Podcasts about English literature

Hanieh Khosroshahi is an independent design consultant, researcher, and community organizer working in pursuit of people and the planet. Her work spans multiple sectors from international development and public health to women's rights and technologies. She also worked in many geographies including Canada, Rwanda, Tanzania, Nepal, and Afghanistan.  She applies principles and methods of Human-centred Design, participatory research, and systems thinking to design, test, and scale innovative and impactful solutions, both online and offlineHer mission is to advance the health, opportunities, and rights of those on the margins, with a particular focus on youth and women in under-served and low-resource settings, from or with roots in the global majority. In this episode, Hanieh shares with us the journey that led her to English Literature, Visual Arts and Journalism to Human-Computer Interaction and UX design, to her work today at the intersection of design, social change and community organizing. She shared her perspective and work on participatory design and decolonizing practices, providing us with a sense of what designing for collective liberation and justice-centered futures looks like. Community, care and relationships are at the core of her work as a researcher, a designer and a social activist.To learn more about Hanieh's work, follow her on LinkedIn: https://www.linkedin.com/in/haniehk/and check her website: https://hanieh.me/Learn about Thousand&One, a global, feminist community co-founded by Hanieh. It supports Women of Colour to thrive in their personal and professional lives.: https://thousandone.orgCredits:Conception, host and production: Anne-Laure FayardSound design & Post-production: Valter GouveiaMusic & Art Work: Guilhem Tamisier

The UK government has declared 2026, the National Year of Reading. The numbers suggest that reading needs all the public relations it can get. Under a third of school children say they read for pleasure and the number going on to read English Literature at University has shrunk by over a third in the last fifteen years. Their parents are not doing much better, with some surveys suggesting that any where up to half of adults have not read a single book in the last year. So, how can the case for the value of reading and the simple pleasure of picking up a book cut through? Tom Sutcliffe chairs Radio 4's discussion programme which starts the week. His guests are:Margaret Busby was Britain's first Black woman publisher who has enjoyed a 50 year career at the centre of cultural life and the book trade. Among her achievements she founded a publishing house, edited the ground-breaking international anthologies Daughters of Africa and New Daughters of Africa and championed authors marginalised by the mainstream. Her new book Part of the Story: Writings from Half a Century features her own literary output from between 1966 and 2023. Sarah Dillon, Professor at the University of Cambridge, has looked at the question 'what are you reading?' The books we encounter shape the choices we make and when it comes to scientists, it appears that ideas from imaginative literature influence their thinking. Storylistening: Narrative Evidence and Public Reasoning, co-authored with Dr Claire Craig, former Director of the UK Government Office for Science, makes the case for the value of attention to stories in decision making.Lottie Moggach is an arts journalists and writer of literary thrillers - she's also edited, researched and taught writing. Her latest novel, Mrs Pearcey, is Victorian true crime novel. She reflects on historical fiction, her own reading and working as a writer today. Producer: Ruth Watts

In this episode: Dr Danica Cerce from the Steinbeck Review; Dr Susan Shillinglaw, Director of the Steinbeck Center, California; Dr Nicholas P Taylor, Cox Center for Steinbeck Studies, San Jose State University; and Dr Tara Guissin-Stubbs, Associate Professor in English Literature and Director of Studies in English Literature and Creative Writing at Oxford University.

Greg Jenner is joined in medieval England by Professor Marion Turner and comedian Mike Wozniak to learn all about Geoffrey Chaucer, author of the Canterbury Tales. Since the fifteenth century, Chaucer has been referred to as the father of English literature. He was one of the first authors to champion the use of Middle English for poetry instead of Latin, and after the invention of the printing press, his works became the foundation of the English literary canon – long before Shakespeare ever put quill to parchment. But Chaucer's life was as extraordinary as his legacy, living as he did through the Black Death, the Hundred Years' War between England and France, and the Peasants' Revolt. In this episode, Greg and his guests explore Chaucer's dramatic biography: growing up the son of a wine merchant in fourteenth-century London, his work for the royal court and long career as a medieval civil servant, his relationship with John of Gaunt through his mistress Katherine Swynford, and his travels throughout Europe. They also examine the poets that influenced him – including Petrarch, Bocaccio and Dante – and take a deep dive into the famous Canterbury Tales. If you're a fan of medieval literature, historical courtroom dramas, and the tumult of fourteenth-century England, you'll love our episode on Geoffrey Chaucer. If you want more literary history with Mike Wozniak, listen to our episodes on Charles Dickens at Christmas and the Legends of King Arthur. And for more fourteenth-century lives, check out our episode on medieval Muslim traveller Ibn Battuta. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Rosalyn Sklar Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

In this episode of Money Tales, our guest is Stephanie Ellis-Smith. Marriage caused Stephanie to face two hard truths at once. The medical career she had poured herself into did not fit the life she wanted to build with her husband. And perhaps even more unsettling, a career in medicine was not clicking the way she had always assumed it would. When she stepped away, Stephanie felt like she was walking out on an identity her family had invested everything in. Her dad even told her, quite bluntly, that she had no employable skills. Then, in the middle of that uncertainty, Stephanie said yes to a small volunteer opportunity. That single yes ended up rerouting her life into a decades long career in philanthropy, including founding three nonprofits and Phila Engaged Giving. Stephanie is the CEO and founder of Phīla Engaged Giving, a philanthropic advisory firm established in 2017 that works with donors who are ready to activate their assets for social change. As an advisor and social impact specialist, she works toward a world where philanthropy is a nurturing and equity-centered practice that connects wealth to the people and communities who need it most. Stephanie is a Chartered Advisor in Philanthropy (CAP®) with extensive experience in advising high-impact individuals and companies. She believes strongly in being a compassionate and generous member of society and brings nearly 30 years of professional and personal life experience in governance, family wealth and nonprofit leadership to the social sector. In the wake of the racial uprisings of 2020, she co-founded Giving Gap, an online database to help donors find and support Black-founded and led organizations in their communities. Having served in a variety of professional capacities—non-profit CEO, social enterprise COO, foundation and non-profit trustee and corporate board member—Stephanie's extensive background and deep knowledge makes her uniquely well-positioned to be a trusted advisor to the world's most generous families and institutions. Stephanie's expertise in navigating wealth, impactful generosity and civic engagement is frequently sought by leading philanthropic institutions and mainstream publications and she has frequently appeared as a keynote speaker at major social sector convenings. Several Seattle mayors and former Washington Governor Gary Locke have appointed Stephanie to serve on a variety of boards and public commissions. She is currently a member of the Seattle Art Museum's Museum Development Authority Board and the board of the National Center for Family Philanthropy. She was appointed a Dean of Philanthropy in 2022 by The Purposeful Planning Institute. Stephanie has BA degrees from UCLA in both English Literature and Biochemistry. Given her keen interest in science, Stephanie's post-graduate years were spent in university labs working on stem cell and AIDS-related research. She has two adult children and lives in Seattle with her husband, the historian Douglas Smith. Finding Purpose Through Philanthropy Stephanie's journey shows that philanthropy is far more than writing checks or serving on boards. It is a deeply human practice that shapes relationships, careers and how we understand money, power and purpose. From her own career pivot to the way she helps families navigate charitable giving, her story illustrates how generosity can change the giver as much as the causes they support. By speaking openly about her own money story, identity and career reinvention, she reminds listeners that meaningful giving begins with honest conversations and a willingness to learn. If you are thinking about how to align your wealth with your values, an Aspiriant advisor can help you clarify your purpose, structure your giving and build a thoughtful philanthropic plan that fits your family. Follow Money Tales on Spotify, Apple Podcasts or YouTube Music for more real stories that help us make smarter, more intentional decisions with our money.

Matty Dalrymple talks with Jennifer Probst about WRITING ENSEMBLE CASTS THAT KEEP READERS HOOKED, including strategies for developing believable character relationships and chemistry, balancing primary and secondary characters in series fiction, keeping relationship arcs consistent across books, and practical craft tips for writing complex casts that keep readers engaged.   Interview video at https://www.youtube.com/@TheIndyAuthorPodcast/podcasts Show notes, including extensive summary, at https://www.theindyauthor.com/episodes-all   If you find the information in this video useful, please consider supporting The Indy Author! https://www.patreon.com/theindyauthor https://www.buymeacoffee.com/mattydalrymple   Jennifer Probst wrote her first book at twelve years old. She bound it in a folder, read it to her classmates, and hasn't stopped writing since. She holds a masters in English Literature and lives in the beautiful Hudson Valley in upstate New York. She is the New York Times, USA Today, and Wall Street Journal bestselling author of over fifty books in contemporary romance fiction. She was thrilled her book, The Marriage Bargain, spent 26 weeks on the New York Times bestseller list. Her work has been translated in over a dozen countries, sold over a million copies, and was dubbed a "romance phenom" by Kirkus Reviews.   Matty Dalrymple is the author of the Lizzy Ballard Thrillers, beginning with ROCK PAPER SCISSORS; the Ann Kinnear Suspense Novels, beginning with THE SENSE OF DEATH; and the Ann Kinnear Suspense Shorts. She is a member of International Thriller Writers and Sisters in Crime. Matty also writes, speaks, and consults on the writing craft and the publishing voyage, and shares what she's learned on THE INDY AUTHOR PODCAST. She has written books on the business of short fiction and podcasting for authors; her articles have appeared in Writer's Digest magazine. She is a Partner Member of the Alliance of Independent Authors.

Pride and Prejudice by Jane Austen is a sharp, witty exploration of love, class, and social expectation in Regency-era England, centered on the spirited Elizabeth Bennet and the enigmatic Mr. Darcy. As misunderstandings and first impressions give way to self-awareness, the novel reveals how pride and prejudice can obscure, and ultimately illuminate, the path to happiness.Alexandra Potter always dreamed of becoming a writer. After graduating from the University of Liverpool with a degree in English Literature, she moved to London, where she worked for various magazines. A brief detour—sparked by redundancy—led her to travel to Sydney, where she secured a position at Vogue. It was during this time that a chance article about novelists under the age of thirty inspired her to finally take the leap and try her hand at writing a novel.Her latest book, So I Met This Guy, is out now, and she will be embarking on a book tour in both the US and the UK Tickets Here!Nothing pairs more with English sensibility than a cuppa tea, which Alex and I both enjoyed during our conversation across the pond!In This EpisodeBrontë ParsonageLizzy Bennett Diaries - web seriesMe and Mr. Darcy by Alexandra PotterChawton HousePride and Prejudice BBCPride and Prejudice (2005)Bridget Jones Diary by Helen Fielding

Laurie Quinn strives to make learning better for all. Working with both teachers and students, the Stern Center for Language and Learning strives to stay at the forefront of innovation to be experts at applying knowledge learned in the classroom. As President, Laurie is following in the steps of a founder that had been with the organization for 38 years! Sherry and Laurie discuss the challenges and opportunities of leadership transitions in nonprofit organizations, the power of storytelling in fundraising, and the necessity of shifting fundraising culture to foster stronger donor relationships.   What You Will Discover: ✔️ Storytelling is a powerful tool in fundraising. ✔️ Leadership transitions require humility and mindfulness. ✔️ Teaching is an identity that extends beyond traditional roles. ✔️ A growth mindset can transform organizational challenges into opportunities. —————————————— As President of the Stern Center for Language and Learning, a Vermont-based nonprofit with a 40+-year history, Laurie Quinn is a proud champion of helping every learner to succeed. She brings expertise in nonprofit strategy, educational leadership, and innovative programs, as well as dedication to supporting an accomplished team of experts. Dr. Quinn earned her Ph.D. in English Literature at the University of New Hampshire and her master's and undergraduate degrees at Boston College. Her professional background includes serving as a nonprofit program and grants officer, teaching as a member of the faculty at colleges and universities, and leading in higher education executive roles as a Provost/Senior Vice President. Prior to taking the helm the Stern Center, Laurie was Interim President at Champlain College. Her community commitments currently include serving on the Board of Directors of Generator. Dr. Quinn believes in the power of learning to shape every life and to strengthen our communities.    LinkedIn: https://www.linkedin.com/in/laurie-quinn-06b84638a/ Website: https://sterncenter.org/ -------------------------- Welcome to the Business Behind Fundraising podcast, where you'll discover how to raise the kind of money your big vision requires without adding more events, appeals, or grant applications. Learn how to stop blocking overall revenue growth and start attracting investment-level donors with Sherry Quam Taylor.  Sherry Quam Taylor's unique approach and success combine her background of scaling businesses with her decade-long experience advising nonprofit leadership teams. With out-of-the-box principles and a myth-busting methodology, proven results, and an ability to see solutions to revenue problems that others overlook, her clients regularly add 7-figures of revenue to their bottom line.  If you need a true partner to show you how to fully finance your entire mission, both programs, AND overhead, year after year… You're in the right place!   #nonprofits #podcast

Last up from Spoken Label (Our Spoken Word / Writer Podcast) features Part 2 of our extended chat with the Environmental Poetry collection ‘I am Nature', this time an extended chat with the wonderful Andrew Sumner andPatricia (Pat) Sumner. Andrew Sumner grew up near Stroud in Gloucestershire,surrounded by deep woods and floriferous meadows thronged with butterflies. These places he explored with his mother, father and younger sister. Sadly, all that rich nature has since gone under the plough and the conifer. Later, his father's work took the family south to Somerset and the new and differentlandscapes of the Somerset Levels, the Quantock Hills and the Mendip Hills.Andrew's poems have been published in group anthologies and poetry collections, including ‘Travelling with the Saints' (Y Lofa, 2013) and ‘Both Sides of the Border – An Anthology of Writing on the Welsh Border Region (Gwasg Carreg Gfwlach, 1998). He has illustrated a children's book written by hiswife, Pat and enjoys walking, gardening, turning wood, drawing, painting, and researching family history. *Patricia Sumner (Pat) grew up on the Isle of Anglesey and nowlives in the Vale of Clwyd. She has loved creative writing ever since she was very young. As an adult, she studied under the poet and author Dr Gladys Mary Coles,namong other writers. It was at these Creative writing classes in Chester that she met her husband, Andrew.As a poet, she has had two collections published. Her pamphlet ‘Beyond the Glass' came first in a national poetry competition run by Thynks Publications. Pat's second collection of poems and readings, ‘The Promise of Dawn: Rites of Passage for all Beliefs', is published by Veneficia Publications.Pat has won awards for some of her poems and plays, and her poetry has appeared in magazines and anthologies. Pat has a BA (Hons) in English Literature and Philosophy, and a Post Graduate Certificate in Education.  This book (which is recommended) can be found here:https://www.amazon.co.uk/I-Am-Nature-Environmental-Poetry-ebook/dp/B0FH7PRW78/ref=sr_1_1?crid=1SAZ97SPX6WAQ&dib=eyJ2IjoiMSJ9.boHw9Hvv-eiwk0u6a82ZqWgjmK5G_sB28inaUJj0xhnHDE2LARcrHr8SrLCATjQSwE33nT3rAzsmfAznxsyx5IGxWZdQS_e_hS0b6ZwycAw.ulpWQy3YfH1rRkpCS96xbDozvPLa_m20qWAIz00uIUc&dib_tag=se&keywords=andrew+sumner&qid=1771620249&s=books&sprefix=andrew+sumner%2Cstripbooks%2C591&sr=1-1

We have been reviewing the popular allegory Hinds' Feet on High Places by Hannah Hurnard.  Our guest host for this series is Ms. Ahnna L Giorgis. Ahnna is a committed follower of Jesus Christ. She is the mother of four children and an English Literature teacher at North Carolina Central University in Durham, North Carolina.  Please join us as we take our spiritual journey to the High Places with the main character, Much Afraid, as she is led by The Good Shepherd.

EPISODE 676 - Jennifer Celeste Briggs - Watching Sarah Rise - A Journey of Thriving With AutismJennifer Celeste Briggs has a BA in English Literature from Swarthmore college. She lives in Pittsburgh, PA with her husband and two daughters. Her daughter Sarah has a genetic anomaly and autism. When Sarah was four, Jenny decided to run a Son-Rise Program for her, calling it Sarah-Rise, and training at the Autism Treatment Center of America. The Son-Rise Program is a loving child-centered approach to helping those with autism and other challenges connect socially, verbally, and through increased eye contact. Organizing hundreds of hours of therapeutic play time for Sarah, Jenny trained and coordinated multiple volunteers who contributed their love and creativity to the venture. Jenny started a blog to share the experience of Sarah-Rise and has heard multiple times that her words were helpful to others dealing with life struggles. Jenny wants to help parents feel understood and to spread the word about The Son-Rise Program. She hopes that her words bring comfort, joy, and inspiration to readers whatever their challenges and journeys may be.Sarah is a feisty and determined four-year-old with autism and a unique genetic blueprint. Her mom Jenny is equally feisty and determined, which leads to clashes and strife but also leads to phenomenal connection and progress as Jenny runs a Son-Rise Program for her, calling it Sarah-Rise.The Son-Rise Program is an approach to working with people with autism to foster social connection. It provides intensely loving, focused one-on-one therapeutic play time, meeting Sarah where she is and never stopping her repetitive behaviors. Sarah's language explodes, her eye contact intensifies, she plays games, plays imaginatively, uses the potty, eats healthily, reads, and writes.Playing with Sarah is deeply rewarding for the volunteers who spend time in the Sarah-Rise room. While Jenny sometimes doubts herself and criticizes her parenting, she also explores new pathways to gentleness, joy, and laughter. She celebrates Sarah's successes, marveling at the depth of love and creativity that her volunteers bring to the scene and stretching her own creative self. Accompany Jenny from Sarah's birth through the decision to run Sarah-Rise, and follow the years of Sarah-Rise, pretending that markers are flowers and number flashcards are snowflakes. Have your heart warmed and your socks knocked off by this momentous journey.“Watching Sarah Rise is equally informative as it is inspirational, gracious as it is gutsy.  A beautifully written story filled with hope, integrity, and pure emotion, Briggs intimately invites her reader to experience the unique heartbreak and joy that comes with mothering a neurodivergent child.”-Sherry Sidoti, author of A Smoke and a Song: A Memoirhttps://www.watchingsarahrise.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Why do the same patterns keep showing up in completely different centuries? In this episode, Pulitzer Prize–winning historian Stephen Greenblatt joins Ryan to discuss how power, fear, ego, and insecurity keep producing the same patterns. They talk about why dangerous leaders do not look dangerous at first, how great thinkers learned to survive unstable rulers, and why some of the most important ideas in history had to be hidden inside art, literature, and fiction just to stay alive. Stephen Greenblatt is Cogan University Professor of the Humanities at Harvard University. He has written extensively on English Renaissance literature and acts as general editor of The Norton Anthology of English Literature and The Norton Shakespeare. He is the author of fourteen books, including The Swerve, winner of the Pulitzer Prize and National Book Award, and Will in the World, a Pulitzer Prize finalist.

This week on Conflict Managed we welcome Heather Tinsley-Fix, Senior Advisor of Employer Engagement at AARP. Together we explore: Research showing the benefits of working with colleagues in different generations What are older workers concerned with? Practical ways to avoid falling prey to age stereotypes at work The impact of age discrimination on older workers The positive bottom-line effect of multigenerational teams and organizations Conflict Managed is available wherever you get your podcasts and on YouTube @3pconflictrestoration Heather Tinsley-Fix is a thought leader and influencer working to advance the value of older workers and the business case for building age-friendly organizations. As Senior Advisor of Employer Engagement at AARP, she leads the AARP Employer Alliance, a nationwide group of employers that stand with AARP in affirming the value of experienced workers. With a background in marketing, innovation, and program management, Heather works with employers and job seekers, external partners, and academics to provide thought leadership on 50+ labor market issues and create practical resources that enable employers to build organizations that capitalize on the value of experience and make the most of a multigenerational workforce.  She holds a B.A. in English Literature and an M.A. in Literary Theory, both from the University of Exeter.   Conflict Managed is produced by Third Party Workplace Conflict Restoration Services and hosted by Merry Brown.   #AARP #Generations #ConflictManagement #WorkplaceCulture #Communication

Author, essayist and literary critic, Bill Deresiewicz assembled a collection of forty essays written over a 30 year period. The themes include, Individuality vs. Networks, The Purpose of Education, Culture and Technology, Art and Criticism and Social Trends. The former Professor of English Literature at Yale University shares his opinions.

The Great Christian Classics Series  We are reading through a few of the great Christian classics, beginning with the popular allegory Hinds' Feet on High Places by Hannah Hurnard.  Our guest Host is Ms. Ahnna L. Giorgis, a devoted Christian,  mother of 4, and English Literature teacher at North Carolina Central University in Durham, North Carolina. 

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky.  If you would like to be a patron of the podcast you can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm  First Men on the Moon was written by HG Wells and serialised in The Strand Magazine beginning in 1900. The book was published in 1901 a year before Georges Méliès kicked off science fiction cinema with La Voyage dans la Lune in 1902. (You can learn more about that film in episode number 2 The First Science Fiction Film Ever.)  Then in the swinging 60s as the space race was heating up a collection of brilliant sci-fi filmmakers go together to make a story about a Victorian British scientist going to the moon with his anti-gravity material Cavorite! And yet even the amazing Ray Harryhausen stop motion special effects were not enough to make this film a success. My amazing guests break down the origins and outcomes of this mid-century oddity.  Keith Williams is a Reader in English Literature at the University of Dundee where he runs the science fiction programme. He has a special interest in the pre 1945 period and is the author of the book H.G. Wells, Modernity and the Movies. Matthew Rule-Jones is a senior lecturer in film studies at the University of Exeter and author of the book Science Fiction Cinema and 1950s Britain: Recontextualising Cultural Anxiety. At 6:09 Keith is about to explain the contraption that Robert William Paul was planning based on HG wells Time Machine. I interrupt him as we've covered this in two episodes priot. You can access more information about that on episode 37 The Time Machine: HG Wells' Legacy in 1960s Sci-Fi at timecode 23:07 or in episode 9 The Invisible Man Exposed at timecode 38:29. Chapters 00:00 Intro 02:23 HG Wells, selenites and Georges Méliès Trip to the Moon 06:57 Balancing act: Producer Charles Schneer vs Writer Nigel Kneale. 12:44 Box Office flop 15:12 Dreams of Empire and international cooperation 19:40 Steampunk sensibilities 22:26 The backdrop of the Space Race 26:58 Bedford and Cavor 33:20 Ray Harryhausen 37:50  NASA and the moon landing 41:12 Ant colonies and sci-fi 46:42 Legacy 50:10 Recommendations   Recommendations: The First Men in the Moon (2010) The Stone Tape (1972) available to view on YouTube here: https://www.youtube.com/watch?v=uHgcpzzZspw   NEXT EPISODE! The next episode will feature two films:  Dr Who & the Daleks (1965) as well as Daleks' Invasion Earth 2150 A.D. (1966). These films are available to buy or stream on mainstream platforms like Apple and Prime as well as subscription services. The Just Watch website is a good resource for finding where films are available in your region.

We are reading Through Great Christian Classics.  We begin with the popular allegory Hinds Feet On High Places by Hannah Hurnard.  Our presenter is Ms. Ahnna L. Giorgis, a devoted Christian and English Literature teacher at North Carolina Central University in Durham, North Carolina.

Before the award's darling film hit theaters in 2025, Maggie O'Farrell's novel made waves of its own with its brilliant prose, rich imagination, and earnest attention to the human heart. Her choice to focus on William Shakespeare's son, wife Agnes, and the possible implications his personal life could have had on his legendary work brought a fresh perspective to one of the most talked about figures in English Literature. In episode 369, join Luke Elliott & James Bailey as they kick off season 10 of the podcast, talk about "The Death of the Author" as a critical approach and what could be gained by bringing them back to life, the real story behind Anne Hathaway, and discuss what they are hoping for next week when they watch the film directed by Chloé Zhao! Pickup Hamnet or any of the novels they've covered at the Ink to Film Bookshop! https://bookshop.org/shop/inktofilm Support Ink to Film on Patreon for bonus content, merch, and the ability to vote on upcoming projects! https://www.patreon.com/inktofilm Ink to Film's Twitter, Facebook, Instagram, Bluesky (@inktofilm) Home Base: inktofilm.com Intro/Outro Music "No Winners" by Ross Bugden  https://www.youtube.com/watch?v=9qk-vZ1qicI Luke Elliott Website: www.lukeelliottauthor.com Social Media: https://www.lukeelliottauthor.com/social Writing: https://www.lukeelliottauthor.com/publications James Bailey Bluesky: https://bsky.app/profile/jamebail.bsky.social IG: https://www.instagram.com/jamebail/

There comes a time in the life of every author when they have to do that truly terrifying thing: Talk about their book. In this special crossover episode with SFF Addicts, we talk about talking about writing! A lot of that involves the beast we all face these days: social media. Branding, marketing, algorithms, trends, parasocial relationships -- It's a lot. How much do you really need to do, and how can you set boundaries around your public and private selves? But there are also times and places an author may need to talk about their book beyond social media and marketing. Sometimes, you have to do it in (gasp!) real life! What techniques can we use to get more comfortable with public speaking? What's good etiquette for being on a panel at a convention or conference? How can you engage with readers one-on-one in a way that makes them see you as an interesting person, not just a book-shilling Gollum incapable of taking about anything except your precious? We share our experiences and offer our perspectives on navigating those situations! Our Guests: SFF Addicts is a weekly sci-fi, fantasy and writing craft podcast co-hosted by Adrian M. Gibson and fellow authors M.J. Kuhn and Greta Kelly, bringing you interviews and writing masterclasses with your favorite SFF authors. Past guests include: George R.R. Martin, Brandon Sanderson, Jim Butcher, Robin Hobb, James S.A. Corey, Scott Lynch, Christopher Paolini, Martha Wells, Joe Abercrombie, John Scalzi, Chuck Wendig, Fonda Lee, Mark Lawrence, Adrian Tchaikovsky, Nicholas Eames, Michael J. Sullivan, Andrea Stewart, Travis Baldree, Mary Robinette Kowal, Gareth L. Powell, Hugh Howey, Robert Jackson Bennett, Rebecca Roanhorse, Chelsea Abdullah, RJ Barker and many more. The full episode archive can be found here. You can also subscribe to the FanFiAddict YouTube channel, where all episodes are available in full video. Adrian M. Gibson is an award-winning Canadian SFF author, podcaster and illustrator (as well as occasional tattoo artist). He was born in Ontario, Canada, but grew up in British Columbia. He studied English Literature and has worked in music journalism, restaurants, tattoo studios, clothing stores and a bevy of odd jobs. In 2021, he created the SFF Addicts podcast, which he co-hosts with fellow authors M. J. Kuhn and Greta Kelly. The three host in-depth interviews with an array of science fiction and fantasy authors, as well as writing masterclasses. Adrian has a not-so-casual obsession with mushrooms, relishes in the vastness of nature and is a self-proclaimed “child of the mountains.” He enjoys cooking, music, video games, politics and science, as well as reading fiction and comic books. He lives in Quito, Ecuador with his wife and sons. His debut novel is MUSHROOM BLUES, which is available to purchase here. M.J. Kuhn is a fantasy writer by night and a mild-mannered marketer and business owner by day. She is the internationally bestselling author of Among Thieves  and Thick as Thieves, cohost of SFF Addicts podcast, and lives in the metro Detroit area with her very spoiled cats, Evie and Thorin Oakenshield. Greta Kelly is the author of the critically acclaimed adult fantasy novels THE FROZEN CROWN, THE SEVENTH QUEEN and THE QUEEN OF DAYS (Voyager) and the co-host of SFF ADDICTS Podcast. Her writing has also appeared in Nerdist, i09 and Writer's Digest.  She currently lives in the U.S. with her husband EJ, and daughters Lorelei and Nadia who are doing their level-best to take over the world.  You can follow her on Instagram, Twitter and TikTok @gretakkelly.

In this episode, we find out about the first staging of Seán O'Casey's play The Plough and The Stars 100 years ago and why it provoked such furious debate and even riots. Our panel features: Dr Ciara Murphy, Lecturer in Drama at TU Dublin and Vice President of the Irish Society of Theatre Research; Mairéad Delaney, Archivist at the Abbey Theatre Archive; Dr Bess Rowen, assistant professor of theatre and a theatre theorist and historian at Villanova University, Pennsylvania, and an expert on Seán O'Casey's work and the 1926 riot; and Prof Nicholas Grene, Fellow Emeritus in English Literature at Trinity College Dublin.

Grace Murray was born in 2003 and grew up in Norwich. She has recently graduated from Edinburgh University, where she read English Literature and found time to write between her studies and two part-time jobs. Her short fiction has been published in The London Magazine. On this episode of Little Atoms she talks to Neil denny about her debut novel Blank Canvas, which was written over the course of a year as part of WriteNow, Penguin Random House's flagship mentorship scheme for emerging talent. Grace won one of nine places on the scheme on the exceptional strength of her writing, selected from a pool of over 1,300 applicants. Hosted on Acast. See acast.com/privacy for more information.

We are reading Great Christian Classics beginning with the very popular allegory Hinds' Feet On High Places by Hannah Hurnard. Our guest host is Ms. Ahnna L. Giorgis.  Ahnna is a devoted Christian, mother of 3, and Adjunct Professor of English Literature at North Carolina Central University in Durham, North Carolina.

We are reading Christian classics beginning with the popular allegory Hind's Feet on High Places by Hannah Hurnard.  Our guest host is Ms. Ahnna L. Giorgis.  She is a devoted Christian, mother of three children, and Adjunct Professor of English Literature at North Carolina Central University in Durham, North Carolina.

"Everyone has ADHD now."You've heard it. Maybe someone said it to you — with a half-joke, half-accusation edge. Like, neurodivergence is just the trend of the season.But what if that reaction tells us less about ADHD and more about the systems we're living in?In this conversation with Kristina Kyser — psychotherapist, educator, and creator of the Neurodivergent Rising course — we pull apart the "ADHD superpower" narrative that's everywhere right now. Because yes, there are gifts: innovation, nonlinear thinking, deep passion, hyperfocus. Those are real.But who benefits when we only talk about the parts of capitalism that it can extract?What We Cover:ADHD masking: the invisible labour of appearing "normal" From childhood, neurodivergent people — especially women — calibrate to a world that says: you're too much, you're wrong, you're different. Kristina breaks down what masking costs and why perimenopause often unmasks ADHD in midlife.The construction of "sanity" and who it was built to serve Normalcy isn't neutral. The DSM, psychiatry, the witch burnings — all of it is tangled with patriarchy, colonialism, and capitalism's need for compliant workers. Kristina traces the historical roots of how neurodivergence gets pathologised.The superpower question: what's true, what's missing, who profits Yes, ADHD comes with strengths. But when we only celebrate the traits capitalism values (innovation! hyperfocus! productivity!) while erasing the lows, the burnout, the 13-year shorter life expectancy, the systemic barriers — who does that serve?Why ADHD is a disability under capitalism — and that's not your fault ADHD isn't a medical deficit. But in a society built for neurotypical brains, it is disabling. Kristina explains the difference between individual healing and systemic change, and why we need both.Meet Kristina Kyser:Kristina (she/her) is a late-diagnosed AuDHD educator, former psychotherapist, and course creator with a PhD in English Literature and over 13 years of clinical experience. Her work bridges trauma healing, animist practice, and systems-level critique. She creates initiatory spaces that blend science, soul, and lived neurodivergence in service of collective remembering and repair.Learn more: Neurodivergent Rising Course Send me a DMSupport the show_____________________________________________________________________ Visit jenniferwalter.me – your cosy tree house where tired perfectionists and those done pretending to be fine find space to breathe, dream, and create real change.

Well Seasoned Librarian Podcast Season 16 Episode 18 Guest: Julia Halina Hadas Bio: ulia Halina Hadas is the bestselling author of WitchCraft Cocktails and Moon, Magic, Mixology and is the leading mixologist in the witchcraft and spiritual spheres - combining her professions and passions of witchcraft, mixology, and astrology. Her most recent work, The Modern Witchcraft Book of Astrology, reflects her witchcraft and healing practices, where she incorporates the meaning and myth of astrological archetypes and transits for empowerment, transformation, and manifestation. She is a certified reiki, crystal, energy worker, and holds a BA in Anthropology, with minors in Public Policy and English Literature. Magical Mocktails: https://www.amazon.com/Mystical-Mocktails-Nonalcoholic-Mindful-Affirmations-ebook/dp/B0FM282646?ref_=ast_author_dp_rw&th=1&psc=1&dib=eyJ2IjoiMSJ9.2-hgKPAH1Oa18vT-W_v9ITdVkXs-AHcjhF_EMNp97BD1chHZ_z_bqYgrXHFFhUsZYpSQJJ9bmAsWcxgmpXI4NuAP6F8yfJGh-XGjBQPyg7g.kTVtEJ9BK7KCiLyObGtGalK6MnLZ2CCxbvFTzHwsRN4&dib_tag=AUTHORWebsite: WitchcraftCocktails.com.About the Well Seasoned Librarian (Reviewer)Hailing from San Diego and spending his teenage years in the Pacific Northwest, Dean Jones has become a seasoned resident of the San Francisco Bay Area for over 30 years. A true foodie and lover of the written word, Dean wears many hats: librarian, Podcaster, cookbook reviewer, and writer.Catch him at book festivals, farmers' markets, bookstores, or savoring a delicious meal at a local restaurant. Dean's passion for food and literature shines through his published works. You can find his reviews in “Amoral Beatitudes Magazine” and his insightful articles on platforms like Medium's “One Table One World,” “The Cookbook for All,” “An Idea,” and “Authors What Are You Reading?” Currently, Dean keeps Benicia Times Herald readers informed with his regular cookbook review column.

Please join us at patreon.com/tortoiseshack CW: This podcast contains a personal story that discusses topics that some listeners may find upsetting. Ali Skaik is an English Literature student and writer from Gaza City. In his own words: "Literature should be lived and not just read. Growing up amid the struggles in Gaza, every word I write carries the reality I face daily. Literature became my way of living, feeling, and speaking the truth of the spirit, pain, and enduring hope of my people. In this very special episode Ali shares his story. Warning: He dose not spare any detail and discusses topics listeners may find upsetting. Ali has also been published on We Are Not Numbers, The Nation, The Electronic Intifada, and The Intercept. The Immigration "Debate" Podcast with Lawyer Cathal Malone is out now here:https://www.patreon.com/posts/patron-exclusive-148191117 Support Dignity for Palestine here:https://www.patreon.com/posts/call-to-stand-143037542

Please join us at patreon.com/tortoiseshack CW: This podcast contains a personal story that discusses topics that some listeners may find upsetting. Ali Skaik is an English Literature student and writer from Gaza City. In his own words: "Literature should be lived and not just read. Growing up amid the struggles in Gaza, every word I write carries the reality I face daily. Literature became my way of living, feeling, and speaking the truth of the spirit, pain, and enduring hope of my people. In this very special episode Ali shares his story. Warning: He dose not spare any detail and discusses topics listeners may find upsetting. Ali has also been published on We Are Not Numbers, The Nation, The Electronic Intifada, and The Intercept. The Immigration "Debate" Podcast with Lawyer Cathal Malone is out now here:https://www.patreon.com/posts/patron-exclusive-148191117 Support Dignity for Palestine here:https://www.patreon.com/posts/call-to-stand-143037542

COUNTDOWN the top 30 most listened to episodes for 2025. ‘It's never been so important to be a mother of boys. We have to shape how our boys view the world, particularly when it comes to women.' The first episode of the Words & Nerds new season for 2025 has landed! Kell Woods and Dani Vee chat like old friends about the importance of parenting boys and teachable moments of positive masculinity. They also chat about finding a balance between mental health and creativity. Kell and Dani delve into fairytales and appropriating them for a new context where the portrayal of women and feminism becomes a central theme. Kell Woods is an Australian historical fantasy author. She studied English Literature, creative writing and librarianship, and has worked in libraries for the past twelve years. She's the author of After the Forest and Upon a Starlit Tide.

Please join us at patreon.com/tortoiseshack CW: This podcast contains a personal story that discusses topics that some listeners may find upsetting. Ali Skaik is an English Literature student and writer from Gaza City. In his own words: "Literature should be lived and not just read. Growing up amid the struggles in Gaza, every word I write carries the reality I face daily. Literature became my way of living, feeling, and speaking the truth of the spirit, pain, and enduring hope of my people. In this very special episode Ali shares his story. Warning: He dose not spare any detail and discusses topics listeners may find upsetting. Ali has also been published on We Are Not Numbers, The Nation, The Electronic Intifada, and The Intercept. The Donroe Doctrine Podcast is out now here:https://www.patreon.com/posts/patron-exclusive-147717138 Pedro Sanchez's Spain special podcast is out here:https://www.patreon.com/posts/patron-exclusive-146421867 Support Dignity for Palestine here:https://www.patreon.com/posts/call-to-stand-143037542

Please join us at patreon.com/tortoiseshack CW: This podcast contains a personal story that discusses topics that some listeners may find upsetting. Ali Skaik is an English Literature student and writer from Gaza City. In his own words: "Literature should be lived and not just read. Growing up amid the struggles in Gaza, every word I write carries the reality I face daily. Literature became my way of living, feeling, and speaking the truth of the spirit, pain, and enduring hope of my people. In this very special episode Ali shares his story. Warning: He dose not spare any detail and discusses topics listeners may find upsetting. Ali has also been published on We Are Not Numbers, The Nation, The Electronic Intifada, and The Intercept. The Donroe Doctrine Podcast is out now here:https://www.patreon.com/posts/patron-exclusive-147717138 Pedro Sanchez's Spain special podcast is out here:https://www.patreon.com/posts/patron-exclusive-146421867 Support Dignity for Palestine here:https://www.patreon.com/posts/call-to-stand-143037542

American Ira Sachs' latest film is Peter Hujar's Day, which brings to life the transcripts from an unused 1974 interview that photographer Peter Hujar did with his friend, the nonfiction writer Linda Rosenkrantz. Ira shares what he's learned about the artist through the project.French pianist RIOPY first taught himself to play piano while growing up in a cult. After running away he was able to pursue a career in music, culminating in an album that topped the classical charts for years. His new album Be Love sees the artist sing for the first time.As Front Row continues it's exploration of UK literacy as part the Year of Reading 2026, we discuss how we can all become better readers to gain a deeper understanding of and more pleasure from books. We're joined by Robert Douglas-Fairhurst, who is Professor of English Literature at the University of Oxford, and Ann Morgan, a writer, editor, and critic best known for her exploration of global literature.We also talk to Arts critic Hannah McGill about the change in the format of the BBC 1 show, the Traitors.Presenter: Kirsty Wark Producer: Gillian Wheelan

In 2019 a well known romance writer began tweeting about other writers in her community and concerns about racism. It led to a huge reckoning within an organization called the Romance Writers of America. And although the online debate seemed to be isolated to a specific community of romance writers and their fans, it was really a microcosm of what's been happening all over the US. In this episode we learn all about romance novels and how newer writers are changing the norms of the genre, and giving it a political power it's never had before. And, we talk about what it means for organizations to change as they grapple with questions of race. This episode, originally released in June 2022, is part of the Making Contact Anniversary Capsule: celebrating 30 years of social justice journalism. The miniseries takes us from protests on the streets of Seattle to an Indiana family fighting for their daughter's gender affirming care. It explores a racial reckoning in the world of romance writers, and tells the story of border walls from Gaza to Arizona. These shows embody how Making Contact has been digging into the story beneath the story since 1994. Featuring: - Jayashree Kamble; professor of English Literature at La Guardia Community College - Reagan Jackson; co-executive director, Young Women Empowered, also a romance reader and fan - Contance Grady; Senior Culture Reporter for Vox - Elise Staples, member of a romance reading book club through meetup.com  Credits: **Making Contact Team** - Episode Host: Salima Hamirani - Producers: Salima Hamirani, Anita Johnson, Lucy Kang, Amy Gastelum - Executive Director: Jina Chung - Engineer: [Jeff Emtman](https://jeffemtman.com/) - Digital Media Marketing: Lissa Deonorain   **Music**: - Johnny Ripper - Overout - Johnny Ripper - Sfhk (mental breakdown) - Johnny Ripper - Untitled (waking up) - Johnny Ripper - In a Dream - Dance of the Seahorse - Gideon Freudman - Pictures of the Floating World - Waves - Bio Unit - Subterannean - Ketsa - you asked Learn More:  Constance Grady's Article for Vox The Romance Writers of America International Association for the Study of Popular Romance Making Meaning in Popular Romance Fiction: An Epistemología Recommended Reading list Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

Charles Dickens (1812-70) visited North America in 1842 and then toured the U.S. in 1867, performing a dramatic one-man readings of A Christmas Carol—delighting and captivating American audiences while further cementing the story's legacy as a cultural cornerstone. A Christmas Carol was henceforth frequently adapted in North America, influencing everything from food traditions, feasting, charity, family reunions to holiday theatre, film, music and television, becoming a hybrid of British and North American culture. Check out the YouTube version of this episode at https://youtu.be/wyPf-XSB30Y which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Hillsdale College podcast at https://amzn.to/41xTRBp The Hillsdale College Online Courses podcast at https://amzn.to/4gh591M A Christmas Carol book at https://amzn.to/41Ax1cu A Christmas Carol movies at https://amzn.to/3BvPJrd Charles Dickens books at https://amzn.to/3ZS67f3 ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel at : https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: Hillsdale College podcast - Charles Dickens, A Christmas Carol (Lesson 1: Introduction – Introduction - A Ghost Story of Christmas with Dwight Lindley, Associate Professor of English Literature). Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

Analysis of the 1843 classic Charles Dickens (1812-70) story and its Christian themes. E163. Check out the YouTube version of this episode at https://youtu.be/wyPf-XSB30Y which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Hillsdale College podcast at https://amzn.to/41xTRBp The Hillsdale College Online Courses podcast at https://amzn.to/4gh591M A Christmas Carol book at https://amzn.to/41Ax1cu A Christmas Carol movies at https://amzn.to/3BvPJrd Charles Dickens books at https://amzn.to/3ZS67f3 ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Mark's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Mark's Books: https://amzn.to/3k8qrGM Audio credits: Hillsdale College podcast - Charles Dickens, A Christmas Carol (Lesson 1: Introduction – Introduction - A Ghost Story of Christmas with Dwight Lindley, Associate Professor of English Literature). Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

The age-old question of whether works created with explicit ideological intent can achieve artistic greatness has long divided critics, artists, and audiences. From Leni Riefenstahl's films glorifying Nazism to the bold, constructivist posters of the Soviet era, history offers uncomfortable affirmations of propaganda transcending its purpose to become enduring art. Recently, this debate has been reignited by Aditya Dhar's Dhurandhar, a sprawling spy thriller. While critics have lambasted it for selectively blending real events with fiction to push ultra-nationalist narratives, defenders of the film have argued that its technical finesse, immersive storytelling, and raw intensity elevate it beyond mere messaging, much as in historical precedents, where aesthetic power outlives ideological baggage. Can propaganda be great art? Guests: Prof Asim Siddiqui teaches English Literature at Aligarh Muslim University, writes opinion pieces on Hindi cinema, and is the author of Muslim Identity in Hindi Cinema: Poetics and Politics of Genre and Representation. Sudhanva Deshpande is an eminent theatre personality, author, and film actor. Host: Anuj Kumar Edited by Sharmada Venkatasubramanian Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Shakespeare and Company Podcast, Adam Biles speaks with poet, translator and critic Ian Patterson about Books: A Manifesto, his passionate defence of reading in all its forms. What begins with the construction of a personal library in a converted coach house opens into a wide-ranging meditation on memory, loss, vulnerability and the profound role books play in shaping a life. Patterson discusses the anguish of parting with thousands of volumes, the intimacy of marked-up, well-lived-in books, and the politics of reading slowly in a culture addicted to speed. The conversation moves through genre snobbery, guilty pleasures, poetry's complex rewards, the porous borders of contemporary literature, and Patterson's experience translating the final volume of Proust—an immersion so deep it altered his own prose. It's a warm, generous exploration of why books matter, how they remake us, and why defending them feels more urgent than ever.Buy Books: A Manifesto: https://www.shakespeareandcompany.com/books/books-a-manifesto*Ian Patterson is a widely published poet and translator, and a former academic. The translator of Finding Time Again, the final volume of the Penguin Proust, he is also the author of Guernica and Total War and Nemo's Almanac. He won the Forward Prize for Best Poem in 2017, with an elegy for his late wife, Jenny Diski. He worked in Further Education between 1970 and 1984, had a second-hand bookselling business for ten years after that, and from 1995 until 2018 was an academic, teaching English Literature at the University of Cambridge. Many of his students have gone on to shape the world of publishing and writing, both in the UK and the US.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

With the festive season approaching in parts of the world, Ruth Alexander explores what's actually happening in the body during a hangover, why some people suffer more than others, and whether common remedies make any real difference. How the body processes alcohol and why that can make you feel so bad is explained by Andrew Scholey, Professor of Human Psychopharmacology at Northumbria University in the UK and member of the Alcohol Hangover Research Group. Marisa Moll, a registered nutritionist from Paraguay, shares her recommendations on what to consume before you drink alcohol to try to reduce the risk of a hangover. And Jonathon Shears, Professor of English Literature at Keele University in the UK and author of The Hangover, a Literary and Cultural History, reflects on the cultural history of the hangover. If you would like to get in touch with the show, please email: thefoodchain@bbc.co.uk. Producer: Izzy Greenfield Sound engineer: Andrew Mills Image: A woman looks at empty bottles of alcohol (credit: Getty)

This deep dialogue explores the shift from traditional economic metrics like GDP to regenerative economics, emphasizing interconnectedness and living systems. Fullerton and Cox discuss the need to move from extractive to exchange-based economies, highlighting the importance of right relationships and resilience over efficiency.John Fullerton is the founder and president of Capital Institute, a nonprofit organization dedicated to transforming finance and economics to serve life and the planet through “Regenerative Economics”. In 2001, he walked away from a two-decade career at JPMorgan, where he served as Managing Director and oversaw capital markets, derivatives, and investment businesses globally, including acting as Chief Investment Officer for Lab Morgan. LLC. Now, besides his work at Capital Institute, Fullerton is a member of the Club of Rome and currently serves on the Board of Directors of the Savory Institute, dedicated to regenerating the World's Grasslands. He's the author of several books including: Regenerative Economics: Revolutionary Thinking for a World in Crisis (2025 New Society Publishers)Faye Cox is the founder of Hourbooks Press, a small independent publisher that creates short books—each designed to be read in about an hour. Hourbooks is dedicated to sharing essential knowledge that fosters positive change in the world. Cox has a Master's degree in English Literature from the University of Oxford, and has two decades of leadership roles in systems change design.John Fullerton and Faye Cox are collaborators on Regenerative Economics: Creating Conditions for Health & Abundance on a Living Planet. (Hourbooks Press 2025)Interview Date: 10/3/2025 Tags: John Fullerton, Faye Cox, Hourbooks Press, complexity, symbiosis, circular economics, cradle to cradle economics, Regenesis Group, Bob Ulanowicz, Money/Economics, Ecology/Nature/Environment, Community

John Fullerton is the founder and president of Capital Institute, a nonprofit organization dedicated to transforming finance and economics to serve life and the planet through “Regenerative Economics”. In 2001, he walked away from a two-decade career at JPMorgan, where he served as Managing Director and oversaw capital markets, derivatives, and investment businesses globally, including acting as Chief Investment Officer for Lab Morgan. LLC. Now, besides his work at Capital Institute, Fullerton is a member of the Club of Rome and currently serves on the Board of Directors of the Savory Institute, dedicated to regenerating the World's Grasslands. He's the author of several books including: Regenerative Economics: Revolutionary Thinking for a World in Crisis (2025 New Society Publishers)Faye Cox is the founder of Hourbooks Press, a small independent publisher that creates short books—each designed to be read in about an hour. Hourbooks is dedicated to sharing essential knowledge that fosters positive change in the world. Cox has earned a Master's degree in English Literature from the University of Oxford and also has training in Expressive Arts Therapy and coaching.Cox and Fullerton collaborated on Regenerative Economics: Creating Conditions for Health & Abundance on a Living Planet. (Hourbooks Press 2025)Interview Date: 10/3/2025 Tags: Kohn Fullerton, Faye Cox, prosperity, money, principle of design, regenerative economics, Newtonian logic, polycrisis, interconnection, Copernicus, Galileo, quantum entanglement, climate change, Plato's cave, beyond conservative or liberal capitalism, true wealth, Systems science, Vaclav Havel, Hope, myth of separation, Money/Economics, Ecology/Nature/Environment, Community

Rund takes Ramtin on a tour of the enduring world of Jane Austen's Pride and Prejudice... and our two hosts make a bet.Guests:John Mullan, professor of English Literature at University College London and author of What Matters in Jane AustenDevoney Looser, professor of English at Arizona State University and author of Wild for Austen: A Rebellious, Subversive and Untamed JaneLizzie Dunford, director of Jane Austen's HouseTo access bonus episodes and listen to Throughline sponsor-free, subscribe to Throughline+ via Apple Podcasts or at plus.npr.org/throughline.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Steven welcomes Professor Nic Panagopoulos from the department of English Literature and Culture at the University of Athens, Greece, to discuss evidence that the works of Shakespeare were heavily influenced by the Greek masters of philosophy and drama. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Clare Jaget, Courtney L, David Neufer, Deduce, Earl Showerman, Edward Henke, Ellen Swanson, Frank Lawler, Garrett Jackson, Heidi, James Warren, Jen Swan, John Creider, John Eddings, Jon Foss, Kara Elizabeth Martin, Michael Hannigan, Neal Riesterer, Patricia Carrelli, quizzi, Richard Wood, Sandi Boney, Sheila Kethley, Stephen Hopkins, Teacher Mallory, Tim Norman, Tim Price, Vanessa Lops, Yvonne Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service.Our guest is literature lecturer Dr Hetta Howes on major literary hoaxes around the world.We hear about Howard Hughes' fake autobiography, the Salt Cathedral of Zipaquirá in Colombia and how the Indian musician Ravi Shankar taught George Harrison the sitar.Plus, the Indian woman who led her country's first delegation to the United Nations, the Premier League's first female photographer and how Toy Story revolutionised animation.Contributors: Clifford Irving - American author who faked an autobiography of Howard Hughes. Dr Hetta Howes - a senior lecturer in English Literature at City St George's, at the University of London. Jorge Enrique Castelblanco - Colombian engineer behind the Salt Cathedral of Zipaquirá. Ravi Shankar - Indian sitar maestro. Vijaya Lakshmi Pandit - led India's first delegation to the United Nations in 1946. Magi Haroun - the Premier League's first female photographer. Doug Sweetland - animator on Toy Story.(Photo: Clifford Irving leaving the Chelsea Hotel in New York City, followed by news crews in 1972. Credit: Bettmann Archive / Getty Images)

Qin (“Ching”) Sun Stubis was born in the rubble of a Shanghai shantytown during the Great Chinese Famine, which killed some 50 million people. She was left alone in her crude bamboo crib for two years while her parents worked to scrape together a few coins each day for their daily handful of rice. Growing up, she and her sisters were at first ignored by the rest of the family for being “worthless” girls, and later shunned as political pariahs when their honest father was imprisoned for speaking out against the injustice he saw around them.Despite extreme poverty, Qin pulled herself up by reading forbidden books and winning admission to one of China's most prestigious universities, graduating with a degree in English and English Literature. With the help of a U.S. Senator, she emigrated to the United States to further her studies and has sought through her writing to build greater understanding between Eastern and Western cultures and underscore our common hopes, dreams and struggles. Qin is a writer, newspaper columnist, and author of the award-winning book, Once Our Lives, the true story of four generations of Chinese women who struggle to survive war, revolution, and the seemingly unshakeable power of an ancient Chinese superstition. The book, which has been named a best read by Ms. Magazine, Glamour Magazine UK, GRAND Magazine and Readers' Favorite, and won the Nellie Bly Award for Journalistic Non-Fiction, takes the reader on an exotic journey filled with real stories of luxurious banquets, lost jewels, babies sold in opium dens, kidnappings by pirates and political persecution – seen through the eyes of a man for whom the truth would spell disaster and a lonely, beautiful girl with three identities.For the past 17 years, she has been a newspaper columnist, exploring the rich legacy of Asian culture and the common links we all share. She has just completed a novel and also writes poems, essays, short stories and original Chinese tall tales inspired by traditional Asian themes. Qin has published more than 200 works in such media as The New York Times, USA Today, The Santa Monica Star, GRAND Magazine, Lotus Magazine, Paper Dragon and Mochi Magazine, and speaks to audiences around the world about writing and the need to strengthen the bonds of understanding and humanity that connect us all. You can find out more about her and her book, Once Our Lives, at www.QinSunStubis.com.  Learn more and follow Qin:o   Website: www.QinSunStubis.com o   Facebook: https://www.facebook.com/qinsun.stubiso   Facebook Fan Page "Once Our Lives by Qin Sun Stubis"o   Instagram: instagram.com/qinstubis/o   Goodreads: goodreads.com/author/show/22904309.Qin_Sun_Stubis o   LinkedIn: linkedin.com/in/qin-sun-stubis-5977011a/o   YouTube:  https://www.youtube.com/channel/UCVLYagaq5R6LPHGn3fsxOVAo   Amazon: Amazon.com: Once Our Lives: Life, Death and Love in the Middle Kingdom (60) (GWE Creative Non-Fiction): 9781771837965: Sun Stubis, Qin: Books

This is the second episode in a series called THE SPIRIT-ERA & ITS AFTERMATHS in which I look at the way spiritual, technological, and occult flourishings at the turn of the 19th into 20th century are still with us today.In the second installment in the series, I talk with ALLAN JOHNSON Professor of English Literature at University of Surrey, meditation coach, and author of the excellent book, The Sacred Life of Modernist Literature: Immanence, Occultism, and the Making of the Modern WorldIn that book, Allan states: “The occult has always walked the perilous line between desiring a textual form while resisting the possibility that this form can ever be completely achieved.”One of my big frustrations with spiritual influencers is that most of them don't seem to have a good grasp of art, but particularly literature. They do something like this: they read literature that has magical CONTENT and create metaphors and analogies that - all-too conveniently - mirror the lessons of their own esoteric view. And they generally reach for the usual suspects: Tolkien, Le Guin, Coehlo, etc.But the location of esoteric strength in literature is less in the content and much more in its FORMS and STYLES. These forms were brought to us most prominently in modernist fiction - in James Joyce, Virginia Woolf, Franz Kafka, and more. But also by poets like TS Elliot, Ezra Pound, and WB Yeats.In the works of modernist writers, the reader's involvement is demanded to complete the text. These are writers who initiate us as we read their works.This conversation with Allan offered the chance to explore ideas I'd been longing to talk about for years, I'm so excited to share them with you here.SUPPORT THE SHOW ON PATREONBuy Allan's book

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Willkommen to this week's Gleek of the Week! Alicia from Germany first discovered "Glee" clips on YouTube as a teen in 2011, which sparked her curiosity. Soon she was stealing (borrowing) her dad's iPad to binge-watch the show at night while everyone was sleeping! Alica opens up to Jenna and Kevin about struggling with anxiety, bullying, and coming to terms with her sexuality, and how the show provided a lifeline and safe space during that tough time in her life. Now an English Literature major, she is considering writing her thesis on "Glee" and runs an Instagram account focused on the show's cultural impact! For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram @andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed!See omnystudio.com/listener for privacy information.

Melvyn Bragg and guests discuss 'the greatest poet of his age', Thomas Wyatt (1503 -1542), who brought the poetry of the Italian Renaissance into the English Tudor world, especially the sonnet, so preparing the way for Shakespeare and Donne. As an ambassador to Henry VIII and, allegedly, too close to Anne Boleyn, he experienced great privilege under intense scrutiny. Some of Wyatt's poems, such as They Flee From Me That Sometime Did Me Seek, are astonishingly fresh and conversational and yet he wrote them under the tightest constraints, when a syllable out of place could have condemned him to the Tower. With Brian Cummings 50th Anniversary Professor of English at the University of York Susan Brigden Retired Fellow at Lincoln College, University of Oxford And Laura Ashe Professor of English Literature at the University of Oxford Producer: Simon Tillotson In Our Time is a BBC Studios Audio Production Reading list: Thomas Betteridge and Suzannah Lipscomb (eds.), Henry VIII and the Court: Art, Politics and Performance (Routledge, 2016) Susan Brigden, Thomas Wyatt: The Heart's Forest (Faber, 2012) Nicola Shulman, Graven with Diamonds: The Many Lives of Thomas Wyatt: Courtier, Poet, Assassin, Spy (Short Books, 2011) Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting (Oxford University Press, 2012) Patricia Thomson (ed.), Thomas Wyatt: The Critical Heritage (Routledge, 1995) Greg Walker, Writing Under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2005) Thomas Wyatt (ed. R. A. Rebholz), The Complete Poems (Penguin, 1978) Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013) Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.