Podcasts about emily bronte

Wuthering Heights by Emily Brontë chapter 31, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Lockwood heads to Wuthering Heights to end his lease at the Grange. He brings a note from Nelly to give to Cathy. Hareton first takes the note, but when Cathy cries, he gives it back to her. He has been struggling to learn to read. Cathy says however that she has been deprived of books. Cathy mocks Hareton's attempts to learn, angering him, but she says that she doesn't want to hinder his progress. Heathcliff returns and on entering the house, mutters quietly to himself that he he can only see Catherine Earnshaw's features in his face - so much so that he can hardly bare to see him. Lockwood passes a dreary meal with Heathcliff and Hareton and then leaves. Riding back to the Grange, he remarks on how dreary the North and its people are. He thinks further of what a "Fairy Tale" it would have been, had Cathy fallen in love with him, and left the Heights with him for London.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 30, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Nelly has not seen Cathy since she left, and her only source of information of the goings on at the Heights is Zillah. Zillah says that Heathcliff forbade anyone from acting kindly towards Cathy, and says that Cathy must tend to Linton by herself until he passes away. Since Linton's death, Cathy has kept her distance from Zillah and Hareton, with whom she is in constant conflict. Desperate to help, Nelly took a cottage to bring Cathy to, but Heathcliff, she knows won't allow it. The only thing that could save Cathy would be for her to remarry...Writing in his Diary, Lockwood says that this is the end of Nelly's story. He states that he is recovering from his illness and says that he will ride to the Heights on the following day to tell Heathcliff that he is leaving for London, and won't be back until the end of his lease. Heathcliff may look for a new tenant. Lockwood states that he has no desire to spend another winter in the north.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 29, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Heathcliff appears at the Grange shortly after the funeral of Linton to take Cathy to Wuthering Heights. He tells her that he punished Linton for helping her escape, and says that she will have to work for her keep at the Heights. Cathy spits back that she and Linton are in love and that in spite of Linton's bad-temperdness, they will prevail, while Heathcliff, has no one to love him. As Cathy goes to pack her things, Nelly asks to have Zillah's position at the Heights, desperate to remain with Cathy. Heathcliff interrupts her however to tell her that the day before, when the sexton was digging the grave to lay Edgar, he had him remove the earth from Catherine's grave and undo the lid so he could look on her face. He asserts that Catherine's face will not fade until he too is in the ground.He says that he asked the Sexton to remove one half of Catherine's coffin so that he and her may lay together in the ground once he too is gone. Nelly chastises him for disturbing the dead, and Heathcliff tells her that he believes in ghosts, and that he has been haunted by Cathine since the day she died.As they leave, Cathy asks Nelly to visit her, but Heathcliff says that no such thing will happen, noting that if he needs Nelly, he will come to the Grange himself. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 28, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: At last, Zillah frees Nelly from her imprisonment, telling her that the villagers in Gimmerton have been saying that both Nelly and Cathy were lost on the moors. Nelly searches through the house for Cathy, but only finds Linton who tells her that Cathy is locked away. The two are now married and Linton claims that everything she owns is now his.Fearing that Heathcliff will come back home and find her, Nelly hurries to Thrushcross Grange. Here, she tells the incredibly ill Edgar that Cathy is well and will be home soon. She send a group of men to search for Cathy at the Grange and to get a lawyer, for Edgar's will. The men fail to get Cathy back, and the lawyer says that he will come after he has finished his work in town. Nelly, late at night hears a knock at the door and believes it to be the lawyer, but it is Cathy! She can see her father before he passes away, and Edgar is happy to see that his daughter is married to Linton, not knowing how awful he is. Shortly after Edgar's passing, Mr. Green, the lawyer arrives, saying he has seen Heathcliff, and he orders everyone but Nelly and Cathy out of the house by the order of the new owner of the house.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 27, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Over the next week, Edgar's health gets worse and worse. Worried about her father, Cathy reluctantly rides to her meeting with Linton. Linton seems more nervous than normal during their meeting, and he eventually reveals that Heathcliff is forcing him to court Cathy, and he is terrified what will happen if she refuses him. Heathcliff arrives, and asks Nelly about Linton's health. He says that he is worried that Linton will pass before Edgar and ruin his plans. Heathcliff asks Cathy to walk Linton back to the Heights, and though Nelly refuses and Cathy states that she is forbidden to do so, she agrees because she is afraid of Heathcliff.Heathcliff is furious with Linton, who is terrified of his father. Once he gets Nelly, Cathy, and Linton inside, he locks them in the Heights and refuses to let them leave until Cathy and Linton are married. He allows Cathy to leave her bedroom and be with Linton, but locks Nelly inside for 5 days, with Hareton bringing her food.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 26, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: When Cathy and Nelly go to their meeting with Linton, they don't find him where they agreed to meet. He has not gone far from the heights. He looks frail and weak, but he says that he is improving. The boy looks nervous and seems to look over his shoulder towards the house. At the end of their visit, Cathy agrees to meet Linton again the next week. On the way home, Cathy and Nelly worry about Linton's health, but agree that they won't come to any conclusions until their next visit.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 25, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Nelly stops her story briefly to tell Lockwood that all of what she just described happened only last Winter. Nelly says that she would never have guessed that in only a year, she would be telling an absolute stranger about the family history. She wonders how long Lockwood will be a stranger for; she has noticed that Lockwood has gained feelings for the Cathy. Lockwood confesses that that is true, but that he doubts that it would ever happen. He urges Nelly to continue her story. Young Cathy agrees to follow her father's wishes, and says that she will no longer visit Linton. Linton never visits the Grange either, he is too sick and frail. Edgar worries about his daughter's happiness and the future of his estate. He says that if marrying Linton would make Cathy happy, then he would give Heathcliff his revenge. Edgar's health continues to fall, and so does that of Linton. Eventually Edgar allows Cathy to meet Linton, not at the Heights, but on the moors, before the boy can succumb to his illness. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 24, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: After Nelly recovers, she notices Cathy's strange behaviour and soon discovers that she has been riding to the Heights after she and Mr Linton were in bed. Cathy confesses to Nelly that she has been to the heights and she tells of an instance where Hareton proved to her that he could read the name carved in stone above the door. When Cathy asked him if he could read the date after it, Hareton replied that he didn't yet know his letters, and she scalded him for it. Cathy called him a Dunce and the went inside to join Linton. Soon after seeing him, Hareton burst through the door in a rage and bullies Linton into going upstairs. Afterwards, he apologised to Cathy for his behaviour, but she ignored him and went home, angry. When she returned to the Heights a few days later, Linton blamed her for the transgression. She leaves, and comes back a few days later to tell him that she won't be coming back. Linton begs for her forgiveness. After Cathy hears the story, she goes to Edgar and tells him what his daughter has done. Edgar immediately forbids his daughter from visiting Linton again, but he does write to him, and says that he can come and visit the Grange. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 23, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: The next morning, Cathy and Nelly ride to Wuthering Heights in the pouring rain. They find Linton whining like usual. He talks to Cathy about the possibility of getting married so that he would then love him as much as she loves her father. Cathy says that not all married people love each other, and tells Linton about his mother and father's relationship. Linton refuses this information and it causes an argument between them which climaxes in Cathy pushing the frail boy. Linton has a coughing fit, and after recovering, claims that Cathy assaulted him. Cathy is filled with guilt, and Linton asks her to nurse him back to health. Nelly puts her foot down and says that Cathy will not be coming back to the Heights. After Nelly and Cathy get home, Nelly discovers that she has fallen ill from the rain. Cathy acts as nurse for both she and her father, and is incredibly attentive to her patients, but during the night, she makes frequent visits to Linton while her patients sleep.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 22, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Edgar Linton's health beings to fail him, and he has to spend less time with Cathy. Nelly attempts to fill the void, but in vain. On a Winter's day on a walk in the garden, Cathy climbs as will and stretches to reach some fruits, but her hat falls down to the other side. She climbs over the wall with Nelly's permission, but soon finds the gate locked, and the wall too slick to climb. Nelly looks through her ring of keys for the right one, and Heathcliff turns up. He tells Cathy that it was cruel to cut off contact with Linton, and says that his health has fallen. He urges Cathy to visit Linton and restore him to health while he is away. He claims that Linton's failing health is caused by a broken heart. Nelly eventually breaks the lock on the door, and Heathcliff leaves. His words made an impact on Cathy though, and she manages to convince Nelly to let them go together to the Heights to visit Linton. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 21, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Cathy is distraught over her cousin's departure from Thrushcross Grange. Nelly tries to keep informed on Linton's wellbeing by asking Wuthering Heights' housekeeper. She learns that Heathcliff hates his son and cannot stand to be alone with him, and that Linton is very frail and sickly. A few years later, when Cathy is 16, she and nelly are out looking for birds on the moors. Cathy runs forward, and when Nelly catches up with her, she is conversing with Heathcliff and Hareton. Heathcliff invites her and Cathy to Wuthering Heights to see his son. Nelly is suspicious, and doesn't want Cathy to go. Cathy is headstrong though, and heads off with Hareton while Heathcliff walks with Nelly. At Wuthering Heights, Heathcliff tells Nelly that he wants to marry Linton to Cathy someday. The cousins do not recognise each other, but on mention of his name, Cathy flies to embrace him. Linton has become too sick to show Cathy around the farm, and she at first goes on a walk with Hareton, and Heathcliff eventually forces him to go after them. At Thrushcross Grange the following day, Cathy accosts her father about Linton's proximity and asks to know why he kept Linton a secret. Edgar tries to explain, and eventually, though painful, tells Cathy about the complicated history between Linton, Heathcliff, and Catherine. Edgar begs Cathy to not keep in touch with the boy, but Cathy cannot resist sending him letters. After a while, Nelly decides to go through Cathy's drawer where she finds a pile of letters from Linton, and she removes the letters. When Cathy finds out, she accosts Nelly, after which, Nelly threatens to take them to Edgar. Cathy, after a struggle, agrees to let Nelly burn the letters, and never write to Linton again. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Our website - www.perksofbeingabooklover.com. Instagram - @perksofbeingabookloverpod Facebook - Perks of Being a Book Lover. To send us a message go to our website and click the Contact button. You can find Rebecca Schinsky on IG @rebeccaschinsky and Book Riot at www.bookriot.com   In this week's episode, we chat with Rebecca Schinsky, who is chief of staff for Riot New Media Group and co-host of The Book Riot podcast. Book Riot is the largest independent editorial book site in North America and book lovers can find all kinds of interesting stuff there, such as numerous podcasts, newsletters, and articles about different genres.   I have long been a listener of this podcast and love it because ….I am a book nerd through and through and this podcast gives me the inside look at the world of publishing.  If you enjoy learning about trends and want the inside scoop about how and why certain books make it to your eyeballs or just want to have your pulse on bookish news, this podcast is for you.  Rebecca talks to us about what book trends have had the biggest impact on the industry over the last 15 years, what other goodies you can find at Book Riot.com, and why social media flattens the book options we see in our feeds.   And this week for our book recommendations section, we put on our 10 gallon hats and our chaps because we're talking about westerns. Westerns became popular in the late 1800s and derived from the dime novels of the mid-19th century. Many of these stories were later turned into movies in the 1940s and 1950s, which is probably the way most people had exposure to them. Films like High Noon and Shane were based on western stories. There was a second resurgence of western films based on novels between the 1970s-90s such as The Unforgiven and The Outlaw Josey Wales. We offer westerns that are in the graphic novel genre, the horror genre, literary fiction, and middle grade.   Books Mentioned in this Episode:   1- The Personal Librarian by Marie Benedict and Victoria Christopher Murray   2- The Other Einstein by Marie Benedict   3- Harlem Rhapsody by Victoria Christopher Murray   4- Life in Three Dimensions by Shigehiro Oishi    5- Back After This by Linda Holmes   6- Wuthering Heights by Emily Bronte   7- Glass Town: The Imaginary World of the Brontes by Isabel Greenberg   8- The Helsinki Affair by Anna Pitoniak   9- Red Widow by Alma Katsu   10- A Five Star Read Recommended by Fellow Book Lover Beth @a_vet_nurse_and_her_books - The Game by Danny Dagan   11- Lonesome Dove by Larry McMurtry   12- True Grit by Charles Portis   13- The Searchers by Alan LeMay   14- The Searchers: The Making of an American Legend by Glenn Frankel   15- Lone Women by Victor LaValle   16- Coyote Doggirl by Lisa Hanawalter   17- Four Treasures of the Sky by Jenny Tinghui Zhang   18- Whiskey When We're Dry by John Larison   19- The Sisters Brothers by Patrick deWitt   20- Pony by RJ Palacio   Media mentioned--   1- Heretic (Max, 2024)   2- Longlegs (Hulu, 2024)   3- True Grit (2010)   4- Deadwood (Max, 2004-2006)   5- The Searchers (1956)   6- The Sisters Brothers (2018)   Bella Da Costa Greene Exhibit in NYC -  https://www.themorgan.org/exhibitions/belle-da-costa-greene    

Wuthering Heights by Emily Brontë chapter 20, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Nelly gets orders to take Linton to Wuthering Heights. On the way Linton asks plenty of questions about his father, saying that his mother never said that he had a father. Nelly invents some reasons as to why Heathcliff couldn't have visited. When they arrive at the Grange, Heathcliff doesn't pretend to love his son, he calls Linton's mother a s*** and says that Linton is his property. Linton begs Nelly not to leave him, but she has to go, and mounts her horse quickly while the boy is distracted.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 19, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Edgar brings the boy Linton to Thrushcross Grange, and Cathy is very disappointed to discover that her cousin, is a weak, small, whiney young boy. Not long after he arrives, Joseph turns up and yells at Nelly and Edgar that Heathcliff wants his son, saying that if he doesn't come tonight, Heathcliff will come and get him himself in the morning. Edgar promises to send the boy...SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 18, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Cathy grows up at Thrushcross Grange, and at the age of 13 she is a intelligent, beautiful, and temperamental girl. Her father is fearful of Wuthering Heights, and doesn't let his daughter leave the grounds of the Grange's park, and he doesn't tell her anything of the Heights, or its inhabitants. One day, Edgar receives a letter from Isabella, saying that she is ill and going to pass away, and that she wishes to see her brother and wants him to take her son with him back to the Grange. Edgar leaves for London, and tells Nelly to take care of Cathy.While under Nelly's care, Cathy escapes to the moors, wanting to explore the world by herself. When she doesn't come home in the evening, Nelly gets worries and goes to look for her, fearing that she has found the Heights. When she gets to the Heights, she finds one of the family dogs, and goes to the door of the manor, where she is greeted by a housekeeper who tells her that Cathy is inside. Cathy is talking with Hareton, and seems to be very fond of him. Nelly is furious however, and only wants to take Cathy home. Nelly tells Cathy that Hareton is not the son of the master of the house, but is actually her cousin. Cathy is shocked and tries to deny this, saying that her cousin is being brought to the Grange by her father. Nelly persists, and explains that people can have more that one cousin, and finally gets the girl to leave. On the way home, Nelly gets Cathy to promise that she will tell nothing of her visit to the Heights to her father.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

In his new book, Nathan K. Hensley describes a mood or a vibe or an intuitive response to the contemporary moment when one feels powerless in the face of collapsing societal systems. Given the entrenched nature of the present crisis, with compulsory happiness being marketed by the culture industry, how does one work within systems from which no true escape is possible? In order to uncover a prehistory of this feeling, he goes back to the nineteenth century - to artists like J.M.W. Turner and writers like Emily Bronte and Christina Rossetti who were thinking about what it means to inhabit a world omnivorously captured by capital. Nathan K. Hensley is the author of Forms of Empire: The Poetics of Victorian Sovereignty (Oxford, 2016), and co-editor, with Philip Steer, of Ecological Form: System and Aesthetics in the Age of Empire (Fordham, 2018). With Devin Garofalo, he is currently coediting a collection of essays that's forthcoming from Northwestern UP, The Barbara Johnson Collective. His new book is Action without Hope: Victorian Literature after Climate Collapse, forthcoming from Chicago UP in April 2025. He was born in Fresno, California and lives in Silver Spring, Maryland. Image: J.M.W. Turner, The Burning of the Houses of Lords and Commons, 1834-35. Public Domain. Original at the Philadelphia Museum of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his new book, Nathan K. Hensley describes a mood or a vibe or an intuitive response to the contemporary moment when one feels powerless in the face of collapsing societal systems. Given the entrenched nature of the present crisis, with compulsory happiness being marketed by the culture industry, how does one work within systems from which no true escape is possible? In order to uncover a prehistory of this feeling, he goes back to the nineteenth century - to artists like J.M.W. Turner and writers like Emily Bronte and Christina Rossetti who were thinking about what it means to inhabit a world omnivorously captured by capital. Nathan K. Hensley is the author of Forms of Empire: The Poetics of Victorian Sovereignty (Oxford, 2016), and co-editor, with Philip Steer, of Ecological Form: System and Aesthetics in the Age of Empire (Fordham, 2018). With Devin Garofalo, he is currently coediting a collection of essays that's forthcoming from Northwestern UP, The Barbara Johnson Collective. His new book is Action without Hope: Victorian Literature after Climate Collapse, forthcoming from Chicago UP in April 2025. He was born in Fresno, California and lives in Silver Spring, Maryland. Image: J.M.W. Turner, The Burning of the Houses of Lords and Commons, 1834-35. Public Domain. Original at the Philadelphia Museum of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In his new book, Nathan K. Hensley describes a mood or a vibe or an intuitive response to the contemporary moment when one feels powerless in the face of collapsing societal systems. Given the entrenched nature of the present crisis, with compulsory happiness being marketed by the culture industry, how does one work within systems from which no true escape is possible? In order to uncover a prehistory of this feeling, he goes back to the nineteenth century - to artists like J.M.W. Turner and writers like Emily Bronte and Christina Rossetti who were thinking about what it means to inhabit a world omnivorously captured by capital. Nathan K. Hensley is the author of Forms of Empire: The Poetics of Victorian Sovereignty (Oxford, 2016), and co-editor, with Philip Steer, of Ecological Form: System and Aesthetics in the Age of Empire (Fordham, 2018). With Devin Garofalo, he is currently coediting a collection of essays that's forthcoming from Northwestern UP, The Barbara Johnson Collective. His new book is Action without Hope: Victorian Literature after Climate Collapse, forthcoming from Chicago UP in April 2025. He was born in Fresno, California and lives in Silver Spring, Maryland. Image: J.M.W. Turner, The Burning of the Houses of Lords and Commons, 1834-35. Public Domain. Original at the Philadelphia Museum of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Wuthering Heights by Emily Brontë chapter 17, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Not long after the funeral, Isabella arrives at Thrushcross Grange, laughing like a madwoman, and out of breath. She has come to ask Nelly for help, at an hour when she knows Edgar will be sleeping. Isabella says that a Heathcliff and Hindley are attacking each other. She says that Hindley tried to stay sober so that he could go to his sister's funeral, but couldn't bring himself to go and started drinking again. While Heathcliff was watching over Catherin's grave, Hindley locked him out of the house and told Isabella that he intended on shooting him. Isabella warned Heathcliff about the plan, and when Hindley aimed his pistol out of the window, Heathcliff grabbed and fired it back at Hindley, the knife attachment cutting his wrist. Heathcliff then forced his way inside and beat Hindley all over. The following morning, Isabella reminded Hindley of the previous night and he became enraged and began to fight Heathcliff anew. In the fury, Isabella managed to escape. Soon after her visit to Nelly, Isabella goes to London, where she gives birth to Heathcliff's son, Linton. She keeps up a correspondence with Nelly over the next 12 years until Isabella passes away too. Six months after Catherine's passing, Hindley goes too. Nelly returns to Wuthering Heights to see about the funeral arrangements and to bring Hareton back to Thrushcross Grange. She comes to find that Hindley was in a huge amount of Debt and that Heathcliff, has become the owner of The Heights. He does not allow Hareton to return with Nelly, and says that he will raise the boy himself. Hareton, who should be one of the finest gentlement in the area, is now forced to live as a common servant, friendless, and without hope. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 16, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: That night Catherine gives birth to a daughter two months premature and then passes away 2 hours later. When Nelly goes to tell Heathcliff, he seems to know already. He curses Catherine for all of the pain that she has caused him and prays that she haunts him for the rest of his life. She may drive him mad as long as she stays with him. Edgar watches over Catherine's body at night, and Heathcliff lurks in the garden waiting to see her. When Edgar eventually retires to bed, Nelly lets Heathcliff have a moment with her. After Heathcliff leaves, Nelly finds that Heathcliff replaces Edgar's hair in Catherine's locket with one of his own. She wraps Heathcliff's around Edgar's and leaves them in the locket together. Hindley is invited to Catherine's funeral but doesn't come, Isabella isn't invited. Catherine, to the surprise of the villagers, is not buried at the Linton tomb nor with her relatives. She is instead places in a corner of the church yard looking over the moors.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 15, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Four days after Nelly's visit to Wuthering Heights, she waits for Edgar to leave for church before giving Heathcliff's letter to Catherine. Catherine has become very weak, and can't hold the letter, but as soon as Nelly mentions that it is from Heathcliff, he enters the room, unable to wait for a response. Catherine and Heathcliff have a very heated conversation where Catherine claims that her heart has been broken by both Heathcliff and Edgar. She states that she doesn't want to die while Heathcliff is alive, and she never wants to be apart from him, and begs for his forgiveness. Heathcliff says that he can forgive her for the pain she caused him, but not that which she caused herself. The church service ends, and Nelly urges Heathcliff to leave so that Edgar doesn't find him at home, but Catherine urges him to stay. As Edgar comes into the room, Nelly screams and Catherine collapses. Edgar is furious at Heathcliff's presence, but is too concerned about his wife to do anything about him, and Nelly takes Heathcliff away to the garden. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 14, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Nelly goes to Wuthering Heights, but Edgar continues to refuse his sister's requests for forgiveness. When she arrives, Heathcliff demands Nelly to tell him about Catherine and he asks if he can see her. Nelly refuses and Heathcliff enraged, threatens to lock her up and go by himself. Terrified of Heathcliff, Nelly agrees to take a letter from him to Catherine. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 13, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Edgar and Catherine spend 2 months trying to nurse Catherine back to health, and though she never fully recovers, she soon finds out that she is pregnant. Six weeks after her marriage to Heathcliff, Isabella writes to Edgar begging for forgiveness. Isabells then writes to Nelly and tells her that Wuthering Heights is awful; Hindley, Joseph, and Hareton all treat her cruelly, and Heathcliff has declared that as he cannot punish Edgar for Catherine's illness, he will punish Isabella instead. Isabella also says that Hindley has developed an obsession with Heathcliff, who has now taken full control of Wuthering Heights. Hindley hopes that he will be able to get Heathcliff's money, and he has shown a weapon to Isabella that he intends to use on Heathcliff. Isabella claims that she has made a mistake in marrying Heathcliff and she begs Nelly to visit her at Wuthering Heights.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :DVictorian Literature, Gothic Audiobook, Classic Literature

Le 1er janvier 2025 sortait Bird, le dernier film de la réalisatrice britannique Andrea Arnold. Un film qui poursuit sa veine de réalisme social, tout en s'aventurant du côté de l'onirisme. Alors, la sortie de Bird nous a donné envie de nous réunir pour parler de la carrière d'Andrea Arnold, figure de proue du cinéma indépendant britannique, héritière du naturalisme de Ken Loach, et aussi grande passionnée des images de la nature.Chapitrage :05:37 : Red Road (2006)17:55 : Fish Tank (2009)37:39 : Les Hauts de Hurlevent (2011)56:31 : Bird (2025)Animation, réalisation, montage, son : Mariana AgierParticipantes : Alicia Arpaïa, Mariana Agier, Léon Cattan, Lisa DurandGénérique : © SorocinéMusique : © Antonin Agier et Hugo CardonaPhoto : © RankinHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Wuthering Heights by Emily Brontë chapter 12, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Catherine finally allows the servants to bring her food, and in a hysterical state, claims that she is dying and that she doesn't know why Edgar won't come to her side. She rants about her childhood and her time with Heathcliff on the moors and death. Nelly is worried that Catherine will fall further ill and refuses to open any windows, but Catherine manages to force one open. From the window, she thinks that she can see Wuthering Heights, and Catherine says that she will die and her spirit will not be at rest until it can be with Heathcliff. Edgar arrives and Nelly goes to get a doctor. The doctor is optimistic about her recovery. SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :DVictorian Literature Gothic Audiobook Classic Literature

Wuthering Heights by Emily Brontë chapter 11, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Nelly goes to Wuthering Heights to talk with Hindley, but finds Hareton, who throws rocks at her and curses her. Nelly learns from Hareton that Heathcliff taught him to swear at Hindley and that Heathcliff has forbidden the curate from coming to the property. When Heathcliff arrives, Nelly runs away. The next day at Thrushcross Grange, Nelly sees Heathcliff kissing Isabella. Catherine accosts Heathcliff about his true feelings for Isabella, and she offers to convince Edgar to consent to the marriage if he really loves her. Heathcliff tells Catherine that her idea is ridiculous, but that he intends to take revenge on her for marrying Edgar. Nelly tells Edgar about Catherine and Heathcliff's conversation, and he goes to the kitchen to order Heathcliff off of his property. A fight breaks out between the two men, and Catherine throws the key to the door in the fire to ensure that Edgar can't call for backup and has to face Heathcliff like a man. Catherine goads Edgar into striking Heathcliff, and when Edgar flees, Heathcliff decides to part too, knowing that he can't fight multiple men when Edgar inevitably calls for backup. In a fury, Edgar declares that Catherine must choose between him and Heathcliff. Catherine refuses to answer and locks herself in her room for 2 days straight. After two days, Edgar warns Isabella that if she wants to marry Heathcliff, she will be kicked out of Linton family.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

Daily QuoteHe's more myself than I am. Whatever our souls are made of, his and mine are the same. (Emily Bronte)Poem of the DayNothing gold can stayRobert FrostBeauty of WordsThe Snow Queen in Seven Stories - Sixth StoryHans Christian Andersen

When you think of creativity, who comes to mind? Maybe Picasso with a paintbrush, Emily Bronte with a pen, or Lady Gaga lighting up the stage. We often see creativity as the power to make something out of nothing. But what if I told you that your weight management journey could be an art form too? A space where creativity sparks the resilience you need to reach your goals. In the latest episode of Thin Thinking, we're diving into the power of creativity in weight mastery as part three of our “Resilience Training: Building Mental Strength to Reach Your Goals” series. (Missed the first two episodes? Don't worry—this one stands strong on its own.) Here's what you'll learn in this empowering episode:

This week, Halley Sutton, Steph Lauer and I talk with Layne Fargo about her new book The Favorites! We dive into her inspiration for the book, trips Halley and Layne took to research the book, how she used character names from Wuthering Heights in The Favorites, and her lifelong love for figure skating!The Favorites SynopsisShe might not have a famous name, funding, or her family's support, but Katarina Shaw has always known that she was destined to become an Olympic skater. When she meets Heath Rocha, a lonely kid stuck in the foster care system, their instant connection makes them a formidable duo on the ice. Clinging to skating—and each other—to escape their turbulent lives, Kat and Heath go from childhood sweethearts to champion ice dancers, captivating the world with their scorching chemistry, rebellious style, and rollercoaster relationship. Until a shocking incident at the Olympic Games brings their partnership to a sudden end.As the ten-year anniversary of their final skate approaches, an unauthorized documentary reignites the public obsession with Shaw and Rocha, claiming to uncover the "real story" through interviews with their closest friends and fiercest rivals. Kat wants nothing to do with the documentary. But she can't stand the thought of someone else defining her legacy either. So, after a decade of silence, she's telling her story: from the childhood tragedies that created her all-consuming bond with Heath to the clash of desires that tore them apart. Sensational rumors have haunted their every step for years, but the truth may be even more shocking than the headlines.Inspired by the powerful love and hate that fuel Emily Bronte's classic, Wuthering Heights, The Favorites is an exhilarating dance between passion, ambition, and what it truly means to win. Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

Send us a textE45 Long Neglect Has Worn Away by Emily Bronte Description: An immersive reading of Long Neglect Has Worn Away by Emily Bronte with reflection on transience and permeance, tuberculosis and facial maladies. Website:https://anauscultation.wordpress.comWork:[Long Neglect Has Worn Away] by Emily BronteLong neglect has worn awayHalf the sweet enchanting smile;Time has turned the bloom to gray;Mold and damp the face defile.But that lock of silky hair,Still beneath the picture twined,Tells what once those features were,Paints their image on the mind.Fair the hand that traced that line,“Dearest, ever deem me true”;Swiftly flew the fingers fineWhen the pen that motto drew.References:Emily Bronte: https://www.poetryfoundation.org/poets/emily-bronte Bansal R, Jain A, Mittal S. Orofacial tuberculosis: Clinical manifestations, diagnosis and management. J Family Med Prim Care. 2015 Jul-Sep;4(3):335-41.Quaranta N, Petrone P, Michailidou A, Miragliotta L, Santantonio M, Del Prete R, Mosca A, Miragliotta G. Tuberculous otitis media with facial paralysis: a clinical and microbiological diagnosis-a case report. Case Rep Infect Dis. 2011;2011:932608.

Emily Bronte, 1818-1848.  

Nghe trọn nội dung sách nói Đồi Gió Hú trên ứng dụng Voiz FM: https://voiz.vn/play/1944/ Đồi Gió Hú, câu chuyện cổ điển về tình yêu ngang trái và tham vọng chiếm hữu, cuốn tiểu thuyết dữ dội và bí ẩn về Catherine Earnshaw, cô con gái nổi loạn của gia đình Earnshaw, với gã đàn ông thô ráp và điên rồ mà cha cô mang về nhà rồi đặt tên là Heathcliff, được trình diễn trên cái nền đồng truông, quả đồi nước Anh cô quạnh và đơn sơ không kém gì chính tình yêu của họ. Từ nhỏ đến lớn, sự gắn bó của họ ngày càng trở nên ám ảnh. Gia đình, địa vị xã hội, và cả số phận rắp tâm chống lại họ, bản tính dữ dội và ghen tuông tột độ cũng huỷ diệt họ, vậy nên toàn bộ thời gian hai con người yêu nhau đó đã sống trong thù hận và tuyệt vọng, mà cái chết chỉ có ý nghĩa khởi đầu. Một khởi đầu mới để hai linh hồn mãnh liệt đó dược tự do tái ngộ, Khi những cơn gió hoang vắng và điên cuồng tràn về quanh các lâu đài trong Đồi gió hú... Cuốn tiểu thuyết duy nhất của Emily Bronte, là cuốn sách đã tới tay công chúng với nhiều lời bình trái ngược vào năm 1847, một năm trước khi nữ tác giả qua đời ở tuổi ba mươi. Thông qua mối tình giữa Cathy và Heathcliff, với bối cảnh là đồng quê Yorkshire hoang vu trống trải, Đồi gió hú đã tạo nên cả một thế giới riêng với xu hướng bỏ qua lề thói, vươn tới thi ca cũng như tới những chiều sâu tăm tối của lòng người, giúp tác phẩm trở thành một trong những tiểu thuyết vĩ đại nhất, bi thương nhất mà con người từng viết ra về nỗi đam mê cháy bỏng. Tại ứng dụng sách nói Voiz FM, sách nói Đồi Gió Hú được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn. --- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. --- Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ --- Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Đồi Gió Hú và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM. Tải ứng dụng Voiz FM: voiz.vn/download #voizfm #sáchnói #podcast #sáchnóiĐồiGióHú #EmilyBronte

The Taliban edict that women's voices should not be heard aloud renders women up and down Afghanistan inaudible as well as invisible in public. Women are already denied most forms of education and employment. They are not allowed to go outside without a male guardian, and have to be completely covered up, including their faces. Now the new rules say they should be quiet too. Women singing together, or even raising their voices in prayer, is forbidden.But there's more than one way to be heard.Our Whole Life is a Secret records the day to day life of 'Leila', a lively, energetic Afghan woman aged 23, doing everything she can to navigate the rules. From behind the walls of her home, Leila reveals her vivid interior world, and that of her female friends and relatives. She and her sisters are the first women in their family to read and write, and before the Taliban returned to power in 2021, she was a university student. Now she teaches in a secret school and is part of a dynamic online learning community. From reading Emily Bronte to working out to Zumba, Leila is determined to keep stay sane and busy.'Leila' is not her real name and all locations are omitted for safety reasons. Her words are read by Asal Latifi.

The Taliban edict that women's voices should not be heard aloud renders women up and down Afghanistan inaudible as well as invisible in public. Women are already denied most forms of education and employment. They are not allowed to go outside without a male guardian, and have to be completely covered up, including their faces. Now the new rules say they should be quiet too. Women singing together, or even raising their voices in prayer, is forbidden.But there's more than one way to be heard.Our Whole Life is a Secret records the day to day life of 'Leila', a lively, energetic Afghan woman aged 23, doing everything she can to navigate the rules. From behind the walls of her home, Leila reveals her vivid interior world, and that of her female friends and relatives. She and her sisters are the first women in their family to read and write, and before the Taliban returned to power in 2021, she was a university student. Now she teaches in a secret school and is part of a dynamic online learning community. From reading Emily Bronte to working out to Zumba, Leila is determined to keep stay sane and busy. 'Leila' is not her real name and all locations are omitted for safety reasons. Her words are read by Asal Latifi. Producer/Presenter Monica Whitlock Sound design and mix James Beard Editor Penny Murphy

Daily QuoteTime brought resignation, and a melancholy sweeter than common joy. (Emily Bronte)Poem of the DayNothing TwiceWislawa SzymborskaBeauty of Words过戈壁哲中

Daily QuoteTime brought resignation, and a melancholy sweeter than common joy. (Emily Bronte)Poem of the DayTears, Idle TearsAlfred TennysonBeauty of Words小桔灯冰心

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin

Oui, clin d’oeil littéraire (« Wuthering Heights » d’Emily Bronte, ou bien chanson de Kate Bush). On continue dans le glam avec la compilation « Can The Glam » ( qui a eu une « partie 2 », « Teenage Glampage », clin d’oeil au morceau de Sweet « Teenage Rampage », et le premier volet évoque le « Can The Can » de Suzi Quatro) ainsi […] L'article Maggot Brain – Glittering Heights est apparu en premier sur Radio Campus Tours - 99.5 FM.

This episode of 3CR Spoken Word is an interview with Laura Fisher and Eddy Burger. They talk about absurdist poetry, collaboration, and Laura's play "Why Not Believe In Everything".Laura Fisher is an energetic poet, and performer who is well known on the Melbourne Spoken word scene for convening Radio Laria Poetry and MCing Girls on Key.  Through both these poetry nights, Laura has been a keen advocate and promoter for women poets.  She has been the feature poet for various Melbourne spoken word gigs and at Dramatis Personae she was even known to channel the ghost of Emily Bronte. Eddy Burger is a writer of funny and experimental poetry, fiction, and plays. His work has been published in numerous journals and anthologies as well chapbooks by the MPU and Small Change Press and in his own self-published zines. Eddy is an anti-realist, literary radical and champion of the imagination, often concerned with challenging norms and promoting difference.

Daily QuoteSummer was our best season: it was sleeping on the back screened porch in cots, or trying to sleep in the tree house; summer was everything good to eat; it was a thousand colors in a parched landscape... (Harper Lee)Poem of the DayThe Return of the RiversRichard BrautiganBeauty of WordsWuthering HeightsEmily Bronte

Hi Readers!  Welcome to Literary Lineup: June Edition! On this mini-episode, we'll each share three books that we are hoping to pick-up in June. Want to read Wuthering Heights by Emily Bronte along with Traci this summer? We would love to have you join us at From the Bookstacks of Literally Reading!  June 2024 Tangled Up In You by Christina Lauren (Ellie) When the Sea Came Alive by Garrett M. Graff (Traci) The Rom-Commers by Katherine Center (Ellie) Isabel and the Rogue by Liana De La Rosa (Traci) Sandwich by Catherine Newman (Ellie) All the Colors of the Dark by Chris Whitaker (Traci)

The OTRNow Radio Program 2024-001Fibber McGee and Molly. May 19, 1942. NBC net, WMAQ Chicago aircheck. Sponsored by: Johnson's Wax. Fibber has great news! The McGees are going to be rich (again)!. Jim Jordan, Marian Jordan, Harlow Wilcox, Billy Mills and His Orchestra, The King's Men, Bill Thompson, Isabel Randolph, Gale Gordon, Don Quinn (writer).The Lone Ranger. September 19, 1938. Program #881/106. Syndicated. "Dan Latham". Sponsored by: Music fill for local commercial insert. Dan Latham is threatening to "make trouble" for Mary Frisbie. Tonto is shot in Eagle Pass while trying to protect her!. Earle Graser, John Todd, Fran Striker (writer), George W. Trendle (creator, producer). The Lux Radio Theatre. September 18, 1939. CBS net. "Wuthering Heights". Sponsored by: Lux. The classic story of love on the moors of England. The story was heard again on The Lux Radio Theatre on November 4, 1940 (see cat. #8352) and September 14, 1954 (see cat. #10530). Charlie Forsyth (sound effects), Sanford Barnett (director), George Wells (adaptor), Grace Nielson (The Modernettes Trio: commercial spokesman), Charles MacArthur (screenwriter), Ben Hecht (screenwriter), Emily Bronte (author), Sarita Wooten, Douglas Scott, Rex Downing, Clarence Derwent, Reginald Sheffield, Eric Snowdon, Lou Merrill, Lee Millar (doubles, one part is a dog), Barbara Stanwyck, Brian Aherne, Ida Lupino, Cecil B. DeMille, Vivian Edwards (The Modernettes Trio: commercial spokesman), Catherine Carleton (commercial spokesman), Jo Campbell (The Modernettes Trio: commercial spokesman), Kemball Cooper, Marga Ann Deighton, Melville Ruick (announcer), Thomas Freebairn-Smith, Louis Silvers (music director). The Line-Up. October 04, 1951. CBS net. "The Wild, Wild Woman Case". Sustaining. Jewelry stores have been held up around the country by a man and women. John Tynan seems to have been the robber, but the victim fails to identify him. Irene Oldham is the name of Tynan's accomplice. William Johnstone, Wally Maher, Eddie Dunstedter (composer, conductor), Jaime del Valle (producer, director), Dan Cubberly (announcer), Howard McNear, Peter Leeds, Hy Averback, E. Jack Neuman (writer), Ray Hartman, Herb Butterfield, Dan Cubberly (announcer), Jeanette Nolan, Gil StrattonThe Shadow. October 24, 1937. Mutual net. "The Temple Bells Of Neban". Sponsored by: Blue Coal. The Shadow battles a most formidable enemy, the niece of the yogi who taught Cranston the secret of invisibility! She knows the Shadow's secret identity and all of his tricks. A good story!. Orson Welles, Arthur Whiteside (announcer), Agnes Moorehead, Elsie Thompson (organist), Ray Collins, Carl Frank, Jeanette Nolan, Everett Sloane (quadruples), Stefan Schnabel, Mark Smith (doubles), Thomas Coffin Cooke (commercial spokesman). 

On this episode of Currently Reading, Meredith and Roxanna are discussing: Bookish Moments: books from beloved authors and the perfect buddy reading scenario Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: a deeper look into The Covenant of Water by Abraham Verghese The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  .  1:18 - The Covenant of Water by Abraham Verghese 1:36 - Bookish Moments of the Week 2:06 - @Roxannathereader on Instagram 2:26 - No Two Persons by Erica Bauermeister 2:38 - The Scent Keeper by Erica Bauermeister 2:39 - House Lessons by Erica Bauermeister 5:51 - Kill Show by Daniel Sweren-Becker 6:27 - Jane Eyre by Charlotte Bronte 7:56 - Wuthering Heights by Emily Bronte 8:53 - Penguins Classic version of Jane Eyre 10:32 - Current Reads 11:09 - Before He Finds Her by Michael Kardos (Meredith) 12:28 - @booktalketc on Instagram 12:29 - Book Talk, etc. Podcast 13:43 - The Last Thing He Told Me by Laura Dave 14:54 - Thank You for Listening by Julia Whelan 16:24 - The Almost Widow by Gail Anderson-Dargatz (Roxanna) 21:51 - Dumb Witness by Agatha Christie (Meredith) 25:42 - House Lessons by Erica Bauermeister (Roxanna) 26:52 - Downton Shabby by Hopwood DePree 26:54 - The Homewreckers by Mary Kay Andrews 28:52 - Tom Lake by Ann Patchett 28:53 - Search by Michelle Huneven 30:11 - The Exchange by John Grisham (Meredith) 30:35 - The Firm by John Grisham 34:44 - Rachel's Holiday by Marian Keyes 34:50 - Again, Rachel by Marian Keyes 36:53 - The Pelican Brief by John Grisham 36:57 - A Time to Kill by John Grisham 37:00 - The Brethren by John Grisham 37:53 - Deep Dive: A Discussion on The Covenant of Water 38:01 - The Covenant of Water by Abraham Verghese (Roxanna) 42:23 - The Gilmore Guide to Books 43:51 - A Fine Balance by Rohinton Mistry 48:51 - Cutting for Stone by Abraham Verghese 49:59 - A Court of Mist and Fury by Sarah J. Maas 52:41 - Meet Us At The Fountain 52:56 - Tom Lake by Ann Patchett 53:11 - I wish more book reviewers and podcasters would explain why Tom Lake may be a book for you or not for you. (Roxanna) 53:41 - Shadow of the Wind by Carlos Ruiz Zafon 56:12 - These Precious Days by Ann Patchett 56:32 - Sarah's Bookshelves Live 58:23 - I wish if you like documentaries you would watch Hello Bookstore. (Meredith) Hello Bookstore website and ways to watch  Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the independent bookstore of the month. October's IPL is curated by The Novel Neighbor. Visit them on Instagram Trope Thursday with Kaytee and Bunmi - a behind the scenes peek into the publishing industry All Things Murderful - special content for the scary-lovers, brought to you with the special insights of an independent bookseller The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!* 

The words for today are: Stasis, Burnish, Diffident, Prescient Featuring the poem "Often Rebused, Yet Always Back Returning" by Emily Bronte. VictorPrep's vocab podcast is for improving for English vocabulary skills while helping you prepare for your standardized tests! This podcast isn't only intended for those studying for the GRE or SAT, but also for people who enjoy learning, and especially those who want to improve their English skills. I run the podcast for fun and because I want to help people out there studying for tests or simply learning English. The podcast covers a variety of words and sometimes additionally covers word roots. Using a podcast to prep for the verbal test lets you study while on the go, or even while working out!  If you have comments or questions and suggestions, please send me an email at sam.fold@gmail.com