluido en la inhóspita Isla del Diablo. El tuvo dos juicios en 1898 y 1899, en ambos fue declarado culpable pero en 1906 su inocencia fue reconocida oficialmente por la Corte de Casación a través de una sentencia que anuló el juicio de 1899. Rehabilitado, el capitán Dreyfus fue reintegrado al Ejército con el rango de comandante; luego participará en la Primera Guerra Mundial. De lo que sí hablaré es de la pertenencia a la masonería de Emilio Zola como reconocen innumerables paginas masónicas en todo el mundo ademas de haber sido nombrado Oficial de la Orden Nacional de la Legión de Honor como nuestro escritor protagonista. Una de las principales logias de España, instalada en Madrid, fue La Logia Ibérica. Logia que tenía tantos hermanos masones que se pusieron el nombre simbólico de Zola que se conoció como Emile Zola, logia Ibérica no 7 aunque oficialmente no se reconoce este nombre como podemos leer en el articulo “La Logia Ibérica. La logia durante el siglo XIX”: “Fue fundada con el nombre de Luz de Mantua el 10 de febrero de 1870 (era vulgar). Ingresó en el Gran Oriente de España, el 12 de enero de 1881, bajo cuya obediencia trabajo hasta que en el año 1889 fue extinguido dicho Gran Oriente como Potencia regular para la constitución del Grande Oriente Español. El 7 de julio de 1889 se afilió e instaló en la Federación del Grande Oriente Español, con el número 7 entre los Talleres activos de la Columna Federal. El 14 de diciembre de 1889 se fusionó con la Respetable Logia Hijos del Progreso, número 53, y adoptó el nombre de “Ibérica”. El 1 de enero de 1909 se incorporó a ella la logia El Progreso número 88.” En otros países como Argentina se fundaron logias con el nombre conjunto de defensor y defendido como podemos leer en este trabajo histórico sobre La logia Zola Dreyfuss de Punta Alta: “…respecto al porqué de la elección del nombre de la nueva logia no hallamos hasta el momento documentación que nos brinde la respuesta, pero si analizamos el contexto histórico, podemos esbozar alguna. En este sentido desde fines del siglo XIX y las primeras décadas del XX, surgió en Europa una creencia a la que se denominó el mito de la conspiración judía mundial" Sus partidarios aseguraban que existía un gobierno secreto israelita que mediante organizaciones encubiertas, controlaba los partidos políticos y gobiernos, la prensa y la opinión pública, los bancos y la economía, cuyo único objetivo era lograr dominar el mundo entero.” Resulta cuando menos curioso que desde una organización discreta se nos hable de conspiraciones en la sombra. Tampoco vamos a hablar en profundidad sobre una “conspiración judía mundial” pero solo hay que ver quienes son los principales propietarios de la banca, los medios de comunicación, Hollywood, la industria del porno, etc. Se comenta por ejemplo que la logia B’nai B’rith (Hijos del Pacto) es la que coordina a nivel mundial el resto de logias y organizaciones masónicas y paramasónicas como los rotarios, recomendaría que revisaran las personas que han sido premiadas por esta logia. El investigador Jüri Lina en “Arquitectos del engaño” pág 162, nos dice: “Los Archivos Especiales de Moscú contienen documentos que muestran a B’nai B’rith (Hijos del Pacto) como superior a todas las demás ramas de la masonería, de hecho constituye una especie de masonería dentro de la masonería. Las 1.090 logias de B’nai B’rith no tienen nombres, sólo números. El Presidente de B’nai B’rith Internacional es Richard D. Heideman. B’nai B’rith la fundaron con el nombre de Bundesbriider doce masones judíos alemanes el 13 de octubre de 1.843 en el Café Saint Germain de Nueva York. En la orden sólo se admiten judíos y medio judíos. La logia estadounidense B’nai B’rith trabaja muy estrechamente con los Illuminati. B’nai B’rith está representada en la ONU por su Fundación («Lexikon des Judentums»). El 12 de septiembre de 1.874 se firmó un convenio en Charleston entre B’nai B’rith y el Consejo Supremo del Rito Escocés, sobre su extensa cooperación y la formación de una confederación general de logias israelíes. Firmaron este documento Armand Levi y Albert Pike, alias Limud Enhoff, su nombre masónico, gran maestro del Palladium.” ¿Se acuerdan de Leo Taxil y como se había inventado una orden masónica satánica llamada Palladium? Sobre estas y otras cuestiones pueden leer en mi artículo titulado “EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS” donde queda negro sobre blanco la relación del presidente Macron con la banca judía Rothschild y la masonería. Por cierto, todo un caballero de Colón, el señor Domenico Margiotta escribió en 1895 un libro titulado “El Paladismo. Culto de Satán-Lucifer dentro de las logias masónicas”. Libro que por desgracia no está traducido al castellano pero que nos habla claramente del ocultismo que se respira dentro de las logias. En la madrugada del 15 al 16 de febrero de 1898 se produce la voladura del Maine en La Habana. El 25 de abril Estados Unidos declara la guerra a España. El hundimiento de aquel barco es reconocido hoy día como uno de los primeros casos de bandera falsa creados por los Estados Unidos. En junio El Pueblo es denunciado. Primer suplicatorio al Congreso para procesar a Blasco. El 27 de octubre es detenido e ingresa en la cárcel por escribir un manifiesto para exigir que la fábrica de gas suministre gas gratis a la ciudad de Valencia, siendo puesto en libertad el 31 de octubre. Ha pasado 5 días en la cárcel. Francisco Pérez Puche nos cuenta porque entro en la cárcel en su articulo “El año más intenso. El 98 de Vicente Blasco Ibáñez”: “La visita de Blasco a la prisión se debía a un artículo sobre el conflicto del gas, contra los excesos del tristemente famoso monsieur Touchet, el administrador de la fábrica de los herederos del marqués de Campo. El hombre había subido las tarifas del combustible y además no quería cumplir el compromiso de suministrar gratuitamente el fluido para el alumbrado público suscrito años atrás por el patricio valenciano con su ciudad. “ Es lo que tienen las empresas privadas que quieren recoger beneficios. Concretamente la ciudad de Valencia es conocida entre las empresas suministradoras de electricidad como una mal pagadora y por ello van cambiando de compañía cada pocos años. Esto produce denuncias de estas compañías que terminan ante el Tribunal Superior de Justicia (TSJ) de la Comunitat Valenciana y normalmente no se pagan o terminan en un acuerdo ya que dichas compañías también le deben dinero a la Hacienda pública y ya saben aquello de “perro no come perro”. 1898 fue un año intenso para España: “…el estado de guerra y otras restricciones a los derechos constitucionales, el mismo día de julio de 1898 en que se supo que la flota del almirante Cervera había sido destruida en la embocadura de la bahía de Santiago de Cuba…” El Gobierno del masón Sagasta decidió enviar una escuadra al Caribe y como almirante jefe escogió a Pascual Cervera, otro hermano masón, el cual lo único que hizo fui hundir nuestra flota sacando los barcos de día y en fila de a uno para deleite de la escuadra americana que solo tuvo que practicar “tiro al pato”. Con su negligente actuación causó el hundimiento de 4 cruceros y 2 contratorpederos y la muerte de casi 350 marineros. El bando yanki solo tuvo un muerto. No confundirlo con el comandante también destinado en Cuba Julio Cervera Baviera, también masón. El propio ministro de la guerra Segismundo Bermejo y Merelo o el ministro de estado Segismundo Moret y Prendergast eran asimismo masones. Ni que decir del submarino inventado por Isaac Peral y que la armada se negó a desarrollar, es más, el propio gobierno de España filtró los planos del submarino en el BOE de la época facilitando así a todas las otras naciones el desarrollo de sus propios submarinos. Lo de Cuba acabó en una venta encubierta de los restos de nuestro imperio a Estados Unidos. Tanto es así que Estados Unidos indemnizó a España; léase el Tratado de París de 1898. Volviendo a nuestro hilo conductor Pérez Puche nos habla del Vicente Blasco Ibáñez preso: “A las diez en punto de la noche del lunes, 31 de octubre de 1898, se abrió el portón de la cárcel de San Gregorio, en la calle de San Vicente, y sonaron los primeros aplausos. Un grupo de periodistas y no pocos militantes, junto con el abogado republicano Vicente Dualde esperaba la salida de la prisión del diputado Vicente Blasco Ibáñez. Abrazos, palmadas en la espalda, sonoros saludos. El director de la penitenciaria, José Manuel Maldonado. despidió con mucho afecto al más famoso de sus presos, a quien había tenido el honor de custodiar durante cinco días, desde que el juzgado militar se lo encomendara el jueves anterior. La cárcel de San Gregorio no era precisamente el Hotel de Roma, pero algunos presos notables, como el diputado, escritor y periodista Vicente Blasco Ibáñez lograban ver bastante atenuados sus rigores.” “…el diputado Blasco pudo gozar de una inmunidad parlamentaria que su abogado, el incansable Dualde, no iba a tardar en refrendar. Leer la prensa, tener libros y recado de escribir, recibir cada mañana un buen desayuno y disponer de despacho eran algunos de los gajes del prisionero, gracias a sus correligionarios y al generoso trato del director del correccional.” En el artículo “Blasco Ibáñez, como nunca”, leemos: “El director de la prisión tuvo la deferencia de tenerlo en la enfermería. Y es más, Blasco Ibáñez. Un gran aficionado a la música, era un «admirador apasionado de Wagner». En aquel momento, el tenor Francisco Viñas interpretaba su ópera favorita 'Lohengrin'. El escritor valenciano, desde su celda, pudo escuchar por teléfono la interpretación del cantante al que apodaba el Caballero del Cisne. «El director de la Compañía de Teléfonos, el señor Perucho, había instalado un aparato telefónico que conectaba la celda que ocupaba Blasco Ibáñez con un escenario donde los tramoyistas sostenían varios auriculares y un empleado de la telefónica se encargaba de nadie pudiera cortar la comunicación», escribe la autora.” Blasco sumaba ya la friolera de 470 días en “la cárcel” entrecomillas. Nada más salir de la cárcel podemos leer: “Le habían aclamado en la calle, incluso con bandas de música; cuándo salió de la prisión y al ser elegido diputado por la ciudad de Valencia y su distrito, con más de seis mil votos, en marzo de 1898. Tenía entonces 31 años; “ Junto a su gran rival en la prensa, Teodoro Llorente Olivares, el director de «Las Provincias», fue invitado el 21 de enero de 1899 por el alcalde en funciones de Valencia Miguel Sales a tomar una decisión histórica, determinar donde se construiría la estación del Norte. Aquel año loco, Valencia tuvo otros dos alcaldes, Pascual Guzmán Pajarón y Juan Lorda Morera. Curiosamente la compañía de trenes que operaría dicha estación, la Compañía del Norte, había heredado las líneas de la antigua AVT del fallecido marqués de Campo cuyos herederos habían logrado meter en la cárcel a Blasco por el caso Touchet unos años antes. Vicente Blasco Ibáñez cedió el periódico El Pueblo a sus trabajadores en el año 1905. Esta decisión fue una de las muchas que supuestamente reflejaban sus ideas progresistas y su compromiso con el movimiento obrero y republicano en España. Pero “el caballero audaz” nos lo muestra de otra manera: “Los infelices obreros soportaron la pesada carga, sin documento alguno que justificara su propiedad; trabajaron gratis y a medio sueldo varios meses, y cuando El Pueblo tuvo la vida asegurada y rendía ganancias, se apoderó Blasco de nuevo del periódico y arrojó de su casa a los cajistas, motivando su proceder una huelga de tipógrafos, que fracasó porque el director se trajo personal de Barcelona y Madrid. Consiguió en unas elecciones, apoyado por los conservadores silvelistas de Llorente, ser diputado a Cortes, y en las municipales obtuvo mayoría de concejales, cada uno de los cuales, al ser proclamado candidato, entregaba a Blasco una cuota de dos mil a cinco mil pesetas, según la importancia del puesto que después quería desempeñar en el Ayuntamiento, exigiéndoles como condición a los elegidos que le entregasen la dimisión en blanco.” Tres años antes había inaugurado el espectacular chalet de la Malvarrosa, del cual nos sigue contando Carretero Novillo: “En cuanto tuvo mayoría en el Ayuntamiento, comenzó a construirse un magnífico chalet en la Malvarrosa, con materiales y obreros que pagaba Valencia; pues todo era de la Corporación municipal, con cargo a las obras del Nuevo Matadero, que entonces comenzó a construirse. Para pagar los jornales de estos obreros, el Ayuntamiento le entregaba, diariamente, diez volantes, de los llamados «de carro, equivalente, cada uno de ellos, a diez pesetas, más un número bastante crecido de los llamados de peón». Persuadido de su influencia sobre la masa popular, promovió numerosos mitines y algaradas, tomando como pretexto la cuestión religiosa en sus diferentes manifestaciones, pues que esto era lo que halagaba las masas en aquel tiempo, que costaron muchas vidas, que el Blasco capitaneaba hasta el momento en que aparecía la Guardia civil, pues hombre teórico, y no de acción, abandonaba a los suyos en aquel instante. El negocio más fabuloso que realizó en Valencia Blasco Ibáñez, fué el obligar a sus concejales que arrendasen los Consumos a determinada entidad, lo cual le valió, en cuanto se adjudicó, un millón de pesetas, y después, cada año, la Compañía Arrendataria-Salmón y Compañía le entregaba quinientas mil pesetas. Tengo ante mí una carta de Blasco que pone de manifiesto el negocio. Hay un membrete que dice: El Diputado a Cortes por Valencia». Querido amigo: Lo del arriendo de los Consumos está ya arreglado. He escrito a Manolo y Pepe Trocher sobre esto. La Arrendataria me ha prometido, además de lo que tú sabes, que designaremos nosotros el personal, y tengo la seguridad de dos grandes empleos para Gastaldo y Cañizares y para otros más. En fin, que esto... nos dará inmensa fuerza. Manolo, a quien escribo, se avistará contigo para que el periódico, y la mayoría de concejales, marchéis de acuerdo. Que el periódico no cometa ninguna imprudencia; que no ataque con saña lo del arriendo. Vigilad a Manent para que no cometa ninguna imbecilidad. Encárgale a Ávalos que no meta la pata en este asunto. Seremos los amos de Valencia; pienso (fijate bien) dejar arreglado nuestro asunto, antes de partir con Luis Canalejas. Procuraré aprovechar la ocasión ya que esta gente está contenta (el Gobierno) y esto más nos encontramos. En tu discreción confío. Rompe esta carta, que tú eres descuidado. Un abrazo de tu fraternal amigo. Vicente.» No es posible negar que el destinatario de esta carta-y lo prueba el que la epístola haya llegado hasta mí-; era, efectivamente, un hombre «descuidado». Como prueba, también, que ya, entonces, nuestro héroe era «de cuidado»... Fué, en aquella época, cuando Blasco, por el precio de una máquina rotativa vieja, vendió a Rodrigo Soriano un acta de diputado a Cortes por Valencia. El impetuoso Soriano no pudo aguantar mucho tiempo las rapiñas de Blasco. Riñeron y vino aquella campaña furiosa, a la que ya me he referido, y en la que ambos se dirigieron crueles insultos.” Nótese lo de fraternal en la despedida de la carta, ya saben, entre masones anda el juego. ………………………………………………………………………………………………………. Enlaces citados en el podcast: Bibliografia completa https://www.cervantesvirtual.com/portales/vicente_blasco_ibanez/su_obra_bibliografia/ Cronología de Vicente Blasco Ibáñez https://www.cervantesvirtual.com/portales/vicente_blasco_ibanez/autor_cronologia/#anyo_1900 Cronologia literaria Blasco Ibáñez https://anyblascoibanez.gva.es/va/cronologia-literaria Time line de su vida https://www.timetoast.com/timelines/vicente-blasco-ibanez-5ac50faf-ff35-40dd-be42-708435362932 Galeria de imágenes https://www.google.com/imgres?imgurl=https%3A%2F%2Fwww.cervantesvirtual.com%2Fimages%2Fportales%2Fvicente_blasco_ibanez%2Fgraf%2Fcronologia%2F03_cro_blasco_ibanez_retrato_1018_s.jpg&tbnid=s0ix0VfxLAJ4aM&vet=12ahUKEwi45LKn8vr-AhVYmycCHf1fDVMQMygkegUIARDGAQ..i&imgrefurl=https%3A%2F%2Fwww.cervantesvirtual.com%2Fportales%2Fvicente_blasco_ibanez%2Fautor_cronologia%2F&docid=rpcl3y5OiYotjM&w=301&h=450&q=Mar%C3%ADa%20Blasco%20blasco%20iba%C3%B1ez&hl=es&client=firefox-b-d&ved=2ahUKEwi45LKn8vr-AhVYmycCHf1fDVMQMygkegUIARDGAQ Capítulo 7 Vicente Blasco Ibáñez : ese diedro de luces y de sombras https://bivaldi.gva.es/es/consulta/registro.cmd?id=318 https://www.cervantesvirtual.com/obra/vicente-blasco-ibanez--ese-diedro-de-luces-y-de-sombras/ BOE 1 Octubre 1970 https://www.boe.es/boe/dias/1970/10/01/pdfs/A16218-16218.pdf Libros de BUP 1era etapa democrática https://datos.bne.es/persona/XX1150186.html https://dialnet.unirioja.es/servlet/libro?codigo=222347 https://dialnet.unirioja.es/servlet/libro?codigo=159914 Las novelas históricas olvidadas de Blasco Ibáñez https://www.cervantesvirtual.com/descargaPdf/las-novelas-historicas-olvidadas-de-blasco-ibanez/ La hija de la Luna - Aleister Crowley https://www.abretelibro.com/foro/viewtopic.php?t=124204 COMO LOS ILLUMINATI LOGRARON CREAR UN INDETECTABLE Y ESCLAVO CONTROL MENTAL TOTAL https://www.academia.edu/44186118/COMO_LOS_ILLUMINATI_LOGRARON_CREAR_UN_INDETECTABLE_Y_ESCLAVO_CONTROL_MENTAL_TOTAL El año más intenso. El 98 de Vicente Blasco Ibáñez / Francisco Pérez Puche https://www.cervantesvirtual.com/obra/el-ano-mas-intenso-el-98-de-vicente-blasco-ibanez-/ Cuento de Sancha la serpiente https://ciudadseva.com/texto/sancha/ ¿Qué simbolizan las fasces romanas y la espada del actual escudo de la Guardia Civil? https://confilegal.com/20180828-que-simbolizan-las-fasces-romana-y-la-espada-del-actual-escudo-de-la-guardia-civil/ Blasco Ibáñez, como nunca https://www.lasprovincias.es/culturas/201701/28/blasco-ibanez-como-nunca-20170128184131.html NORTE (6). EL LARGO PARTO DE UNA ESTACIÓN https://fppuche.wordpress.com/2017/07/01/norte-6-el-largo-parto-de-una-estacion/ Confesiones, 1911- Parte II http://elargonautavalenciano.blogspot.com/search/label/A%C3%B1o%201911 Carta de Vicente Blasco Ibáñez a Gaspar Blasco (su padre). Sabadell, 21 de abril de 1894 [Transcripción] https://www.cervantesvirtual.com/obra/carta-de-vicente-blasco-ibanez-a-gaspar-blasco-su-padre-sabadell-21-de-abril-de-1894-785513/ https://www.cervantesvirtual.com/obra-visor/carta-de-vicente-blasco-ibanez-a-gaspar-blasco-su-padre-sabadell-21-de-abril-de-1894-785513/html/833941e6-0d48-4978-9d06-22867260119e_2.html#I_0_ La carta en imagen https://www.cervantesvirtual.com/obra-visor/carta-de-vicente-blasco-ibanez-a-d-ramon-su-padre-sabadell-21-de-abril-de-1894-785511/html/42bf125d-3fd1-4814-bce5-7370c83b723b_6.html La riada del 1897 http://elargonautavalenciano.blogspot.com/search/label/A%C3%B1o%201897 Caso Dreyfus https://es.wikipedia.org/wiki/Caso_Dreyfus Émile Zola https://es.wikipedia.org/wiki/%C3%89mile_Zola Pertenencia a la masonería de Emilio Zola https://www.logiaariadna.org/copia-de-historia-de-la-glse La Logia Ibérica. La logia durante el siglo XIX https://elobrero.es/historalia/69134-la-logia-iberica-la-logia-durante-el-siglo-xix.html EL GAS LEBÓN https://valenciablancoynegro.blogspot.com/2014/03/el-gas-lebon.html Trencadís 03/pág 26 Touchet y la fabrica de gas https://revistatrencadis.org/trencadis-03/ La logia Zola Dreyfuss de Punta Alta https://issuu.com/archivohistorico/docs/revista_el_archivo_32 La logia Jovellanos (1912-1939) Memoria e historia borradas por el franquismo/Yván Pozuelo Andrés https://www.palabradeclio.com.mx/src_pdf/La_1563335040.pdf Hijos del pacto y la masonería https://twitter.com/tecn_preocupado/status/1071032054500986880 https://twitter.com/tecn_preocupado/status/1059749998835970049 Hilo la historia se repite masonería y judaísmo independencia cataluña https://twitter.com/disfrazad0/status/913515494468210688 El papel de la masonería en las revoluciones rusas de 1917 https://twitter.com/Jadouken10/status/927674418926637056 Configuración de la Matrix . El Triángulo de Poder I https://twitter.com/anti_jesuita/status/937121964862398469 Configuración de la Matrix . El Triángulo de Poder II https://twitter.com/anti_jesuita/status/937241922535657472 Configuración de la Matrix . El Triángulo de Poder III Ejercicio práctico. – Lluís Companys. https://twitter.com/anti_jesuita/status/937317728058335233 Revolución masónica Francesa https://twitter.com/jfrsanchez/status/1066307092129169408 EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/ EL HUNDIMIENTO DEL MAINE, UN CASO DE BANDERA FALSA https://navegandoenelrecuerdo.blogspot.com/2014/06/el-hundimiento-del-maine-un-caso-de.html ¿Falsa bandera en el 'Maine'? La explosión que precipitó el fin del imperio español https://www.elconfidencial.com/cultura/2020-10-11/dia-de-la-hispanidad-imperio-espanol-cuba_2783115/ El submarino de Isaac Peral: la historia de una infamia que dejó a España sin colonias https://www.elespanol.com/reportajes/20180504/submarino-isaac-peral-historia-espana-sin-colonias/304720506_0.html Almirante Cervera, historia de una traición https://www.burbuja.info/inmobiliaria/threads/almirante-cervera-historia-de-una-traicion.1732598/ IMPRESCINDIBLE: LA GRAN MENTIRA del 98. 30 DATOS que EVIDENCIAN que fue UNA TRAICIÓN ORQUESTADA https://www.youtube.com/watch?v=1cqU-UFkGLI 1898, el submarino Peral y la alta traición a España por Cesáreo Jarabo https://www.youtube.com/watch?v=IYjYnnOoxcs Historia de la masoneria. SEGISMUNDO MORET Y PRENDERGAST https://www.uned.es/universidad/inicio/unidad/museo-virtual-historia-masoneria/sala-v-historia-de-la-masoneria-en-espana/segismundo-moet-y-prendergast.html Julio Cervera Baviera https://es.wikipedia.org/wiki/Julio_Cervera_Baviera Julio Cervera y Baviera, Masones filatelizados https://fesofi.es/noticias/julio-cervera-y-baviera-personajes-masones-filatelizados/ Un fallo favorable a Iberdrola obliga a cambiar la 'problemática' tasa de suministros de València https://valenciaplaza.com/un-fallo-favorable-a-iberdrola-obliga-a-a-cambiar-la-problematica-tasa-de-suministros-de-valencia NORTE (6). EL LARGO PARTO DE UNA ESTACIÓN CAPÍTULO 4. (1898-1905) Un tiempo malo para España https://fppuche.wordpress.com/2017/07/01/norte-6-el-largo-parto-de-una-estacion/ José María Carretero Novillo https://es.wikipedia.org/wiki/Jos%C3%A9_Mar%C3%ADa_Carretero_Novillo EL NOVELISTA QUE VENDIO A SU PATRIA O TARTARIN, REVOLUCIONARIO. (TRISTE HISTORIA DE ACTUALIDAD) https://www.iberlibro.com/NOVELISTA-VENDIO-PATRIA-TARTARIN-REVOLUCIONARIO-TRISTE/972584489/bd Centro Documental de la Memoria Histórica. Fotografia masónica https://pares.mcu.es/ParesBusquedas20/catalogo/find?idAut=100189&archivo=1&tipoAsocAut=1&nomAut=Fotograf%C3%ADa+mas%C3%B3nica Obra “El Juez” de Blasco Ibáñez https://bdh-rd.bne.es/viewer.vm?id=0000112901&page=1

On a special episode of An Oscar For Arnold, Sonny and Tom sit down with Jemima McEvoy, a wealth reporter at Forbes, for the podcast's first ever interview. Jemima recently published an article titled "How Arnold Schwarzenegger Became a Billionaire," and the boys were lucky enough to have her join the podcast to discuss Arnold, his wealth, and her career covering wealthy people. The topics of conversation include Arnold's successful investments, his not-so-successful investments, his personality, his divorce, and the time Mark Cuban almost drove Jemima to the airport. If you're curious as to how Arnold Schwarzenegger acquired his ten-figure fortune, you've come to the right place. And if you're just here for the jokes and people shooting the shit, you're still in the right place. Even with a guest, there's still time for everyone's favorite opening segment, Arnold in a Famous Role. Today, Jemima joins the boys as they discuss whether Arnold could win an Oscar if he played Joseph Schildkraut's role in "The Life of Emile Zola," a 1937 role that tackled a story about antisemitism without ever mentioning antisemitism. How did they do it? Not very well, it seems. But Arnold would be taking over a role played by a fellow Austrian actor, so his shot here might not be too bad. Unfortunately the character is French, but we're just gonna ignore that part.You can follow Jemima McEvoy on Twitter @jemimamcevoy.Click HERE to read her article "How Arnold Schwarzenegger Became a Billionaire".Hosted by Sonny de Nocker (@swankysonny) and Tom Price (@thomas_price22).Theme by Josh Britt (jbrittmusic.com)Instagram: AnOscarForArnoldTwitter: @AnOscar4ArnoldTikTok: AnOscarForArnoldContact: AnOscarForArnold@gmail.com

We get friendly with Kinds of Kindness and also discuss The Life of Emile Zola, The Bikeriders, The First Omen, Incendies and The Watchers. Follow the show on X: @thecinemaspeak Follow the show on Instagram: cinemaspeakpodcast Subscribe on Youtube: Cinema Speak Intro: 0:00 - 8:25 Review - Kinds of Kindness: 8:25 - 45:40 Movie Roulette - The Life of Emile Zola: 45:40 - 1:03:05 Micro-Reviews - The Bikeriders, The Watchers, Incendies, The First Omen: 1:03:05 - 1:25:02 This week in new releases/Outro: 1:25:02 - 1:31:24

Semaine spéciale "Historiquement Vôtre voit tout en grand". Episode 3/5 : Stéphane Bern raconte, à l'occasion du premier jour des soldes, ces palais babyloniens, ces temples qui ont fait le “bonheur des dames” comme l'a écrit Emile Zola, ces enseignes qui se nomment Bon Marché, Printemps, Samaritaine ou Bazar de l'Hôtel de Ville qui ont changé la manière de consommer au milieu du XIXe siècle. Ou la véritable histoire des grands magasins parisiens… Quel contexte économique et social a permis le développement des grands magasins ? Quelle révolution commerciale a accompagné leur naissance ? Comment ont-ils démocratisé la mode ? Pour en parler, Stéphane Bern reçoit Amélie Gastaut, conservatrice en chef du département Design graphique et publicité du musée des Arts décoratifs de Paris, commissaire générale de l'exposition "La naissance des grands magasins. 1852-1925"

Dans son récit, Stéphane Bern nous raconte l'histoire de ces palais babyloniens, ces temples qui ont fait le “bonheur des dames” comme l'a écrit Emile Zola, ces enseignes qui se nomment Bon Marché, Printemps, Samaritaine ou Bazar de l'Hôtel de Ville qui ont changé la manière de consommer au milieu du XIXe siècle.

Semaine spéciale "Historiquement Vôtre voit tout en grand". Episode 3/5 : Stéphane Bern raconte, à l'occasion du premier jour des soldes, ces palais babyloniens, ces temples qui ont fait le “bonheur des dames” comme l'a écrit Emile Zola, ces enseignes qui se nomment Bon Marché, Printemps, Samaritaine ou Bazar de l'Hôtel de Ville qui ont changé la manière de consommer au milieu du XIXe siècle. Ou la véritable histoire des grands magasins parisiens… Quel contexte économique et social a permis le développement des grands magasins ? Quelle révolution commerciale a accompagné leur naissance ? Comment ont-ils démocratisé la mode ? Pour en parler, Stéphane Bern reçoit Amélie Gastaut, conservatrice en chef du département Design graphique et publicité du musée des Arts décoratifs de Paris, commissaire générale de l'exposition "La naissance des grands magasins. 1852-1925"

Dans son récit, Stéphane Bern nous raconte l'histoire de ces palais babyloniens, ces temples qui ont fait le “bonheur des dames” comme l'a écrit Emile Zola, ces enseignes qui se nomment Bon Marché, Printemps, Samaritaine ou Bazar de l'Hôtel de Ville qui ont changé la manière de consommer au milieu du XIXe siècle.

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Bienvenidos a un Spaces especial donde les había prometido contarles una noticia bomba sobre mi situación procesal, sobre mi procedimiento judicial. Para el que no lo sepa y venga de nuevas les aviso que estoy con medidas cautelares desde el primer momento que me entrevisto la jueza que lleva el procedimiento y aún lo sigue llevando hasta que se inicie el juicio oral. Estamos hablando de que desde el 4 de junio de 2019 se me prohibió manifestar o expresar cualquier opinión sobre los hechos a que se refiere este procedimiento por cualquier medio o procedimiento, incluidas las redes sociales mientras que dure la tramitación del presente procedimiento y hasta que recaiga resolución firme que ponga fin al mismo salvo dictado de nueva resolución modificando la presente. Dicho esto, queda poco margen para decir nada más. Ademas de que en todos y cada uno de los papeles que mi abogado pone en mi conocimiento provenientes del juzgado numero 5 de Castellón se me recuerda el cumplimiento del Reglamento Europeo 679/2018 y la Ley 50/1981, de 30 de diciembre que me avisa de que todo el procedimiento es confidencial, que queda prohibida su transmisión o comunicación publica por cualquier medio…o sea, que no puedo contar absolutamente nada. Esto nos deja en la triste situación de que yo no puedo comentaros las peripecias judiciales y vivenciales que estoy padeciendo, que son muchas, variadas y pintorescas. No soy el Lute pero las gallinas me miran raro. Me hago la pregunta de porque como en el caso Dreyfus apareció un periodista, Emile Zola con su carta “J ́accuse” que tanta importancia revistió en el “affair Dreyfus”. La wikipedia, esa herramienta del mal dice sobre este caso: ”Es el Caso Dreyfus, la injusta condena de un militar, de origen judío, envuelto en el deshonor de una acusación de traición fraguada a base de pruebas falsas y silencios “. ¿Quizás al no ser yo judio, masón, del opus Dei, jesuita, liberal, multimillonario, un erudito, satanista o cualquier otra cosa impide que ningún periodista ni ningún medio se digne a dirigir sus ojos en tan delicado procedimiento? ¡Qué la jueza ha rebajado la petición de pena del fiscal a 40 años y se me exige la presentación de una fianza conjunta y solidaria entre los 9 acusados que quedamos de mas de 2 millones y medio de euros! ¡Y se nos da la friolera de un dia para reunir tal cantidad! ¡Y no es noticiable! Larga y dura es la espada de Damocles que ya roza mi sien…y yo simplemente arrodillado y en silencio penitente debo esperar que penetre mi carne y riegue con ella el suelo. Debo entregarme como alimento a sus demonios que fingen ser dioses, a sus expertos, a su codicia desmedida y sus ansias de espachurrar mis sesos por el piso. Y yo, simplemente debo envainar mi espada y soportar las patadas en las costillas sin decir esta boca es mía. ¿Y vds, que pueden hacer vds? Pues hacer de adivinos y explorando mis visceras repartidas por el suelo dictaminar a través de los omentos como hacían los antiguos oráculos romanos. Deben fiarse mas por su instinto que por lo que yo pueda contarles ya que lo que puedo contarles es…nada. A todas esas orejas infames que estarán escuchando esto, a todos esos correveidiles que harán de correos para el mal con mayusculas que se oculta en este caso, en este caso maldito, solo puedo decirles que hoy no sacaran nada de este técnico preocupado. Mi corazón esta con los niños que siguen siendo abusados, no solo aqui, en todo el mundo, y mi alma esta en paz con Dios. Podreis seguir torturandome, clavando en mi costado vuestros poderosos puñales pero nunca extraeréis de mi nada mas que la verdad y la compasión. Sí, os compadezco porque vuestros corazones duros como el acero son fríos también como dicho metal y nunca entenderéis porque una persona como yo que no tenia absolutamente ningún problema en su vida y vivia holgadamente ha terminado inmolándose ante vuestras duras y frías vísperas. Allá vosotros con lo que hagáis en esta vida porque el castigo eterno lo tendréis mas que merecido. Series los jefecillos en el infierno, y allí no se ficha, allí se trabaja eternamente en una desidia sin principio ni final. Vosotros, los funcionarios que se cansan de comer gusanos y putear a la gente por siempre jamas. Asi que lo siento en el alma pero mi espada envainada, no en señal de rendición, sino en ademan de cambio de ciclo de punto de inflexión que haga que muchos más guerreros no den su brazo a torcer. Son muchos los ya fallecidos en el caso maldito, el ultimo Joaquin Crespo Marques, Ximo para los amigos, el cual falleció el 30 de septiembre del 2022 y el cual sigue apareciendo en los autos del procedimiento en la zona de acusados…no habéis tenido la decencia siquiera de retirar su nombre. Me callo ya, no entraran moscas en mi boca por culpa de contar absolutamente nada del caso maldito y su procedimiento maldito. Así que, esto es todo lo que tengo que deciros, que no puedo contar absolutamente nada de un procedimiento del cual ya se dictó apertura del juicio oral el 13 de diciembre de 2021. 2 años, 4 meses, y 24 días mas tarde aqui estoy yo sin poder decir absolutamente nada mientras cualquier periodista podría ofrecer en exclusiva cualquier parte del procedimiento que va ya para los 10.000 folios. Una vez abierto ya no es secreto. Mi segundo abogado, voy ya por el tercero, me decía que hasta que el procedimiento no tuviera la altura de un niño de diez años no había que preocuparse. De momento tiene la altura de uno de 9. Ya saben la querencia que tienen con eso numero los oscuros. No os aburro más con mi procedimiento, el que sepa entender entenderá que en la muerte esta el cambio y que mañana por mucho que se empeñen los satánicos pederastas saldrá el Sol. ………………………………………………………………………………………. Invitados: Placeb0 @Placeb0Mad Contra los totalitarismos. Buscador de la verdad. …. ToniM @ToniMbuscadores …. Ira @Genes72 …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Hoy han perdido https://www.youtube.com/watch?v=WB4qvca22PE PETICIÓN ANTE EL PARLAMENTO EUROPEO CASO BAR ESPAÑA https://tecnicopreocupado.com/peticion-ante-el-parlamento-europeo/ Según la fiscalía tengo "peligrosidad criminal” https://twitter.com/tecn_preocupado/status/1783521305049932126 Piden 40 años de cárcel y una fianza millonaria a un pequeño blogger simplemente por hacer su labor https://twitter.com/tecn_preocupado/status/1477193643375091712 KINGDOM - Animated Short Film https://www.youtube.com/watch?v=MA3iscoypcY Caso Dreyfus https://es.wikipedia.org/wiki/Caso_Dreyfus Émile Zola https://es.wikipedia.org/wiki/%C3%89mile_Zola Pertenencia a la masonería de Emilio Zola https://www.logiaariadna.org/copia-de-historia-de-la-glse Justicia para Un Técnico Preocupado https://www.gofundme.com/f/49mcb-justicia-para-un-tecnico-preocupado?utm_campaign=p_cp+share-sheet&utm_content=undefined&utm_medium=copy_link_all&utm_source=customer&utm_term=undefined Las cuentas claras y el chocolate espeso https://tecnicopreocupado.com/2018/05/13/las-cuentas-claras-y-el-chocolate-espeso/ Las cuentas claras y el chocolate espeso II https://tecnicopreocupado.com/2018/10/15/las-cuentas-claras-y-el-chocolate-espeso-ii/ Las cuentas claras y el chocolate espeso III https://tecnicopreocupado.com/2019/10/26/las-cuentas-claras-y-el-chocolate-espeso-iii/ Las cuentas claras y el chocolate espeso IV https://tecnicopreocupado.com/2021/06/10/las-cuentas-claras-y-el-chocolate-espeso-iv-nueva-defensa/ Terremoto y tsunami escala 9 en Japón https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon.212925/ Terremoto y tsunami escala 9 en Japon --- Segunda Parte https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-segunda-parte.213422/ Terremoto y tsunami escala 9 en Japón (III) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-iii.213743/ Terremoto y tsunami escala 9 en Japón (IV) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-iv.213979/ Terremoto y tsunami escala 9 en Japón (V) https://web.archive.org/web/20170726080442/http://burbuja.info/inmobiliaria/temas-calientes/214350-terremoto-y-tsunami-escala-9-japon-v.htmL Terremoto y tsunami escala 9 en Japón (VI) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-vi.215098/ Terremoto y tsunami escala 9 en Japón (VII) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-vii.215915/ Terremoto y tsunami escala 9 en Japón VIII https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-viii.217430/ Terremoto y tsunami escala 9 en Japón (IX) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-ix.217591/ Terremoto y tsunami escala 9 en Japón (X) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-x.219405/ Terremoto y tsunami escala 9 en Japón (XI) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-xi.224402/ Terremoto y tsunami escala 9 en Japón (XII) https://www.burbuja.info/inmobiliaria/threads/terremoto-y-tsunami-escala-9-en-japon-xii.233697/ Desastre nuclear de Fukushima (XIII) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xiii.241631/ Desastre nuclear de Fukushima (XIV) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xiv.255830/ Energía: Desastre nuclear de Fukushima (XV) https://www.burbuja.info/inmobiliaria/threads/energia-desastre-nuclear-de-fukushima-xv.285278/ Desastre nuclear de Fukushima (XVI) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xvi.319489/ Desastre nuclear de Fukushima (XVII) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xvii.392375/ Desastre nuclear de Fukushima (XVIII) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xviii.456205/ Desastre nuclear de Fukushima (XIX) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xix.472407/ Desastre nuclear de Fukushima (XX) https://www.burbuja.info/inmobiliaria/threads/desastre-nuclear-de-fukushima-xx.565187/ intro sobre Vicente Blasco Ibáñez https://twitter.com/tecn_preocupado/status/1785632664436760706 UTP296 Blasco Ibáñez, tras el velo https://www.ivoox.com/utp296-blasco-ibanez-tras-velo-audios-mp3_rf_128574930_1.html Fosa Papaya https://twitter.com/tecn_preocupado/status/1474670465062948864 Candidato de Lituania para Eurovisión https://twitter.com/terra_cremada/status/1787226572887327048 UTP105a Victoria en abril, el fin de la pandemia y el subidón del Bitcoin https://www.ivoox.com/utp105a-victoria-abril-fin-la-audios-mp3_rf_66397752_1.html Tor fue creado por el gobierno de EE.UU como herramienta de código abierto para el espionaje https://hipertextual.com/2011/03/tor-fue-creado-por-el-gobierno-de-ee-uu-como-herramienta-de-codigo-abierto-para-el-espionaje Tor (red de anonimato) https://es.wikipedia.org/wiki/Tor_(red_de_anonimato) Las ramas del árbol de Pujol https://twitter.com/tecn_preocupado/status/819653779251466241 Caso Banca Catalana https://twitter.com/tecn_preocupado/status/1050694609729392640 Jordi Evole premiado por la logia Blasco Ibáñez https://twitter.com/filtradano/status/1090963507712061442 PONIENDO EL CASCABEL AL GATO: JORDI EVOLE https://tecnicopreocupado.com/2014/03/06/poniendo-el-cascabel-al-gato-jordi-evole/?utm_source=blogsterapp&utm_medium=twitter ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Flash de propaganda UTP300 bluenotes by airtone (c) copyright 2021 Licensed under a Creative Commons Attribution (3.0) license. https://dig.ccmixter.org/files/airtone/64427 Heros ………………………………………………………………………………………. Epílogo Redimi2 - HARTO https://youtu.be/gO29QWKMerM?feature=shared

Welcome to the Paint The Medical Picture Podcast, created and hosted by Sonal Patel, CPMA, CPC, CMC, ICD-10-CM. Thanks to all of you for making this a Top 15 Podcast for 3 Years: ⁠⁠⁠⁠https://blog.feedspot.com/medical_billing_and_coding_podcasts/⁠⁠⁠⁠ I'd love your continued support of this content-rich, value-add podcast to help you succeed in the business of medicine: ⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/sonal-patel5/support⁠⁠⁠⁠ Sonal's 11th Season starts up and Episode 11 features a Newsworthy update on the OIG Work Plan for February 2024. Sonal's Trusty Tip and compliance recommendations focus on a new update on modifier -59 in the RHC and FQHC settings. Spark inspires us all to reflect on quantity versus quality based on the inspirational words of Emile Zola. Thanks to Advanced Coding Services: Website: https://advancedcodingservices.com/ Paint The Medical Picture Podcast now on: Spotify for Podcasters: ⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/sonal-patel5⁠⁠⁠⁠ Spotify: ⁠⁠⁠⁠https://open.spotify.com/show/6hcJAHHrqNLo9UmKtqRP3X⁠⁠⁠⁠ Apple Podcasts: ⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/paint-the-medical-picture-podcast/id1530442177⁠⁠⁠⁠ Google Podcasts: ⁠⁠⁠⁠https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy8zMGYyMmZiYy9wb2RjYXN0L3Jzcw==⁠⁠⁠⁠ Amazon Music: ⁠⁠⁠⁠https://music.amazon.com/podcasts/bc6146d7-3d30-4b73-ae7f-d77d6046fe6a/paint-the-medical-picture-podcast⁠⁠⁠⁠ Breaker: ⁠⁠⁠⁠https://www.breaker.audio/paint-the-medical-picture-podcast⁠⁠⁠⁠ Pocket Casts: ⁠⁠⁠⁠https://pca.st/tcwfkshx⁠⁠⁠⁠ Radio Public: ⁠⁠⁠⁠https://radiopublic.com/paint-the-medical-picture-podcast-WRZvAw⁠⁠⁠⁠ Find Paint The Medical Picture Podcast on YouTube: ⁠⁠⁠⁠https://www.youtube.com/channel/UCzNUxmYdIU_U8I5hP91Kk7A⁠⁠⁠⁠ Find Sonal on LinkedIn: ⁠⁠⁠⁠https://www.linkedin.com/in/sonapate/⁠⁠⁠⁠ And checkout the website: ⁠⁠⁠⁠https://paintthemedicalpicturepodcast.com/⁠⁠⁠⁠ If you'd like to be a sponsor of the Paint The Medical Picture Podcast series, please contact Sonal directly for pricing: ⁠⁠⁠⁠PaintTheMedicalPicturePodcast@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/sonal-patel5/message Support this podcast: https://podcasters.spotify.com/pod/show/sonal-patel5/support

On today's show, Dune Part 2 is here!!! And it has been seen by us in IMAX. Paul Atreides Muad'Dib himself, Chani, Lady Jessica, and Gurney Halleck are all here. But first, we'll be going over movie and TV show news, and what we've been watching including True Detective: Night Country, The Taste Of Things, Shōgun, and finish up with our Letterboxd assignments.   Write into the show at MidnightFilmSociety@gmail.com and @bisickle on Threads. Subscribe on Pocketcasts, Google Podcasts, and Spotify. Rate and review it on Apple Podcasts. Tell a friend, family member, or stranger. Sam Mendes Fab Four Movies Mickey 17 delayed until January 31, 2025 I Saw The TV Glow Trailer Bill Skarsgard is Machine Gun Kelly as the new Crow Paramount + Peacock In Talks To Possibly Merge SAG 2024 Award Winners (Oppenheimer has won Golden Globe, Bafta, Critics Choice, SAG, DGA, and PGA. Only the 11th time a movie has won the SAG, DGA, and PGA together.) Take in the sheets. Oscar Predictions

Helen and Gavin chat about the Oscar-nominated Short Documentaries, Animated, and Live Action movies, with a couple of Highly Commended thrown in for good measure, and it's Week 5 of the list of Oscar Best Picture Winners from 1937 and 1938; The Great Ziegfeld, and The Life of Emile Zola.

Michael Pearce is a writer, painter, teacher and curator, as well as the founder of The Representational Art Conference (TRAC). His book "Kitsch, Propaganda and the American Avant-Garde" uncovers one thing Lenin, Hitler and Roosevelt had in common: A keen eye for art as state propaganda. Avoiding the old-fashioned vs modern dichotomy, Pearce shows the cultural historical roots of employing both figurative and abstract painting to further political correctness. Pearce traces it back to 19th century socialist thinking, and goes in-depth on the ideas of philosophers like Proudhon and Saint-Simon, as well as the protests of Emile Zola. First and foremost, however, he shows how the the American government and a few wealthy families made Avant-garde art into the preferred art form of the 20th century, casting it as the antidote to the sentimentality of kitsch.

How do you make comics without all the frustration? Without feeling lousy and inadequate all the time? With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art. Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.Episode 1 - What Part of Comics is the Hardest?Recorded at SAW on Zoom What is The Terrible Anvil? Tom and I were bantering one day on a call and one of us said HEY WE SHOULD MAKE A PODCAST LIKE THIS! So, it's a podcast. Each week, we grapple with the BIG QUESTIONS about making comics. The "terrible anvil" itself is from nineteenth century badboy Emile Zola, who opined, "One forges one style on the terrible anvil of daily deadlines." (Emile looks a little unimpressed with us, but I am deeply impressed with his immaculate sense of style here in this 1902 photograph.) What is this podcast like? We record with a live (Zoom) audience, so there's some participation in that sense, but mostly, we build the structure of each week's episodes by soliciting questions from members of the SAW community in the Comics Flow and Publish group. This week's question was: What Part of Comics is Hardest? We talked about drawing, suffering, self-doubt, the inner critic, LOTS of good stuff! See below for a little recap of the first podcast! What is "bootleggers"? Jess Ruliffson is one of SAW's instructors and she's making a book! The Bootlegger's Guide to Comics. What is a bootlegger? A bootlegger is someone who by hook or crook will make their art, abandoning the gatekeepers, rules, inner and external critics, literary best practices, and any other sort of puffery or obstacle that's cluttering the way to making their best work. Basically, being the kind of unfancy version of yourself and making art IS THE BEST VERSION of yourself to make the story you want to tell. How do we decrease suffering when we make our comics? What is the hardest part of the struggle? Some responses from our COMICS and FLOW crew: Uli B: "Convincing people that the thing you want to tell is worth telling." Beth T: "I love every part of making comics in the comics sense of thing. In terms of the whole creative process, it's in the early stages of a project, wrangling some sense into the many too many ideas I have that always frustrates me most. I always just want things to solidify FASTER so I can get to work (or to parts of the process that feel more like work). I am not a patient person. " Sarah W: "For me, the worst part is drawing, but also feeling driven to tell stories that I am not sure people really want to hear. So then I end up in a morass of despair because I feel like I MUST but then, because I'm not sure anyone really wants to hear it, I also feel cringey and vulnerable." Some little bits and highlights from our call: Jess: Leverage the things that are weird. Nancy M: I think you are giving us permission to be artists or graphic novelists without being published? that our work doesn't have to live up to a publisher's standard to put it out there. I feel like that standard keeps me from starting. Tom: Who are these people you think don't want to hear your ideas? Austin Kleon! Katherine B: "I heard Linda Barry, in a podcast, say (something like) it's not the author's job to judge the work, just make it." Jess: Judge vs audience (can we be either of those to ourselves?) Tom: do we do a thing if something like it already exists? Are we perhaps worried we're not unique BUT TOTALLY WEIRD instead? Also Tom (one of my favorite moments): "I'm not the artist my writer wish he was." Jess: Draw the worst version purposely in the thumbnails and it delights me Plus, this is already so bad, how can it be worse?? ......intentionally exaggerating the badness of it. Exposure therapy. Greatness is what I'm striving for, but badness is already inside me. Make the bad version, exaggerate it, let it be a communication device.... Darlene: That's why it's important for me to have community and share work because someone else always sees something in my work I didn't see or even understand. To join us on a live call, find us over in the events section of the Comics FLOW + PUBLISH group over here. https://learn.sawcomics.org/The recordings will soon be a podcast that you can listen to on your favorite podcast platform. Happy Making! Jess #TerribleAnvil #Bootleggers Get full access to How to Make a Graphic Novel at sawcomics.substack.com/subscribe

Vous aimez Stéphane Bern ? Vous allez adorer l'historienne Virginie Girod ! Aujourd'hui, en sa compagnie, vous allez découvrir les destins des deux génies de la littérature que sont Emile Zola et Charles Baudelaire, et la façon dont ils ont consacré leur œuvre aux humbles et marginaux.

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A compelling study of medical and literary imaginations, Anne Linton's Unmaking Sex: The Gender Outlaws of Nineteenth-Century France (Cambridge University Press, 2022) examines the complex relationship between modes of seeing, thinking, and writing intersex bodies and lives.  In this project, Linton brings a rich archive of medical cases from 1800 to 1902 into dialogue with canonical nineteenth-century authors (Honoré de Balzac, Théophile Gautier, and Emile Zola), as well as an impressive range of less well-known writers and popular fictions that captivated French readers during the period. Challenging the (Foucauldian) emphasis on the principle of a "true sex" that apparently preoccupied French doctors following the Napoleonic Code's regulation of sexual identification (within three days of birth), Linton looks at multiple instances in which the instability of sex, the uncertainties of bodies and their stories, came up again and again for medical and other observers. Revisiting the well-known case of Herculine Barbin, Linton situates Barbin's own account within the wider medical and literary worlds of nineteenth-century France. The book's earlier chapters lay a historical groundwork for subsequent closer readings of fictions that responded and contributed to a broader cultural fascination with sexual and gender identities, desires, and ambiguities.  While historically specific in its research and arguments, Unmaking Sex offers much to readers interested in the past and present politics of medical, legal, and cultural debates surrounding intersex people, with implications well beyond the French context. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Cesur Münevverler Çıkmadı, Bari Bugün de Bir Emile Zola Olsaydı!.. *Keşke günümüzde de entelektüellerden Dreyfus Davası'ndaki Emile Zola'nın yiğitliği gibi ki aslında bizim tarihimizde öyle binlercesi vardır ama bu konu açılınca ilk planda batıya bakmanın neticesi olarak o akla gelir bir yiğitliği gösterenler olsaydı. İnsan ne kadar arzu ederdi, alnını yere koyan, secde eden insanlardan bir kaç tanesi, en azından Mekke'deki müşrikler gibi, binlerce ailenin yüreğini sızlatan, binlerce insanı vazifelerini yaptığından dolayı gadre uğratan zalimler güruhuna karşı “yeter artık” falan deyip entelektüelce bir tavır sergileseydi, samimi bir ses yükseltseydi, herkes dilsiz şeytanlık durumuna düşmeseydi, keşke!.. İnsan ne kadar arzu ederdi!.. Ahiretlerini kurtaracaklardı. Maalesef aynı cürmün cezasını paylaşacaklar; birileri cürüm işleyerek, diğerleri de cürüm karşısında sessiz kalarak o cürme iştirak ettiklerinden dolayı, o cürmün cezasını müşterek olarak çekecekler öbür tarafta. Ve yine bizim canımız yanacak, onları öyle gördükçe, yüreğimiz sızlayacak; ciğerimize zıpkın saplanmış gibi bir acı duyacağız. Cenâb-ı Hak tez zamanda aklını yitirmiş kimselerin tutulmuş akıllarının zincirlerini, bağlarını çözsün, doğruyu göstersin, hakiki imana ulaştırsın, zulümden vazgeçirsin. *O üç insanla boykota son verildi ama işkence ve çileler bi'set-i seniyyenin on üçüncü senesine kadar öyle devam etti. “Acaba algı operasyonlarıyla bu insanları inandıkları şeyden vazgeçirebilir miyiz? Haydi bir fasıl daha, haydi bir fasıl daha!..” Kullanmadıkları argüman kalmadı: İnsan öldürmeden alın da, mahrum etmeye, zincir vurmaya, bir kaç günde sadece bir su sunmaya… kadar işkencenin en utandırıcılarını yaptılar. Fakat hiçbir Müslümanı sindiremediler . *Ashab-ı Kiram eziyet ve işkencelere boyun eğmedi zira onların insibağı çok güçlüydü. Sanki Allah (celle celaluhu) İnsanlığın İftihar Tablosu'nu hususi bir donanımla gönderdiği gibi, O'na hakiki ümmet olabilecek o babayiğitleri de hususi O'nun için hazırlamış. Bu açıdan da sahabeyle kimse boy ölçüşemez. Cenâb-ı Hak bizi onların arkasından yürüyenlerden eylesin. Bu video 26/04/2015 tarihinde yayınlanan “En Büyük Tehlike ve Boykot” isimli bamtelinden alınmıştır. Tamamı burada: https://www.herkul.org/bamteli/bamtel...

Melvyn Bragg and guests discuss Emile Zola's greatest literary success, his thirteenth novel in a series exploring the extended Rougon-Macquart family. The relative here is Etienne Lantier, already known to Zola's readers as one of the blighted branch of the family tree and his story is set in Northern France. It opens with Etienne trudging towards a coalmine at night seeking work, and soon he is caught up in a bleak world in which starving families struggle and then strike, as they try to hold on to the last scraps of their humanity and the hope of change. With Susan Harrow Ashley Watkins Chair of French at the University of Bristol Kate Griffiths Professor in French and Translation at Cardiff University And Edmund Birch Lecturer in French Literature and Director of Studies at Churchill College & Selwyn College, University of Cambridge Producer: Simon Tillotson Reading list: David Baguley, Naturalist Fiction: The Entropic Vision (Cambridge University Press, 1990) William Burgwinkle, Nicholas Hammond and Emma Wilson (eds.), The Cambridge History of French Literature (Cambridge University Press, 2011), particularly ‘Naturalism' by Nicholas White Kate Griffiths, Emile Zola and the Artistry of Adaptation (Legenda, 2009) Kate Griffiths and Andrew Watts, Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio, and Print (University of Wales Press, 2013) Anna Gural-Migdal and Robert Singer (eds.), Zola and Film: Essays in the Art of Adaptation (McFarland & Co., 2005) Susan Harrow, Zola, The Body Modern: Pressures and Prospects of Representation (Legenda, 2010) F. W. J. Hemmings, The Life and Times of Emile Zola (first published 1977; Bloomsbury, 2013) William Dean Howells, Emile Zola (The Floating Press, 2018) Lida Maxwell, Public Trials: Burke, Zola, Arendt, and the Politics of Lost Causes (Oxford University Press, 2014) Brian Nelson, Emile Zola: A Very Short Introduction (Oxford University Press, 2020) Brian Nelson (ed.), The Cambridge Companion to Emile Zola (Cambridge University Press, 2007) Sandy Petrey, Realism and Revolution: Balzac, Stendhal, Zola, and the Performances of History (Cornell University Press, 1988) Arthur Rose, ‘Coal politics: receiving Emile Zola's Germinal' (Modern & contemporary France, 2021, Vol.29, 2) Philip D. Walker, Emile Zola (Routledge, 1969) Emile Zola (trans. Peter Collier), Germinal (Oxford University Press, 1993) Emile Zola (trans. Roger Pearson), Germinal (Penguin Classics, 2004)

Melvyn Bragg and guests discuss Emile Zola's greatest literary success, his thirteenth novel in a series exploring the extended Rougon-Macquart family. The relative here is Etienne Lantier, already known to Zola's readers as one of the blighted branch of the family tree and his story is set in Northern France. It opens with Etienne trudging towards a coalmine at night seeking work, and soon he is caught up in a bleak world in which starving families struggle and then strike, as they try to hold on to the last scraps of their humanity and the hope of change. With Susan Harrow Ashley Watkins Chair of French at the University of Bristol Kate Griffiths Professor in French and Translation at Cardiff University And Edmund Birch Lecturer in French Literature and Director of Studies at Churchill College & Selwyn College, University of Cambridge Producer: Simon Tillotson Reading list: David Baguley, Naturalist Fiction: The Entropic Vision (Cambridge University Press, 1990) William Burgwinkle, Nicholas Hammond and Emma Wilson (eds.), The Cambridge History of French Literature (Cambridge University Press, 2011), particularly ‘Naturalism' by Nicholas White Kate Griffiths, Emile Zola and the Artistry of Adaptation (Legenda, 2009) Kate Griffiths and Andrew Watts, Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio, and Print (University of Wales Press, 2013) Anna Gural-Migdal and Robert Singer (eds.), Zola and Film: Essays in the Art of Adaptation (McFarland & Co., 2005) Susan Harrow, Zola, The Body Modern: Pressures and Prospects of Representation (Legenda, 2010) F. W. J. Hemmings, The Life and Times of Emile Zola (first published 1977; Bloomsbury, 2013) William Dean Howells, Emile Zola (The Floating Press, 2018) Lida Maxwell, Public Trials: Burke, Zola, Arendt, and the Politics of Lost Causes (Oxford University Press, 2014) Brian Nelson, Emile Zola: A Very Short Introduction (Oxford University Press, 2020) Brian Nelson (ed.), The Cambridge Companion to Emile Zola (Cambridge University Press, 2007) Sandy Petrey, Realism and Revolution: Balzac, Stendhal, Zola, and the Performances of History (Cornell University Press, 1988) Arthur Rose, ‘Coal politics: receiving Emile Zola's Germinal' (Modern & contemporary France, 2021, Vol.29, 2) Philip D. Walker, Emile Zola (Routledge, 1969) Emile Zola (trans. Peter Collier), Germinal (Oxford University Press, 1993) Emile Zola (trans. Roger Pearson), Germinal (Penguin Classics, 2004)

George Feltenstein of the Warner Archive joins the podcast for a fun and informative review of five of the August Blu-ray releases.   We review each film, provide background on the restoration and all of the extras on each release, and share our insights into why these films are worth adding to your Blu-ray collection.  Purchase links:FATHER'S LITTLE DIVIDEND BLU-RAYTHE LIFE OF EMILE ZOLA BLU-RAYLITTLE WOMEN BLU-RAYSPINOUT BLU-RAYWICHITA BLU-RAYGAY PURR-EE BLU-RAY The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Move over, Dracula. Eat your heart out Edward Cullen. A new sexy vampire is in town, and he just happens to be a PRIEST! Park Chan-Wook reunites with the wonderful Song Kang-ho to put his own stamp on the popular genre with 2009's THIRST. Inverse's Hoi-Tran Boi joins us to chat about this darkly funny (and devilishly sound-designed) film, an adaptation of Emile Zola's classic novel Thérèse Raquin. How do the rules of vampirism translate to a culture where everything is cooked with garlic?   This episode is sponsored by:  Passages (mubi.com/passages) Indeed (indeed.com/check) Firstleaf (firstleaf.com/check) Join our Patreon at patreon.com/blankcheck Follow us @blankcheckpod on Twitter and Instagram! Buy some real nerdy merch at shopblankcheckpod.myshopify.com or at teepublic.com/stores/blank-check

Eric Newman and Kate Wolf speak to the author Kristin Ross about her recent book, The Politics and Poetics of Everyday Life, a collection of essays that examine how everyday life emerges as a vantage point for understanding and transforming our social world. The book represents three decades of Ross's writing about the everyday in French political, social, and cultural theory and history, including the commune form and current autonomous zones in France, the romance and memory of the May 1968 protests, and the present predicaments both faced and created by the Macron government. Featuring a long interview with the pioneering philosopher Henri Lefebvre, the book also invokes the work of Frederic Jameson, Jacques Ranciere, Emile Zola, and many others, to explore the intersections of political transformation and cultural representation as resources for thinking opposition and liberation in the present. Plus, artist Martine Syms, whose new exhibition Loser Back Home is currently on view at Spruth Magers in Los Angeles, returns to recommend Steffani Jemison's novel A Rock, A River, A Street.