Podcasts about English literature

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

Associate Lecturer in English Literature, Dr Naomi Walker explains why the author's connection with her readers is as strong as ever.

Few people know that George Orwell once walked across a small footbridge in Stuttgart and that the experience may have shaped one of the most influential dystopias ever written. In this episode of Made in Science host Wolfgang Holtkamp talks to Dr Geoff Rodoreda, literary scholar and former journalist, about Orwell's little-known three months as a war correspondent in 1945 and his visit to Stuttgart just after its “liberation”. Rodoreda explains how archival work, field trips to Paris, London and the Neckar riverbank, and even a surviving footbridge helped him reconstruct Orwell's time in Germany and why he sees echoes of these experiences in "1984". In the second half, the conversation turns to contemporary Australian and Indigenous literature, truth-telling about colonial violence, and what German students can learn from these stories about coming to terms with a difficult past.

Recorded November 10th, 2025. Trinity Long Room Hub Visiting Research Fellow Dr Anna Deeny Morales (Georgetown University, USA) in conversation with Dr Evangelia Rigaki (Department of Music). Bio: Anna Deeny Morales is a US-based Latina writer who grew up between Washington, DC, and Puerto Rico. Her works in opera and poetry consider everyday family love and children; modes of empathy; patterns of political, religious, and legal violence; and strategies of disappearance. Her operas have been supported by the Ford Foundation, the National Endowment for the Arts, the Georgetown Americas Institute, and the DC Commission on the Arts and Humanities. Recent works include Las Místicas de México, which debuted in 2024 with the IN Series and the Children's Chorus of Washington. ZAVALA-ZAVALA: an opera in v cuts, with music by Brian Arreola, debuted at the Kennedy Center in 2022 and was performed at Gala Hispanic Theater in 2024. A National Endowment for the Arts Fellow for her translation of Tala (1938) by Nobel Laureate Gabriela Mistral, she has translated poetry by Raúl Zurita, Nicanor Parra, and Amanda Berenguer, among others. Deeny Morales received a PhD in Hispanic Languages and Literatures from the University of California, Berkeley; an MA in Comparative Literature, with an emphasis on Puerto Rican theater, from Dartmouth College; and a BA in English Literature with a minor in Piano Performance from Shepherd University. After college she studied theater and directing at the Accademia Nazionale d'Arte Drammatica, Silvio d'Amico, in Rome, Italy. A Fellow in the Humanities in the Center for Latin American Studies at Georgetown University, her monograph, Other Solitudes: Essays on Consciousness and Poetry, is forthcoming in 2026. Learn more at www.tcd.ie/trinitylongroomhub

On this episode Matt and Jon discuss Hamnet, Wake Up Dead Man, Plur1bus, South Park, Beavis and Butt-Head, Task and I Love LA, while Jon saw It: Welcome to Derry, Batman Beyond, read Absolute Batman #15, and played Marvel Cosmic Invasion and Ghost of Tsushima and Matt's Hollow Knight playthrough rages on! Threads: https://www.threads.net/@jonwahizzle Facebook: https://www.facebook.com/groups/damnthattelevision/ Instagram: https://www.instagram.com/damntvpod Bluesky: https://bsky.app/profile/mattlovestv.bsky.social https://bsky.app/profile/jonwahizzle.bsky.social Letterboxd: https://letterboxd.com/mattlovestv/ https://letterboxd.com/jonwahizzle/ Jon on AIPT: https://aiptcomics.com/author/jonathanw/ Matt's show The Drop: A Pop Culture Mix Tape: wscafm.org Sundays 6-8 PM: https://www.facebook.com/groups/thedropwsca/

Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

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

Get the book here: https://www.ctsbooks.org/product/praying-the-nicene-creed/This year, we celebrate 1700 years of the Nicene Creed! Why is the Creed important? What did it do for Christianity and the world? And how can we pray it today?James Matthew Wilson, author of, 'Praying the Nicene Creed, ' joins the podcast to explore how Dante led him to faith, how the Creed answers our search for meaning, how love is the heart of reality, why God became man, how to understand salvation in the light of the Creed, and much more.You can watch the full uncut podcast on our Patreon: https://www.patreon.com/CTSStudios------ Chapters00:00 Intro01:43 Dante & Catholic Poetry3:47 What is the Nicene Creed?7:15 Finding meaning in the Creed10:45 Philosophy & Wisdom14:08 Love as the heart of Reality18:08 Why one God, not many gods?22:04 Why did God become man?26:37 Understanding salvation and sin32:14 The Second Coming of Christ38:18 How to pray the Creed------ James Matthew WilsonJames Matthew Wilson is the Cullen Foundation Chair in English Literature and the founding director of the MFA program in Creative Writing at the University of Saint Thomas. The author of sixteen books, his most recent collection of poems is Saint Thomas and the Forbidden Birds (Word on Fire, 2024). The Strangeness of the Good (2020), won the poetry book of the year award from the Catholic Media Awards. In addition to his role at the University of Saint Thomas, he serves as poet-in-residence of the Benedict XVI Institute, scholar-in-residence of Aquinas College, editor of Colosseum Books, and poetry editor of Modern Age magazine.More about his work: https://www.jamesmatthewwilson.com/

Listen to JCO's Art of Oncology article, "Smell," by Dr. Alice Cusick, who is a Hematology Section Chief at Veterans Affairs Ann Arbor Health System and Assistant Professor at the University of Michigan Division of Hematology and Oncology. The article is followed by an interview with Cusick and host Dr. Mikkael Sekeres. Dr Cusick shares a connection to a cancer patient manifested as a scent. TRANSCRIPT Narrator: Smell, by Alice Cusick, MD  Dr. Mikkael Sekeres: Welcome back to JCO's Cancer Stories: The Art of Oncology. This ASCO podcast features intimate narratives and perspectives from authors exploring their experiences in oncology. I'm your host, Mikkael Sekeres. I'm Professor of Medicine and Chief of the Division of Hematology at the Sylvester Comprehensive Cancer Center, University of Miami. Joining us today is Alice Cusick, Hematology Section Chief at the Veterans Affairs Ann Arbor Healthcare System and Assistant Professor at the University of Michigan, Division of Hematology and Oncology, to discuss her Journal of Clinical Oncology article, "Smell." Alice, thank you for contributing to Journal of Clinical Oncology and for joining us to discuss your article. Dr. Alice Cusick: Thank you so much for having me, Mikkael. I appreciate it. Dr. Mikkael Sekeres: It's really a pleasure, and as usual, Alice and I discussed this beforehand and agreed to call each other by first names. I always love to hear your story first. Can you tell us about yourself? Where are you from, and walk us through your career, if you could. Dr. Alice Cusick: I'm a Midwesterner. I grew up in Iowa and Illinois and went to a small college in Illinois, played basketball, Division lll, and was an English Literature major. I took one science class and was going to be an English professor. And then my father's a physician. My senior year, I realized I don't think I could spend all my time in a library. I didn't feel like I was helping anyone. And so I talked to my dad, and he said, "Yeah, I think you could be a doctor." So I thought I would help people by being a physician. So I moved to Iowa City and spent two years working in a lab and doing science classes and took the MCAT, which was the first year they had the essay on there, and I rocked that. That was my highest score. I got into the University of Iowa and then went on to residency and fellowship at the University of Wisconsin, just in hematology. I didn't do solid tumors. And then went on, spent a couple years there, worked in Pennsylvania in more of a group practice, and then came back to academics at the University of Michigan about 10 years ago. And then five years ago, I became the Hematology Section Chief at the VA in Ann Arbor. So I work there full time now. Dr. Mikkael Sekeres: I love that story. I served on the admissions committee at Cleveland Clinic and Case Western when I was also a Midwesterner for 18 years. And I always wondered if instead of searching for science majors, we should be searching for English majors because I think there's a core element of medicine that is actually storytelling. Dr. Alice Cusick: Oh, very much so. My father was a country doctor for many, many years in rural Iowa in the fifties and sixties. So he did house calls, and he talked about how you really got to know people by going to their house. And I'll never forget the first time that I did a full history and physical, I think I was maybe a second-year medical student, and I was telling him, "Oh, I'm so excited. I'm going to do my first history and physical." And he said, "Alice, don't talk to them about medicine right away or about their problems right away. Talk to them about something else. Get to know them because you know about sports, talk about sports." I said, "Dad, that's called establishing rapport." You know, that's what they had taught us. But it was intuitive to him. I'll never forget that he just said their story is important and how they live and where they live and who they live with is so important. It really helps you figure out their medical issues as well. And I've always tried to carry that through. Dr. Mikkael Sekeres: It's funny what we glean from our parents. My dad was a journalist for the Providence Journal-Bulletin. He was a reporter for a couple of decades, and I almost feel like some of what I'm doing is acting as a reporter. It's my job to get the story and get the story right and solicit enough details from a patient that I really have a sense that I'm with them on the journey of their illness, so I can understand it completely. Dr. Alice Cusick: Oh, very much so. And that's one of the things I really harp about with the fellows because sometimes I remember more of the social history than I do sometimes the medical history when I'm seeing a patient. I remind them, you need to know who they live with and how they live. It helps you take care of them. Dr. Mikkael Sekeres: Well, and that must be particularly germane with your patient population. When I was a medical student, my first rotation on internal medicine was at the Philadelphia VA, and it's actually what convinced me to specialize within internal medicine. What is it like caring for veterans? Dr. Alice Cusick: This is the best job I've ever had in my life. And I think because it speaks to my sense of duty that I got from my parents, particularly from my father, and I really feel I got back to my original focus, which is helping people. So that sense of duty and serving those who served, which is our core mission, this job is the most rewarding I've ever had because you really feel like you're helping people. Dr. Mikkael Sekeres: How much do you learn about your patients' military history when you first interact with them? Dr. Alice Cusick: It can come up in conversation. It sort of depends on what the context is and how much you ask and how much of that is incorporated into what's going on with their medical history. It comes up a lot in terms of, particularly cancer, because a lot of cancers that veterans develop can be related to their military exposures. So it can come up certainly in that context. Dr. Mikkael Sekeres: You write about how your patient and his wife brought in photographs of his younger self. Can you describe some of those photos? Dr. Alice Cusick: So a lot of it was about the sports he was doing at the time. He was kind of almost like a bodybuilder and doing like martial arts. So there were some pictures of him in his shirt and shorts, showing how healthy he was. He was much younger, but it was such a contrast to how he was at that time as he was nearing death. But it really rounded out my understanding of him because, as we all know, when we meet people, we see them when they're at that particular age, and we may not have that context of what they were 20, 30 years ago. But that still informs how they think about themselves. I mean, I still think of myself as an athlete even though I'm much older. So that's important to understand how the patient thinks about himself or herself. Dr. Mikkael Sekeres: You know, it's funny you mentioned those two photographs. I- immediately flashed into my mind, I had a patient who also was a martial arts expert, and I remember he was in his early seventies and hospitalized, but he made sure to put up that photo of him when he was in his prime, in his martial arts outfit in a pose. And I've had another patient who was a boxer, and all he wanted to talk about whenever he saw me was his first experience boxing in Madison Square Garden and what that moment felt like of climbing into the ring, squeezing in between the ropes, and facing off in front of what must have been some massive crowd. Dr. Alice Cusick: Yeah. Dr. Mikkael Sekeres: Why do you think it was important to them to bring in those photos to show you? Dr. Alice Cusick: I think it was to help me understand what he had been. I think it was important for him, and because we had a relationship, it wasn't just transactional in terms of his medical problems. It was really conversations every day about what he was doing and how his life was going. And I think he really wanted me to understand what he had been. And so I felt really honored because I think that was important. It told me that his relationship with me was very important to him. I found that very, very humbling. Dr. Mikkael Sekeres: Yeah, I find it fascinating the details that patients offer to us about themselves as opposed to the ones that we solicit. I think it speaks to also the closeness of the relationship we have with patients when they want to share that aspect of them. They want to show you who they were before they were ill. And it's not a point of bragging. It's not flexing for them. I think it's really to remind themselves and us of the vitality of the person who's sitting in front of us or lying in front of us in the hospital johnny or sitting on an exam table. Dr. Alice Cusick: Oh, very much so. And I've experienced that even with my own parents as they got older and were in the medical system. I remember vividly, my father had had a stroke, and the people taking care of him didn't understand what he had been. They didn't understand that his voice was very different. We kept asking, you know, "His voice is different." They had no concept of him beforehand. So that also really hit home to me how important it is to understand patients in the whole context of their lives. Dr. Mikkael Sekeres: And as a family member, do you think it's equally important to share that story of who somebody was before they were ill as a reminder to yourself and to the people taking care of a relative? Dr. Alice Cusick: Oh, very much so. I think it's very helpful because it also makes you feel like you're supporting the loved one as well by, if they can't speak for themselves, particularly when they're very ill, to help people understand, it may help the physicians or any provider understand their illness better, especially if there's a diagnostic dilemma, thinking about going home, what are they going to need at home, those sorts of things. I think it's always important to try to provide that context. Dr. Mikkael Sekeres: Patients will often talk about their deaths or transitions to hospice as an abstract future. Do you think they rely on us to make the decision about a concrete transition to hospice, or do you think they know it's time and are looking for us to verbalize it for their family and friends? Dr. Alice Cusick: I think it depends on how much groundwork you've done beforehand. So when you talk about end of life with people well before that transition it's almost mandatory, I think it's very important. It makes the transition much smoother because then they understand what hospice is, and they can prepare themselves. When they're not prepared, I think it's much more of a very clear transition. So it's almost like you're shutting one door, disease treatment, and moving on to, "I'm just going home to die," versus when you're laying the groundwork and you make sure that it's about how you live. I always try to emphasize, it's how you want to spend your time. It's how you want to live. Hospice is helping people live the best they can for as long as they can. And if you haven't prepared people, I think then they think much more you're closing the door and you're just sending me home to die. Dr. Mikkael Sekeres: It's tricky though, isn't it? Because as an oncologist or hematologist-oncologist, in our case, people look to us for that hope that there's still something to do and there's still life ahead of them. But at a certain point, we all realize that we need to transition our focus. But once we say that out loud, do you ever feel like it almost shuts a door for our patients? Dr. Alice Cusick: Again, it depends on the situation, and it depends on the support they have. It's different when you're dealing with somebody who's out in an outpatient world who has good family support and you've developed a relationship versus the patient who's taken a very sudden turn for the worse, and maybe is in the hospital, and things are more chaotic, and maybe they've been on very active treatment beforehand, but suddenly things have changed. So in my mind, it depends on the context that you're dealing with and what the relationship you have prior to. Maybe you're covering for your colleague, and you don't have a relationship with that particular family or that particular patient, but yet you have to talk to them. Somebody gets transferred from another hospital and you have a very brief relationship. And so I think the relationship kind of dictates sometimes how patients feel. But as long as you can help people understand the process of end of life as best as you can, I think that sometimes helps the transition. Some people are going to be angry no matter what. And that's totally understandable, angry about their family member dying, angry about what's happening to them if they're the patient. I think that's always part of the process, but it's hard to make things smooth all of the time. We do the best we can. Dr. Mikkael Sekeres: I was going to ask, has anyone ever been shocked when you start to talk about palliative care or hospice and never really did see it coming? Dr. Alice Cusick: Oh, of course. I think, especially if you've been doing this for a while, you sometimes see the future. You know what's, well, I mean, not exactly, but you have a good sense of what's going to happen. And there can be times when you start talking about end of life and palliative care or hospice and people are shocked, particularly family members, family members who may not be there all the time, who may not have seen their loved one frequently and haven't just understood what the disease course has been. And that certainly can be shocking. And again, totally understandable, but it's my responsibility to try to smooth that over and help people understand what's going on and make it a conversation. Dr. Mikkael Sekeres: It's a nice description of what we do. We make it a conversation. When talking about what you smelled that day when you saw your patient, you write, "Did I suddenly have a gift? Could I float through the hospital wards and smell the future? Or maybe I could only smell inevitability." It's a beautiful sentence. "Could I only smell inevitability?" What do you think it was that led you to know that his time had come? And I wonder, was it a distinct odor or what I refer to as a Malcolm Gladwell "blink" moment, you know, in which your 25 years of experience allowed you to synthesize a hundred different sensory and cognitive inputs in a split second to realize this was the time? Dr. Alice Cusick: I think I knew it was time because I had been seeing him so frequently and I knew him very well. The smell was very real to me. My husband and I disagree because I've talked to my husband about this. He thinks it was a real smell and that I did smell something. I think it was more that amalgamation of my experience and, as I said in the piece, a scent took the place of a thought. Dr. Mikkael Sekeres: Huh. Dr. Alice Cusick: But it bothered me so much, and that's when I talk about, "Did I have a gift?" You know, there are people who can smell diseases. There's a report of a woman who could smell Parkinson's disease. I thought, "Have I suddenly developed some sort of gift?" But in my mind, I thought, "You know, it was inevitability." I mean, it was inevitable that this gentleman was going to die of this disease. So that was my thought. I don't think I had a gift. I think it was smelling the inevitability that I understood through experience and knowing this patient so well. Dr. Mikkael Sekeres: Why do you think that smell haunted you so much afterwards? I mean, you really think about it and really dwell on it. I think in a way that any one of us would. Dr. Alice Cusick: I think because I thought there was something wrong with me. As I said in the piece, I thought it made my experience of that patient, my memory of that visit in particular and the whole relationship with him, I was thinking more about myself instead of thinking about him and his experience and his family's experience. And you know, you always grieve for patients, and it was interfering with my normal process. And so it really bothered me. In the end, it was more, "What was wrong with me?" This was weird, and it just sort of played with my usual understanding of how these things were supposed to go. And that's what really bothered me. Dr. Mikkael Sekeres: It is true. We really feel acutely our patients' loss, and it's so much more, I don't know if "acute" is the right word, or so much more meaningful when it's someone we've gotten to know over years, isn't it? Dr. Alice Cusick: Oh, very much so. You grieve for them, you miss them. At the same time, you also, you know, especially with this patient, his death was how he wanted it. So helping someone with the, quote unquote, "good death", the death surrounded by family, the death where there is no suffering or as minimal suffering as possible, you do find that helps with the grief, I think, instead of thinking, "Oh, what did I do wrong? What did I miss?" You can make it somewhat helpful in processing the grief. Dr. Mikkael Sekeres: It's perhaps one of the more exquisite aspects of the art of medicine is helping people with that transition in their final days and sharing in the emotions of that. It has been such a pleasure to have Alice Cusick, who is Hematology Section Chief at Veterans Affairs Ann Arbor Health System and Assistant Professor at the University of Michigan, Division of Hematology and Oncology to discuss "Smell." Alice, thank you so much for submitting your article and for joining us today. Dr. Alice Cusick: Oh, thank you so much. I really appreciate it. Dr. Mikkael Sekeres: If you've enjoyed this episode, consider sharing it with a friend or colleague or leave us a review. Your feedback and support helps us continue to have these important conversations. If you're looking for more episodes and context, follow our show on Apple, Spotify, or wherever you listen and explore more from ASCO at asco.org/podcasts. Until next time, this has been Mikkael Sekeres for Cancer Stories. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Show Notes: Like, share and subscribe so you never miss an episode and leave a rating or review. Guest Bio: Dr Alice Cusick is Hematology Section Chief at Veterans Affairs Ann Arbor Health System and Assistant Professor at the University of Michigan Division of Hematology and Oncology.

On the Shelf for December 2025 The Lesbian Historic Motif Podcast - Episode # with Heather Rose Jones Your monthly roundup of history, news, and the field of sapphic historical fiction. In this episode we talk about: Accomplishments and upcoming milestones A podcast that listeners may be interested in: Our Dyke Histories Recent publications covered on the blog Levin-Richardson, Sarah. 2013. “Fututa Sum Hic: Female Subjectivity and Agency in Pompeian Sexual Graffiti” in The Classical Journal, 1083. pp.319-45. Walker, J. 2006. “Before the Name: Ovid's Deformulated Lesbianism” in Comparative Literature 58.3, pp.205-222. Castle, T. 1983-4. “Eros and Liberty at the English Masquerade, 1710-90” in Eighteenth-Century Studies, XVII, 2: 156-76. Friedman-Rommell, Beth. 1995. “Breaking the Code: Towards a Reception Theory of Theatrical Cross-Dressing in Eighteenth-Century London” in Theatre Journal 47, no.4: 459-79. Howard, Jean E. 1988. “Cross-Dressing, the Theatre and Gender Struggle in Early Modern England” in Shakespeare Quarterly 39: 418-40. (Also appears in: Howard, Jean E. 1993. “Cross-Dressing, the Theater, and Gender Struggle in Early Modern England” in Crossing the Stage: Controversies in Cross-Dressing, ed. Ferris, Leslie. Routledge, London.) Andreadis, Harriette. 2006. “Re-Configuring Early Modern Friendship: Katherine Philips and Homoerotic Desire.” Studies in English Literature, 1500-1900, vol. 46, no. 3, pp. 523–42. Kramer, Rene. 2015. That Mysterious, Remisse Knot: Katherine Philips's Unincorporated Fraternity. Honors Thesis. Stevenson, Mark & Wu Cuncun (eds. and trans.). 2013. Homoeroticism in Imperial China: A sourcebook. Routledge, New York. ISBN 978-0-415-55144-1 Recent Lesbian/Sapphic Historical Fiction Souvienne by Aldwin Beckett Without Apology (Jane Smith #3) by Charlotte Taft Inverts in a Violet Room by Peter Forrester Whispers of the Heart: Lady Eleanor's Secret by Rhia Kampus Hiding the Flame by Angela M. Sims On the Edge of Uncertainty by E.V. Bancroft Brought to Heel by Ella Witts & Serah Messenger Pearl Bound by Natalie Bergman What I've been consuming Network Effect by Martha Wells System Collapse by Martha Wells The Witch Roads by Kate Elliott A Mouthful of Dust by Nghi Vo Raised for the Sword by Aimée Call for submissions for the 2026 LHMP audio short story series. See here for details. This month we interview Maya Dworsky-Rocha and talk about: The historic context and terminology of anti-Semitism and hatred of Jews Cultural clashes and conflicts around ideas of gender The historic work of Daniel Boyarin and Jewish gender stereotypes Maya's use of non-binary characters to reflect these ideas The symbolic uses of eating, temptation, and impurity in the story ”Authorizing” queer desire via projection Maya's writing partnership as Sylvia Barry The Devil and the Jews by Joshua Trachtenberg A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page) Links to Maya Dworsky-Rocha Online Website: https://www.sylviabarrybooks.com/ Bluesky: @mayadrocha.bsky.social TikTok: @mayadrocha

Having grown up in Nenagh, Carrick-on-Shannon and Dublin, John Doyle moved to Toronto in 1980 to pursue a PhD in English Literature at York University. Having done some student and freelance journalism in Ireland, John continued to write in Canada and eventually abandoned writing for academic reward to concentrate on writing as a career. He describes himself as a sometimes critic, columnist and soccer writer at the Globe and Mail for whom he wrote for nearly thirty years. He has also written for the New York Times and the Guardian. His book, A Great Feast of Light: Growing Up Irish in the Television Age was published to acclaim in Canada in 2005, while his book about soccer, The World is a Ball: The Joy, Madness, and Meaning of Soccer was a national bestseller in Canada on publication in the summer of 2010 and longlisted for The William Hill Irish Sports Book Of The Year.In this conversation, we discuss John' s relationship with his home country, Ireland since moving to Toronto as well as his reasons for moving here and how Toronto has shaped him. Towards the end of our conversation, we discuss his upcoming play, Shelter, which the Canada Ireland Foundation will be showing in the brand new Corleck Building as part of the Bealtaine Theatre Festival in May 2026.

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

Recorded November 14th, 2025. Emer O'Sullivan graduated from University College Dublin and pursued further studies and academic work at Berlin and Frankfurt universities before being appointed Chair of English Literature at Leuphana University Lüneburg. Writing in both German and English, she specialises in comparative and children's literature, with particular interests in translation and image studies. Her work has been translated into many languages. A pioneer in comparative children's literature, she has received international recognition, most recently the IRSCL Honorary Fellowship and the 20th International Brothers Grimm Award in 2025. Recorded as part of The Pollard Collection of Children's Books: A Symposium This collaboration between the School of English and Trinity College Library brought together a range of experts to discuss the history, significance, and impact of the Collection. The Collection is one of the most important children's book collections in the world and contains over 12,000 books ranging from the 16thC to the early 20thC amassed over a twenty-year period by Mary ‘Paul' Pollard, the former Keeper of Early Printed books at Trinity College Library. Learn more at www.tcd.ie/trinitylongroomhub

Of all contest entries, Bush Bath is perhaps the embodiment of the 2025 festival contest theme, Remedies of Root. Penned by Brandon McIvor, it traces a man on a visit to Trinidad to see his dying mother, who abandoned him as a child. He delays the meeting, instead taking a symbolic "bush bath" in a forest pool to cleanse his pain. There, a recovered memory reveals his mother didn't save him from danger, but first let him go. As the story unfolds, McIvor's main character must decide whether to confront her with this painful truth or offer her peace. Brandon Mc Ivor was born and raised in Trinidad and Tobago and holds a BSc in English Literature from New York University. He currently teaches English in Ehime, Japan, while continuing to build a literary practice that explores the craft and circulation of storytelling. His work has appeared in The Caribbean Writer and in Akashic Books' flash fiction series, among other publications. He was also shortlisted for the Commonwealth Short Fiction Prize in 2020 for his work Finger, Spinster, Serial Killer. Both writer and marketer, Mc Ivor is deeply interested in the forms and voices through which stories are told, seeking to move audiences through fiction, poetry, and creative communication alike.

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

In this episode of the Watchung Booksellers Podcast, our buyers and booksellers give you recommendations for getting your holiday shopping done early! Nicole, Caroline, Asia, and Susie offer a slew of great ideas for gifts for everyone on your list. Listen to their suggestions (you can see them listed here), then come in store on Festivus Friday ready to shop!Nicole Ban is a lifelong New Jersey resident who began her bookstore career at B. Dalton. After a longstanding tenure at Montclair Book Center, Nicole made the leap to Watchung Booksellers and quickly established herself as the store's resident problem solver and tech troubleshooter, as well as cookbook and mystery buyer. Nicole is also a graduate of the French Culinary Institute.Asia Jannah was born and raised in Montclair, and has worked at Watchung Booksellers for a total of 9 years. She is currently the gift buyer for the flagship location. Her favorite genres include dark fiction, short stories, essays and memoirs. When she's not at the bookstore arranging displays or inquiring about customer's current reads, she enjoys knitting, crafting, and of course, reading.Caroline Shurtleff is the school event coordinator and a bookseller in The Kids' Room at Watchung Booksellers. She graduated from Baylor University with a degree in English Literature. Caroline is a poetry editor at MAYDAY online magazine. Additionally, she writes and researches the show notes for the Watchung Bookseller Podcast. Caroline grew up in the Dallas-Forth Worth metroplex in Texas, and now lives in New Jersey. Susie Sonneborn is a native Chicagoan, educator, bookseller, and Book Fairs Director with a passion for literacy and the arts. She holds a master's degree in education and social policy and has almost 20 years experience as a teacher and curriculum development specialist, integrating the arts into the core curriculum. When Susie is not coordinating school book fairs or helping customers find their "just right"  books, you can find her baking a tiny bit obsessively, enjoying nature with a big hat on, checking out cool art and performances or just hanging out with her husband and three remarkable and delightful sons.Books:A full list of the books and authors mentioned in this episode is available here. Register for Upcoming Events.The Watchung Booksellers Podcast is produced by Kathryn Counsell and Marni Jessup and is recorded at Watchung Booksellers in Montclair, NJ. The show is edited by Kathryn Counsell. Original music is composed and performed by Violet Mujica. Art & design and social media by Evelyn Moulton. Research and show notes by Caroline Shurtleff. Thanks to all the staff at Watchung Booksellers and The Kids' Room! If you liked our episode please like, follow, and share! Stay in touch!Email: wbpodcast@watchungbooksellers.comSocial: @watchungbooksellersSign up for our newsletter to get the latest on our shows, events, and book recommendations!

The Hogwarts Professor comment threads have been jumping so Nick Jeffery and John Granger decided to dedicate a conversation to a review of the Greatest Hits in the last week (to do a complete review yourself, click on ‘Activity' in the left margin of the Hogwarts Professor Substack home page).After their reviewing the remarkably global and growing audience of Rowling Readers — 36 countries, 46 states! — and tracking The Presence's location — her yacht seems to be in Fiji but she is touring Levesden Studios? — Nick and John read out fifteen comment subjects and discuss the merits, deficiencies, and promise of each.The lede story is the theory shared by Jaclyn Hayes that Cormoran Strike and the late Charlotte Campbell were half-siblings with Jonny Rokeby in common as their absentee father. From her notes: I think Charlotte was blackmailed (via threat of exposing the relatedness btw her and Cormoran) into marrying Jago to provide him a male heir. Perhaps their relatedness is even an open secret in Charlotte's family, similar to the “secret” relatedness of Decima and Rupert in THM (another parallel). Charlotte was forbidden from telling Cormoran about the blackmail, but since she's conniving and obsessed with him, she uses their unexpected encounter at the Paralympics gala to drop hints about her predicament, hoping he'll solve the mystery and save her or take her back once she's fulfilled the terms of her marriage/birth agreement with Jago. She then orchestrates another encounter with Cormoran to drop more hints-- this time at Franco's, which she knows will trigger the memory of her father's outrage at seeing her and Cormoran dating again. She hopes Cormoran will realize her father was angry because he knew they were related, not simply because he thinks Cormoran wasn't good enough for her. She then tells Coromoran things would be different if he'd taken the job her father offered him (calling to mind the job Tara gives Rupert to keep him quiet in THM), and says she found out she was pregnant at Tara's house and later “lost” (not aborted) the baby. Read the whole thing. Ed Shardlow's response, in which he points out that the hallmark given to silver and DNA testing of human beings have a lot in common, and Tamspells and Jaclyn Hayes discussion of Strike's dreams in previous books give the Strike:Charlotte::Rupert:Decima theory some heft. Cheryl Rose Orrocks asked for help with research she is doing on a possible divine marker, mythologically divine at least, being placed in each book at the appearance of that novel's killer. The only holes in her theory at the time Nick and John recorded their conversation were Troubled Blood and Running Grave — and Catherine has since posted a neat solution for Strike 5. Check that out and please share the missing god or goddess from Running Grave!Nick and John also review and discuss:* Ed Shardlow's idea that the characters creating narratives inside Rowling-Galbraith stories are perhaps best understood as creating their stories as Rowling writes hers, i.e., inspired by Lake material and crafted with the tools in their Sheds;* Vicky's thank you to Dr Fimi for the Ursula Le Guin quotation;* Ed Shardlow's ‘RL Mystery' with back-up from Tamspells and J. S. Maleksen;* Cheryl Rose Orrocks' YouTube notes about the Dirty Bomb Theory conversation (and just how wrong John is about Carmen the opera and Carmen Ellacott); and* Answers to listener requests for more information — all of which can be found in the Links section below!In the week to come, John pledges to post his Hallmarked Man Names exegesis, Nick is working on his review of Aurora Leigh, the supposed template of Ink Black Heart (and the only book ever confirmed by Rowling as such), they will record their Part Two ring charting this weekend, and John is reorganizing his 2017 seven week online course — Wizard Reading Formula — for which class Paid Subscribers will get a greater than 50% discount.John and Nick thank everyone listening and especially those active on the comment threads and taking part in the Hallmarked Man Ring Reading Workshop!Links to Subjects Discussed in the Conversation Above:Cheryl Rose Orrocks: Can you let me know the title and author of the book about Gothic elements?The one John used for Harry Potter's Bookshelf was Patterns of fear in the Gothic novel, 1790-1830 by Ann Tracy, now only ‘in print' via a Kindle version.John read from his much longer Harry Meets Hamlet and Scrooge: Harry Potter's Hogwarts Adventures as the Gateway to English Literature in the conversation above, in which the list of subjects is spelled out (e.g., the castle, supernatural atmosphere, horror, isolation, subterranean passages, fragmentation and reunion, prophecy, ancestral curse, tainted blood, bond of blood, graveyard, corpses, Decay of Aristocratic Privilege, Rise of Bourgeoisie, forest, memories, dreams, found book, doppelgangers, scar or tell-tale mark, mysterious stranger, confused origin, night, mist and fog, distant past, death,, etc.).John also recommends The Handbook of Gothic Literature, ed. Marie Mulvy-Roberts, and The Cambridge Companion to Gothic Fiction, ed. Jerrold Hogle.Who is the mystery writer John was talking about who killed a women when she was an adolescent?Anne Perry, author of the Thomas and Charlotte Pitt and William Monk series of historical detective fiction. John recommends Anne Perry and the Murder of the Century, the book written by the journalist who out'd Perry as a convicted murderer writing murder mysteries. Perry died in 2023. J. S. Maleksen I too enjoyed this post, immensely. Can someone recommend a version of Cupid and Psyche and other relevant works of mythology for a Striker who assiduously avoided mythology through seven years of post-secondary education. I'm willing to gut it out in order to understand Rowling's work. TIA.John shared his favorites in the conversation above — Hamilton's Mythology: Timeless Tales of Gods and Heroes, Graves' The Greek Myths, Powell's Classical Myth, and Schwab's Gods and Heroes: Myths and Epics of Ancient Greece but Dr Dimitra Fimi responded in the thread today:It's a really difficult question this, and yet it shouldn't be. But the truth is that there is no contemporary authoritative collection of Greek/Classical mythological retellings that's up-to-date with recent scholarship, etc. Catherine recommends Hamilton's book below, which is still good in many respects, but these earlier compilations (like Bulfinch's too) often synthesize different versions of mythological narratives, and omit some interesting variations. My recommendations are a bit heavier on the scholarly side of things, but still readable (the issue will be getting hold of them, but I provide links where possible):1) Classical Myth by Barry B. Powell - as implied by the astronomical price on Amazon.uk (https://amzn.to/3JYkLfF) this is mostly available second-hand now, but there is a scanned version via Archive.org: https://archive.org/details/classicalmyth0000powe (you'll need to create a free account, but once you do you can log in and borrow the book digitally to read)2) Early Greek Myth: A Guide to Literary and Artistic Sources (2 Volumes) by Timothy Gantz is great, and at least easier to get hold of. It gives the tales and their versions as well as an overview of their sources. The Amazon price of Vol. 1, for example, is a bit more accessible: https://amzn.to/4oTFKQ1For those interested in the de profundis interpretation of classical myth, see The Door in the Sky: Coomaraswamy on Myth and Meaning and Symbolism in Greek Mythology by Paul Diel.You can find the post about Beedle the Bard that Dr Fimi discussed in her conversation with Nick and John at her Substack, ‘A Kind of Elvish Craft:' “You must've heard of Babbitty Rabbitty!”: Secondary World Fairy Tales in J.K. Rowling's Harry Potter Series This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

As the Sami community (Norway) struggles to protect ancestral lands from the building of a damn in 1979, Oslo detective Hans Sorensen arrives in the north of the country to investigate sabotage on a damn. Then a body is discovered, and Sorensen has to delve into his own past and heritage. He is Sami but no longer immersed in the culture, and Sorensen is also mourning the recent death of his wife, so he's hesitant to return to his hometown. He ends up following the trail of two women, a journalist and a musician, and discovers the writings of a relative, a real-life Sami author who wrote about his struggle to survive. If the Owl Calls (Sharon White, WTAW Press 2025) is a fascinating mystery filled with Norwegian and Sami history, about identity and memory. Sharon White is an award-winning author whose work spans nonfiction, poetry, and fiction. She has written extensively about nature, place, and memory, bringing a lyrical and reflective voice to her storytelling. Her books include Vanished Gardens, the AWP Award in Creative Nonfiction winner; Boiling Lake, winner of the Italo Calvino Prize in Fabulist Fiction; and Minato Sketches, a Rosemary Daniell Prize winner. White received her BA in English Literature from Colby College and spent a year studying at Manchester College, Oxford University. She has an MFA from Goddard College, where she was a member of the first class of graduates in Ellen Bryant Voigt's innovative program. She holds a PhD in English Literature from the University of Denver. An Associate Professor Emerita at Temple University, White has dedicated her career to writing and teaching. A passionate traveler, she draws inspiration from diverse landscapes and cultures. In Scandinavia she researched the life of Danish painter Emilie Demant Hatt, and in 2019, as an artist-in-residence in Dunedin, New Zealand, she immersed in the region's literary and artistic culture. She has also taught creative writing at Temple University Japan. She lives in Philadelphia with her husband, Scott Masker. When not working or traveling, she loves to garden and take walks around the city. She also enjoys skiing and biking. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As the Sami community (Norway) struggles to protect ancestral lands from the building of a damn in 1979, Oslo detective Hans Sorensen arrives in the north of the country to investigate sabotage on a damn. Then a body is discovered, and Sorensen has to delve into his own past and heritage. He is Sami but no longer immersed in the culture, and Sorensen is also mourning the recent death of his wife, so he's hesitant to return to his hometown. He ends up following the trail of two women, a journalist and a musician, and discovers the writings of a relative, a real-life Sami author who wrote about his struggle to survive. If the Owl Calls (Sharon White, WTAW Press 2025) is a fascinating mystery filled with Norwegian and Sami history, about identity and memory. Sharon White is an award-winning author whose work spans nonfiction, poetry, and fiction. She has written extensively about nature, place, and memory, bringing a lyrical and reflective voice to her storytelling. Her books include Vanished Gardens, the AWP Award in Creative Nonfiction winner; Boiling Lake, winner of the Italo Calvino Prize in Fabulist Fiction; and Minato Sketches, a Rosemary Daniell Prize winner. White received her BA in English Literature from Colby College and spent a year studying at Manchester College, Oxford University. She has an MFA from Goddard College, where she was a member of the first class of graduates in Ellen Bryant Voigt's innovative program. She holds a PhD in English Literature from the University of Denver. An Associate Professor Emerita at Temple University, White has dedicated her career to writing and teaching. A passionate traveler, she draws inspiration from diverse landscapes and cultures. In Scandinavia she researched the life of Danish painter Emilie Demant Hatt, and in 2019, as an artist-in-residence in Dunedin, New Zealand, she immersed in the region's literary and artistic culture. She has also taught creative writing at Temple University Japan. She lives in Philadelphia with her husband, Scott Masker. When not working or traveling, she loves to garden and take walks around the city. She also enjoys skiing and biking. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Dominic is joined by the inimitable Prof. Emma Clery - author of The Rise of Supernatural Fiction 1762-1800 and Professor of English Literature at Uppsala University, Sweden. They continue this month's theme of the supernatural, taking you on a journey into the heart of an event that caused a sensation in Georgian London, and would inspire Dickens decades later …The real life story of The Cock Lane Ghost set the stage for an earnest debate between Anglicans and Methodists - the former skeptical the latter credulous towards a spirit realm - where the dead can seek out the living and communicate with them. The alleged haunting in Cock Lane quickly spiralled in the first months of 1762, with many great figures of the age Samuel Johnson, Horace Walpole and Prince Edward, Duke of York attending seances to cross examine the ghost. At the heart of the controversy lay the very serious charge of murder that the ghost - known as ‘Scratching Fanny' - was trying to convince her hearers of, and the very real possibility of the man accused being sent to the gallows.It will come as no surprise to you that Dickens loved this story! Mentioning it not only in articles but in three of his novels - through Mrs Nickleby's flighty imagination, the disgruntled temper of Mrs Pipchin, and as Prologue to the madness and terror that engulfs A Tale of Two Cities …Joining us to bring to life the real characters from this story - in the form of articles, letters and transcripts - are the fantastic actors Peter Bray and Rachel Winters.Additional Sound Effects in this episode have been used under license from Epidemic Sounds Support the showIf you'd like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardThank you so much!Host: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

The one and only Dr Terry Burns returns for Round Two! Translator, editor, teacher of Dr John Dee's famous Monas Hieroglyphica, Professor Emeritus of English Literature, and de facto co-founder of EnochiaCon with Frater R.C. Today we discussed our upcoming Winter Workshop, December 6th in Vancouver, BC (and live online) for Members of the Arcane Research Society. We reflect on the passing of Anima Noira, share hopes and dreams, and get into the details of Enochian Magic in practice; how it works and what it brings into our lives.The occult techniques of Enochian Magic will be approached from multiple angles and cover breadth but most importantly depth. Join at https://www.EnochiaCon.com Register to attend our upcoming Winter Workshop, 6 December 2025 and you also get access to the full EnochiaCon 2025 Presentations!Learn Traditional Enochian Magic from me: https://www.EnochianGrimoire.comWatch the full video podcast live: https://youtube.com/live/aPS5rHpcNPESupport this podcast at — https://redcircle.com/magick-without-fears-frater-r-c-hermetic-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this NBN episode, host Hollay Ghadery speaks with Concetta Principe about her poetry collection, DIsorder (Gordon Hill Press, 2024).  Disorder, the newest collection of poetry from Concetta Principe, explores the metaphorical relationship between the home and the mind, where a home should be place of sanctuary but can have its safe borders destabilized by mental illness. The poems work through these questions with Principe's characteristic subtlety, intelligence ? a nuanced and compassionate meditation on what it means to be at home. About Concetta Principe: Concetta Principe is a writer of poetry and creative non-fiction, and scholarship on the impact of the secular unconscious on culture and political thought. Her recent collection, This Real (Pedlar Press 2017) was long-listed for the League of Canadian Poet's Raymond Souster Award. Her essays, ?Who Shot Meriwether Lewis was long-listed for the 2019 Edna Staebler Personal Essay Award at The New Quarterly, and ?I Title it ?Suicide Letter was short-listed for The Malahat Review 2019 Constance Rooke award. Her poetry and creative non-fiction has appeared in Canadian and American journals including The Malahat Review, The Capilano Review, experiment-o, and Hamilton Arts and Literature. Her academic monograph exploring trauma in contemporary secular thought, Secular Messiahs and the Return to Paul's Real: A Lacanian Approach, came out with Palgrave Macmillan in 2015. She teaches English Literature and Creative Writing at Trent University, Durham. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this NBN episode, host Hollay Ghadery speaks with Concetta Principe about her poetry collection, DIsorder (Gordon Hill Press, 2024).  Disorder, the newest collection of poetry from Concetta Principe, explores the metaphorical relationship between the home and the mind, where a home should be place of sanctuary but can have its safe borders destabilized by mental illness. The poems work through these questions with Principe's characteristic subtlety, intelligence ? a nuanced and compassionate meditation on what it means to be at home. About Concetta Principe: Concetta Principe is a writer of poetry and creative non-fiction, and scholarship on the impact of the secular unconscious on culture and political thought. Her recent collection, This Real (Pedlar Press 2017) was long-listed for the League of Canadian Poet's Raymond Souster Award. Her essays, ?Who Shot Meriwether Lewis was long-listed for the 2019 Edna Staebler Personal Essay Award at The New Quarterly, and ?I Title it ?Suicide Letter was short-listed for The Malahat Review 2019 Constance Rooke award. Her poetry and creative non-fiction has appeared in Canadian and American journals including The Malahat Review, The Capilano Review, experiment-o, and Hamilton Arts and Literature. Her academic monograph exploring trauma in contemporary secular thought, Secular Messiahs and the Return to Paul's Real: A Lacanian Approach, came out with Palgrave Macmillan in 2015. She teaches English Literature and Creative Writing at Trent University, Durham. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

EPISODE 621 - Deborah Lee Luskin - Hunting for Your Next Great Read - Reviving Artemis - The Making of a HuntressDeborah Lee Luskin earned a PhD in English Literature from Columbia University and expected to become an academic, not a deer hunter. She moved from New York City to Vermont for the summer in 1984, fell in love with the landscape, the community, and the new doctor in town. Forty years later, she's still in Vermont, where she's raised daughters, taught, and—always—wrote.Luskin's novel, Into the Wilderness (White River Press, 2010) a love story set against the backdrop of Vermont's political sea-change in 1964, won the Independent Publishers Gold Medal for Regional Fiction and praise from the Vermont Library Association for its “sense of place.”Luskin started her career in print, penning her first professional column from France while in high school. Her work has since appeared in newspapers and magazines; been broadcast on public radio; and sent into cyberspace in blogs.Luskin spent more than thirty-five years driving all over Vermont, delivering literature-based humanities programs for the Vermont Humanities Council to parenting teens, new adult readers, educators, life-long learners, healthcare workers, and prison inmates. She has lectured widely and taught countless writing workshops. Since 2016, Luskin has been facilitating the on-going Rosefire Writing Circle, a place to write in community and with support.Engaged in civic life, Luskin practiced restorative justice as a volunteer at the Brattleboro Community Justice Center and served as the elected Town Moderator in Newfane, Vermont.All along, Luskin grew vegetables, kept bees, and stuck to well-marked trails through the woods. She knew how to read a text closely, slaughter chickens, and can tomatoes, but she didn't know how to read the untracked forest that dominates the Green Mountain State. Until she was sixty, she was scared of getting lost in the woods. Then she heard a call from the universe that the deer could teach her how to read the untracked landscape. Reviving Artemis: Becoming a Huntress tells the story of how she learned to navigate through the forest of her fears and find her place in the natural world.Finding a Place in the Natural WorldReviving Artemis is the unlikely story of a woman raised in mid-twentieth-century suburbia, then lived in New York City as a young adult, and moved to Vermont in 1984. For more than thirty years, she raised domestic livestock, kept bees, and cultivated fruits and vegetables while teaching literature and telling stories. But when she turned sixty, something shifted. Luskin was overtaken by a primal urge to step out of the garden, off the blazed trails, and into untracked forest by learning to hunt deer.Deeply personal, lyrically told, and funny, Reviving Artemis reveals Luskin's ambivalence about guns and her fear of entering the forest alone in the dark. She persisted, using her literary acumen to read the forest and, as thoughtfully as she hunts for words, to hunt for deer. With the stories of Artemis, goddess of the hunt, childbirth, and wild nature to inspire her, Luskin became a huntress determined to age fiercely and compelled to tell this story of finding her place in the natural world.https://www.deborahleeluskin.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

In this NBN episode, host Hollay Ghadery speaks with Concetta Principe about her poetry collection, DIsorder (Gordon Hill Press, 2024).  Disorder, the newest collection of poetry from Concetta Principe, explores the metaphorical relationship between the home and the mind, where a home should be place of sanctuary but can have its safe borders destabilized by mental illness. The poems work through these questions with Principe's characteristic subtlety, intelligence ? a nuanced and compassionate meditation on what it means to be at home. About Concetta Principe: Concetta Principe is a writer of poetry and creative non-fiction, and scholarship on the impact of the secular unconscious on culture and political thought. Her recent collection, This Real (Pedlar Press 2017) was long-listed for the League of Canadian Poet's Raymond Souster Award. Her essays, ?Who Shot Meriwether Lewis was long-listed for the 2019 Edna Staebler Personal Essay Award at The New Quarterly, and ?I Title it ?Suicide Letter was short-listed for The Malahat Review 2019 Constance Rooke award. Her poetry and creative non-fiction has appeared in Canadian and American journals including The Malahat Review, The Capilano Review, experiment-o, and Hamilton Arts and Literature. Her academic monograph exploring trauma in contemporary secular thought, Secular Messiahs and the Return to Paul's Real: A Lacanian Approach, came out with Palgrave Macmillan in 2015. She teaches English Literature and Creative Writing at Trent University, Durham. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In her scintillating new book, The Beauty of the Houri: Heavenly Virgins, Feminine Ideals (Oxford UP, 2021), Nerina Rustomji presents a fascinating and multilayered intellectual and cultural history of the category of the “Houri” and the multiple ideological projects in which it has been inserted over time and space. Nimbly moving between a vast range of discursive theaters including Western Islamophobic representations of the Houri in the post 9/11 context, early modern and modern French and English Literature, premodern Muslim intellectual traditions, and popular preachers on the internet, Rustomji shows the complexity of this category and its unavailability for a canonical definition. The Beauty of the Houri is intellectual history at its best that combines philological rigor with astute theoretical reflection. And all this Rustomji accomplishes in prose the delightfulness of which competes fiercely with its lucidity. SherAli Tareen is Associate Professor of Religious Studies at Franklin and Marshall College. His research focuses on Muslim intellectual traditions and debates in early modern and modern South Asia. His book Defending Muhammad in Modernity (University of Notre Dame Press, 2020) received the American Institute of Pakistan Studies 2020 Book Prize and was selected as a finalist for the 2021 American Academy of Religion Book Award. His other academic publications are available here. He can be reached at sherali.tareen@fandm.edu. Listener feedback is most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In her scintillating new book, The Beauty of the Houri: Heavenly Virgins, Feminine Ideals (Oxford UP, 2021), Nerina Rustomji presents a fascinating and multilayered intellectual and cultural history of the category of the “Houri” and the multiple ideological projects in which it has been inserted over time and space. Nimbly moving between a vast range of discursive theaters including Western Islamophobic representations of the Houri in the post 9/11 context, early modern and modern French and English Literature, premodern Muslim intellectual traditions, and popular preachers on the internet, Rustomji shows the complexity of this category and its unavailability for a canonical definition. The Beauty of the Houri is intellectual history at its best that combines philological rigor with astute theoretical reflection. And all this Rustomji accomplishes in prose the delightfulness of which competes fiercely with its lucidity. SherAli Tareen is Associate Professor of Religious Studies at Franklin and Marshall College. His research focuses on Muslim intellectual traditions and debates in early modern and modern South Asia. His book Defending Muhammad in Modernity (University of Notre Dame Press, 2020) received the American Institute of Pakistan Studies 2020 Book Prize and was selected as a finalist for the 2021 American Academy of Religion Book Award. His other academic publications are available here. He can be reached at sherali.tareen@fandm.edu. Listener feedback is most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In her scintillating new book, The Beauty of the Houri: Heavenly Virgins, Feminine Ideals (Oxford UP, 2021), Nerina Rustomji presents a fascinating and multilayered intellectual and cultural history of the category of the “Houri” and the multiple ideological projects in which it has been inserted over time and space. Nimbly moving between a vast range of discursive theaters including Western Islamophobic representations of the Houri in the post 9/11 context, early modern and modern French and English Literature, premodern Muslim intellectual traditions, and popular preachers on the internet, Rustomji shows the complexity of this category and its unavailability for a canonical definition. The Beauty of the Houri is intellectual history at its best that combines philological rigor with astute theoretical reflection. And all this Rustomji accomplishes in prose the delightfulness of which competes fiercely with its lucidity. SherAli Tareen is Associate Professor of Religious Studies at Franklin and Marshall College. His research focuses on Muslim intellectual traditions and debates in early modern and modern South Asia. His book Defending Muhammad in Modernity (University of Notre Dame Press, 2020) received the American Institute of Pakistan Studies 2020 Book Prize and was selected as a finalist for the 2021 American Academy of Religion Book Award. His other academic publications are available here. He can be reached at sherali.tareen@fandm.edu. Listener feedback is most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Danny Abbasi is a musician best known as the drummer for Miniseries, the genre-blurring band whose dreamy, cinematic soundscapes have been turning heads in the indie music scene. After graduating from the University of Glasgow with a degree in English Literature, he moved to China where he worked as a professional musician. In 2023, having returned to the UK, he joined Miniseries, the band co-founded by Angie Gannon from The Magic Numbers. The band's debut album, Pilot, is out this week. With a background in grunge-style rock and a deep love of texture and rhythm, he brings both precision and playfulness to the band's sound. Whether in the studio or on stage, his approach is thoughtful, dynamic, and subtly virtuosic. LINKSMiniseries' websiteTickets for Launch Gig, London (9th November 2025).Simon's review of 'Invasion of the Space Invaders' for The Guardian.Arcade Archive, Chalford, Gloucestershire.Galloping Ghost, Chicago.Logan Arcade, Chicago.Become a My Perfect Console supporter and receive a range of benefits at www.patreon.com/myperfectconsoleTake the Acast listener survey to help shape the show: My Perfect Console with Simon Parkin Survey 2025 Hosted on Acast. See acast.com/privacy for more information.

Every once in a while, I meet someone whose story reminds me why inclusion and communication go hand in hand. My guest this week, Shabnam Asthana, is one of those people. She's a global PR leader, entrepreneur, and author who has spent her life turning words into bridges that connect people and purpose. We talk about her journey from teaching and lecturing at India's National Defence Academy to leading global communications for major brands—and what it taught her about empathy, leadership, and real inclusion. Shabnam shares how storytelling can turn data into emotion, and why true diversity is less about representation and more about respect. Her message is powerful and deeply human: being unstoppable begins with an open heart, quiet courage, and the willingness to rise again. If you're ready to lead with empathy and communicate with purpose, this conversation will stay with you long after it ends. Highlights: 00:43 – Hear how early role models and a working mother raised ambitions and set a path toward leadership. 03:39 – Learn why strong communication skills pointed her toward PR and how debates built confidence. 05:24 – See why teaching became the first step when women in PR roles were rare in smaller cities. 08:12 – Discover what it took to lecture at India's National Defence Academy and earn respect in a rigid setting. 12:09 – Understand the leap from academia to corporate PR after being scouted for communication excellence. 15:50 – Learn how serving as a spokesperson shaped internal and external messaging at a Swedish-Indian firm. 17:01 – Gain a humble view of global work and why inclusion means moving from tokenism to listening. 21:08 – Compare India and Sweden and see how representation differs from real inclusion in practice. 24:18 – Learn how small, specific acts like adding sign to slides can make people feel genuinely seen. 34:24 – Find out how storytelling turns CSR spreadsheets into human change that inspires action. 43:22 – Explore the choice to found Empowered Solutions and why entrepreneurship kept growth alive. 53:06 – Take a fresh definition of an unstoppable mindset rooted in resilience and an open heart. About the Guest: A multi-faceted Professional, who has fast tracked from being a reputed National name to a well-respected and emulated global one! Shabnam Asthana has added new dimensions to Global PR and Communications. She has to her credit, post graduate degrees in English Literature, Public Relations and Advertising, an MBA in Marketing Management & several International certifications including a prestigious Hon. Doctorate in Business Administration from the National American University USA (NAU). She has over 25 years of rich professional experience. She started her career in the educational field as a high school teacher and then moved on to the role of a Lecturer at the prestigious National Defence Academy, Khadkwasla. She was the only civilian who compered for the Passing out parades, PT & Equestrian display and the Graduation ceremony of the NDA for 3 consecutive years. This was covered live on Doordarshan. It was after one of the Passing out Parades that she was compering at the NDA, that a senior position in a reputed company was offered to her and thus began her foray into the corporate world. After her successful corporate stint in senior positions with reputed companies including Multinationals in India and abroad and reputed real estate businesses, she started her own PR and communications firm, Empowered Solutions in 2005 which has been running successfully since then. Adding offices in USA and Canada as part of its international expansion. Ways to connect with Jan: Wikipedia - https://en.wikipedia.org/wiki/Shabnam_Asthana Instagram https://www.instagram.com/shabnamasthana/?hl=en Linked in - https://in.linkedin.com/in/dr-shabnam-asthana-7b174a5 Facebook - https://www.facebook.com/ShabnamAsthana/ X - https://x.com/shabnamasthana VyaapaarNiti Expert Profile - https://www.vyaapaarniti.com/expert/dr-shabnam-asthana- Tring Celebrity Platform - https://www.tring.co.in/shabnam-asthana About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, Hi again, everyone. I am your host, Michael Hingson, and you are here listening to or watching or both, unstoppable mindset today, our guest is a person of many talents, and I think you're going to be as amazed about her as I am. Shabnam Asthana is a person who has been involved in she was a teacher for a while. She's been very heavily involved in a variety of things at the corporate level. She started her own marketing firm in 2005 and I don't know what all my gosh, she's got so many things, it's really hard to keep up, but I'm sure she's going to tell us all about it, and I am looking forward to that. And I really appreciate all of you being here with us. So Shabnam, I want to welcome you to unstoppable mindset. And thank you for being here.   Shabnam Asthana ** 02:15 Thank you, Michael, truly wonderful to be with here, and thank you for that amazing introduction. You make me feel as if I've worn a professional cape of so many accolades and so many things. It's wonderful to be here with you.   Michael Hingson ** 02:32 Michael, well, you do have lots of awards and lots of accolades.   Shabnam Asthana ** 02:38 That's just one part of the journey. The true reward is in the, you know, work that I do, these stories, that I shape, the narratives that spring in that is the true reward. And of course, accolades are always welcome, and they are a way of encouragement, which do ensure that, yes, I continue doing the good work.   Michael Hingson ** 03:00 Well, why don't we start back at the beginning, which is always fun to do. Why don't you tell us about the early Shabnam growing up?   Shabnam Asthana ** 03:08 Okay, that's something which is very close to my heart. I was born in India in a small city called Bokaro, Steel City. It was a Steel City. It was an industrial town, and we were a very close knit community, and we had lots of, you know, interaction with people. I came from a background where both my parents, my mother and my father were working, and at that point of time, a working woman was sort of seen as a novelty, not something I'm talking way, way back. And now the people will also guess my age, I guess because it's pretty way back. And that was the time when we weren't India was still developing, and women were still not seen as the working class, you know, especially in senior corporate positions. And my mother was a senior officer in the steel plant, so that set my aspirations and ambitions very high. And I wanted to emulate her. I wanted to be someone who was working now what I would do I was not very sure of, but yes, I wanted to be working. And then later on, my sister, my both my sisters, were also working, my older siblings, and of course, that set the tone for me to also hop into the professional shoes, and, you know, chart out a career path for myself. So,   Michael Hingson ** 04:44 so what? What did you do? As far as schooling? Did you go to college?   Shabnam Asthana ** 04:51 Yes, I went to the local school there, which was an English medium good school called sin Xavier School. And that was some. Thing which really groomed me for the future, that set the foundations for my career. And after that, I did my schooling in the my college, sorry, in the capital city of India, which is Delhi. And then on, I moved to a place which is close to Mumbai, which is Pune, and I continued my education there. And of course, my career started in Pune. That is when I got into academics, and then henceforth,   Michael Hingson ** 05:34 so when you were in college, and as you were coming out of it, what did you want to do with your life? What was your plan? Or did you have one?   Shabnam Asthana ** 05:43 Yes, I did have one. Like I said, I was always good in communications, and people used to tell me that you are a good communicator. I used to win all the debates. I used to win elocution competitions. And I said, Well, yes, communication does seem to be my forte, so why don't I build on that? And then I saw my father, he was in the public relations industry, and I somehow at the back of my mind, I said, Yes, that is something I would surely want to do. So why not try my hand at PR? And that's how the seeds of my career was planted in my mind, and then it developed there on.   Michael Hingson ** 06:30 But you started out in education and in teaching.   Shabnam Asthana ** 06:34 Yes, that's very interesting. I'll tell you. I wanted to start my career in PR, but I was in a place which was a small city, and it was a place called Jamshedpur, before I moved on to Pune, and there, the career scope was very limited. We didn't have women in the PR. In fact, it was unheard of. So the best thing, or the easiest thing that a woman could do was to hop on the bandwagon of academics. And not saying that it was something you know, that was not looked up to. But yes, I did enjoy my role as a school teacher. That was my first job in Jamshedpur, a small it was, again, a steel city in India, and I became a high school teacher, and quite enjoyed it, because that was also communication. It was the way you communicated with your students, and, you know, sort of got them into, got them interested in what they were learning. So that was, again a stepping stone, and it was the area of communications which expanded later on.   Michael Hingson ** 07:47 So how long did you stay in teaching?   Shabnam Asthana ** 07:51 I was there for about two years in Jamshedpur, and then I moved on to Pune. And guess what the next opportunity I got was as a lecturer in the National Defense Academy. That was a place where the future generals were being groomed, and I was a civilian who, sort of, I was the only civilian, probably, who got into the teaching profession there and there I spent a good four years truly memorable. Worth remembering recounting. There was so many incidents, and I loved teaching. That was something which I did at the National Defense Academy too. Although that was at a higher level, it was very different from the school teaching which I had done. This was more, you know, on a national level, where you had to be more, and there was a lot of discipline which came in, because it was the future, you know, Army personnel, Navy personnel, so all that, there was a lot of discipline that came in and that groomed me better. I understood what the world of discipline meant in the true sense, because I lived   Michael Hingson ** 09:10 it right. What? How did you discover the job at the defense Academy? Though that's certainly a whole lot different than teaching high school students or maybe not.   Shabnam Asthana ** 09:23 It is a whole lot intimidating. Let me tell you that it's very intimidating to walk into a room full of, you know, future generals, army people you don't know who you know who you are, I mean, who they are, and you sort of get very intimidated by the kind the aura is very, very intimidating.   Michael Hingson ** 09:46 How did you discover that job? Yes,   Shabnam Asthana ** 09:49 that was done. We in India, we have something which is called the employment exchange. So you register there and you give your qualify. You list down your qualifications, and you know whatever you are planning to do, and they invite you for certain vacancies. So one fine day, I was just sitting and having my lunch at home when I received a letter, and the letter was an interview call for the National Defense Academy. I literally jumped out of my skin because I was a school teacher, and then being asked to appear for an interview in the National Defense Academy itself was a big leap for me. Whether I got it or not was a different thing. But then to sort of come on board and go and sort of appear for an interview was also something very exciting. And when I went there, I was like, I said, the only civilian The rest were army officers, wives and daughters, you know, related to the working personnel there. So when I went, I was interviewed by the three representatives from all the three wings, that is the Navy, the Air Force and Army. And that was a very good experience. They asked me a lot of questions, and I believe it was later on I was told that it was my confidence that got me in. So thanks to that, I   Michael Hingson ** 11:23 was going to ask you why you why you got in, or why you think you got in. And yes,   Shabnam Asthana ** 11:30 yeah, I did ask them that later, and unofficially, I was told that. Well, it was the way you carried yourself, the confidence and, you know, the excitement and enthusiasm that you shared, which was very, very refreshing.   Michael Hingson ** 11:48 So what exactly did you do at the academy?   Shabnam Asthana ** 11:53 I was teaching them English, and I was teaching them literature. I don't know how interested they were in literature, but then the feedback that I got, which was, you know, the it was a routine feedback, which we have the teachers get. So I used to get good marks, and people used to say, yes, that, you know, your classes are engrossing. It's good. And then, apart from that, there was something very interesting I did, which was I compared for their passing out parades, and I compared for all their shows. And that was something which was covered on television, and that gave me a different kind of foothold in my profession, where I was being seen, where I was being heard, and my confidence grew by leaps and bounds. I was being accepted as a woman. I was being accepted as a civilian. And that was something which was very, very heartwarming for me,   Michael Hingson ** 13:01 and I would assume, very difficult to achieve,   Shabnam Asthana ** 13:05 I think so I do yes, in retrospect, yes.   Michael Hingson ** 13:09 So you did that for roughly four years. Yes. And why did you leave that? What was your? Was your thought about that,   Shabnam Asthana ** 13:21 okay, I would have gone on. It was such a glorious part of my career. But, you know, change, they say, is constant, and that is something which happened. I was comparing for a passing out parade when the chairman of a corporate company which was doing rather well, heard me, and he was impressed by my communication, my speaking abilities, my, you know, the way I was presenting things. And he said he offered me a job, and he said, Why don't you come and join my office and come in as a PR person for my company, and that's exactly I was actually, you know, not very sure whether I wanted to leave this an industry and career where I was already established, where people knew me, and just hop on to the corporate world. But if you remember, that was my ambition. That was what I had always won right at the start. So the moment it came, it almost felt as if it fell into my laps. And I said, Why don't I do that? Yes, and this is a good opportunity, and I must take it up. My I spoke to my family, and they too, felt that it was a good stepping stone to move on. And so I accepted it, and that was my entry into the world of PR, in the corporate   Michael Hingson ** 14:48 world. So what year was that this   Shabnam Asthana ** 14:53 was way back on now you are prompting me to give away my age, which is like. Like ancient, I'd be a fossil. Okay, yes, this was way back in the 90s,   Michael Hingson ** 15:06 okay, and that was kind of what I was curious about. So at that time, industry was a little bit more stable than it was later on, but, but still, you You did it, and you so you stepped into that goal, into that role, and so you became part of the PR world, which is, as you said, what you wanted to do initially, anyway. So, so how long did you stay at that company? I   Shabnam Asthana ** 15:39 stayed there for about four years, and then the chairman of the company passed away. Unfortunately, he was on a trip to China, and he suffered a massive cardiac arrest, so I was working very closely with him in his office, and as is the norm of the industry, once the leader is not there things you know, sort of crumble, and you know, there's reorganization. New faces come in, and normally the new people bring their own teams. So I felt as if, you know, before they told me to sort of move out or something. I don't know why I pre empted that. I said, Why don't I myself make a shift and join some other industry? I mean, join some other company, which I did. Again, I applied. It was a Swedish company, and again, it was one of the best moves that I could have made. I spent a good 12 years in that company, which Hogan is India Limited, I must name them. They were brilliant. And I spent a very, very good part of my career with that company.   Michael Hingson ** 16:56 And so again, you did primarily PR, or what did you Yes, it was   Shabnam Asthana ** 17:02 PR and it was handling the chairman and managing director's office. So the entire communication was handled through me, the internal as well as the external communication. I was a spokesperson, yes,   Michael Hingson ** 17:18 so you became so in a sense, sort of the face of the company.   Shabnam Asthana ** 17:21 Yes, I did. It's nice to feel that yes, that it was a good many years that I was the face of the company in terms of communication, yes,   Michael Hingson ** 17:33 right, right. And, and where were you doing this?   Shabnam Asthana ** 17:38 This was in Pune, and their head office was in Sweden. I used to sort of move between the two. It was a very global company. The subsidiary was an Indian subsidiary, but the parent company was Swedish. So we had a lot of global travel   17:56 that kept you busy. That did so   Shabnam Asthana ** 17:59 there were conferences, and there were so many meetings which were happening,   Michael Hingson ** 18:03 yes, right? So what did, what did you? What did you learn from all of that? Do you think   Shabnam Asthana ** 18:12 it was a very humbling experience? You know, more than the excitement, I was armed with a lot of excitement, because that would have been one of my first trips outside India. I was I had a lot of excitement, lots of things were on my mind, but then ultimately, when one does travel and work in a global company, it's a very humbling experience, because you are exposed to your strengths and also your blind spots, your strengths, your weaknesses, everything comes to you and then you feel that diversity is not always about representation. It's about respect and inclusion is moving from tokenism to listening. That is what I felt, you know, adapting various voices to your workplace, working in unison, trying to empathize with people from different cultures, different streams, different departments, all that really broadened my horizon. So that was something which I learned.   Michael Hingson ** 19:30 So what was the culture like, in terms of since you were at a global company, as it were, how was it different when you were dealing with Sweden, as opposed to when you were dealing with India.   Shabnam Asthana ** 19:45 In India, we don't have diversity as a choice. In India, we are served diversity on a platter because you are born with being diverse. You have. Are numerous religions, you have culture. So we are adaptable people in that sense. But strangely enough, it's a paradox. If I would tell you that inclusion is still a work in progress. Inclusion isn't automatic. It doesn't come to you like that. You have to work for it. Now there is a big change, but I'm talking of the days, way back in the 90s when women in boardrooms were a novelty. So sometimes it was just purely for ornamental value. Sad to say that. But gradually you had to open up, you have to open the doors, and you have to say, look, we are here for a reason. And please listen to our voices too. And that's how we started. I started sort of, I remember once when I was moving in India. I mean, not in Sweden, but once when I was in India, and I was in a strategic board meeting. I was the only woman in the room, and the people were sort of, I could sense the expressions. People were curious, people were dismissing. People were sort of, you know, not sort of prepared to take or listen to me, that was a little bit of a setback. But then gradually, when I started moving abroad, and I started seeing more women, and then gradually, when I was moving so were the others, and they too saw the kind of change that was happening. And so it was pretty difficult in India, initially, if I were to be very honest, Sweden was more inclusive. I could see a lot of women in the workforce. And gradually, since we were sort of interacting with each other, we absorbed each other's cultures and values, and the company became very, very inclusive. So it was a pleasure to work there.   Michael Hingson ** 22:08 Okay, so in a sense, there were, there are parts of Sweden that made you happier than what you were in the East initially experiencing in India.   Shabnam Asthana ** 22:19 Absolutely, absolutely, and I have no hesitation in saying that, because they were welcoming. They were welcoming. And the not necessarily my company, but any company in India, the representation of women, especially in PR, was very, very limited. Now we have evolved, and it's a world of difference, and I'm so happy to see that.   Michael Hingson ** 22:48 How about you, may or may not have a lot of expertise in this, but how about if we're going to talk about inclusion and so on, people with disabilities, both in India and in Sweden and so on and again. I don't know whether you really had much experience or exposure to that. I   Shabnam Asthana ** 23:06 do. I did have my share of exposure, maybe not extensive, but yes, I do. I remember there's this one incident I'd like to talk to you about. It was in Paris. I was in a conference, and there was a deaf girl in the conference room. I could see people making presentations and knowing fully well, because we had the list of participants, and we had their intros, their introductions with us, my team. And you know, of course, I headed that team. We made a special endeavor to include sign in our presentation. And she was so happy because she said, you know, she came to me and she expressed to me that although I have participated so many times in meetings, and especially corporate meetings, I am so happy to see. It was the first time that I felt I was seen and I was not just a presence. So she was very happy with the kind of, you know, preparation that we did for her especially. So I believe it's very nice if people learn to respect each other and learn to believe that not everybody is similar. You may have so many strengths which I don't have. I do not see any physical disability as a handicap. I'm very, very sure about that, I do not see anybody who appears different or who doesn't have the same listening capacity, hearing capacity, to be different from me. They have their own strengths. So I truly believe that, you know, disability. In that sense, is something which does not put a person in the back seat. How.   Michael Hingson ** 25:09 How was that attitude received? Well, both at the company, when you were when you were in the room with her, and you were signing and so on. How did other people receive that? And how was that kind of attitude received initially in India?   Shabnam Asthana ** 25:29 Well, to be very honest, Michael, it wasn't something that is the done thing. People do not accept that. They are like, well, it's a general presentation. We really don't have to make specific I do remember a person who came up to me and said, Shabnam, why did you make a very specific presentation? It was a very general presentation by you doing that, you have set a precedent for others to sort of make them feel small, you know. So he took it in a very negative way. Said, you've made us feel very small. I said, no, please do not look at it that way. It is something where we have made her feel a part of us. It is not trying to belittle anybody, trying not to, you know, get a an edge over others. All of us are the same. It's just that I made it a little easier for her. That's what I just told him, and probably he did, walk away with a smile. I don't know whether it was a sarcastic one or whether it was a smile of acceptance, but then I got my   Michael Hingson ** 26:38 point. I took was this was this in Sweden or India. This was in Paris. In Paris, okay, yes,   Shabnam Asthana ** 26:46 okay, this was a conference, which was   Michael Hingson ** 26:49 she said that, right? Well, you know, the reality is that's all part of the inclusive mindset and the inclusion mindset, and it is so true that most people don't tend to realize it Yes. So I hear what you're saying,   Shabnam Asthana ** 27:10 yes, and realization and sort of acceptance has evolved. People are more accepting. People are more flexible. You know, the rigidity earlier, people were very rigid. Now there is a lot of flexibility. I believe that, right?   Michael Hingson ** 27:32 Well, I think it's better. I'm I think there are still all too many people who tend not to really have an overly inclusive mindset. And it is, it is something that that will be with us for a while, and hopefully over time, people will become more open and realize the value of inclusion. In this country, we have, well and around the world, we have a significant number of people who have these so called physical disabilities, and the reality is that the disability is more caused by inaction mostly than it is by real action.   Shabnam Asthana ** 28:12 Absolutely yes. And I also seriously believe that diversity enriches the outcomes. I have some I have practical experience, and I've seen that. So inclusion enriches outcomes in many ways, right?   Michael Hingson ** 28:35 How has all of your traveling and all of your exposure in various places around the world. How has that tended to shape your understanding of diversity and inclusion?   Shabnam Asthana ** 28:50 Okay, yes, that's a very interesting question. I have seen that challenges are real, biases, stereotypes and expectations that women need to prove themselves twice as much also exists in many, many parts of the world. So they have been. I mean, there have been certain cultures, certain countries, which are very easy to breeze through when you are at work meetings or you're talking to people. But there are certain countries in the let's say in the Middle East, the Far East, which are still not very open to, you know, women taking on lead roles, women strategizing, women talking things that would influence decisions. So sometimes there's also a word I'd like to put in here that sometimes it is not country specific. Specific. It is very individual, specific. So there, like you said, you know, there are certain mindsets which still exist. There are people who may be residing in countries that are very open and very receptive, but their own mindset is limiting. And it is a mindset which is closed, it is rigid. So that stops and that prevents any inclusion. You know that, if I were to put it that way, so I would say it's not merely, not always country specific. Yes, individuals have to evolve themselves and change their mindsets. So it's sometimes I've seen it's countries are good, but some individuals are rigid. I've seen some individuals that are good, but the countries that are rigid. So it sort of works both ways.   Michael Hingson ** 30:54 And it's not just about women, it is about anybody who is different. Yes, then the so called norm, whatever that happens to be, absolutely   Shabnam Asthana ** 31:03 inclusion is not limited to women. So again, I'd like to clarify that it's inclusion is a broad spectrum. So yes, of course, we are a small part of it. But yes,   Michael Hingson ** 31:17 you have written a book, yes, romancing your career and and also you've done a lot of mentoring, obviously, and so on. But what do you mean when you talk about women? And I would say anybody who's different need to define success on their own terms. Tell me more about that.   Shabnam Asthana ** 31:41 So women, or anybody, let's not be very specific about women, because then it would be detracting from the main subject of inclusion. Anybody who wants to be heard has to believe in one thing, that silence is not the answer. Courage is so you have to move from silence to courage. Try and portray your point of view. Speak to people if they listen to you good enough if they don't, it's not as if the doors are closed. If the doors are closed, you can surely open a window for yourself, and it works. So just being silent or being very subdued or being very you know sad that your point of view, or being upset, for that matter, that your point of view is not being listened to is not the answer. You have to show courage. You have to do your homework, right? Remember that value is something that takes anybody places. It's not about being a woman, it's not about being any nationality, any ethnicity. It's just that you have to carry value in whatever you are trying to bring to the table. Once people see value, they will forget whether you are of XYZ nationality or you're an Indian, or you are of any other you're any other gender, if I may say that. So it's the value that a person should work towards. Everybody should work towards bringing value to the table. That is what will get you noticed, and that is what will see you going places. Yes, it did.   Michael Hingson ** 33:43 And again, I think one of the important things is that, from my standpoint, and I keep pushing it, but it's there is that it also is the same for for so called disabilities. One of the things that I maintain is that everybody on the planet has a disability, and the disability for most people is that you depend on light in order to function, and when suddenly light disappears, you have a big problem, unless you have a way to get light back on demand. But we are. We're not ready to accept that as a as a race yet, so people think that's cute, but, but they're not ready to accept it. It doesn't change the fact that it's really there. But the fact of the matter is that that people do have to speak up for themselves, and there are ways to do that, and there are ways not to do that. It isn't a matter of being obnoxious and demanding, but it is all about, as you expressed it earlier, being confident and showing that confidence and showing your knowledge and showing what you bring to the table absolutely well. You've been involved in PR for a long time, and I'm sure that you would agree, one of the main tools that people in the public relations world and elsewhere have to offer is storytelling. I believe the best salespeople are people who can tell stories and can help relate. But my question would be to ask you, how can storytelling bridge communities and bring people together?   Shabnam Asthana ** 35:31 Storytelling is a very, very strong element of PR. Storytelling humanizes everything. It brings in a lot of connection. So people connect automatically, if your storytelling is good, so like I keep telling all my juniors as well or new interns who join in corporate fact sheets can be informative. They can give you facts, but storytelling will transform everything. So you move from information to transformation. Storytelling is the human angle to everything. All of us love you a human angle. For example, let me tell you I was in a meeting which was quite a few years ago, and the CEO of the company was telling me they've done a lot of work in corporate social responsibility. So he wanted to tell me about all the expenditure that they've done. They've uplifted so many schools. They've done so much. They've spent so much on education, they've spent so much on water, on sanitation and so many other things, which has improved the lives of the citizens there. I told him, could you tell me one story of one life that has been affected. So he was at a loss because he had not he did not dive deep into that. He didn't look beyond the numbers and the figures. So his HR person stepped in and he told me a story of a girl. She was an Indian girl. Her name was Aarti. How they had transformed her life, and she had moved on to studying in Howard, and she was being employed in one of the top American companies there. So that was something, a story of transformation. So that is so you know, I believe the power of storytelling and that connected everybody, even his own people, were not aware. The employees were not aware. They were just sort of working like robos, putting in their number of hours, doing their work, not going beyond their call of duty to actually see what was happening to the effects, the efforts of their activities. This was something which we brought out in all their corporate brochures, in all the marketing that they were doing, in all the marketing collaterals that worked wonders. We had lots of inquiries for people who wanted to support them in many ways. We had an interview of the girl, and it was something which was very we added a human angle. So like I said, storytelling humanizes the entire concept, and that is something which connects people. So, yes, it's very   Michael Hingson ** 38:42 interesting. Did he learn to tell stories after that?   Shabnam Asthana ** 38:46 I believe so, because he was so he was really taken aback. And he said, Wow, I never really thought about it. And you told me, You changed my perspective. You made me see it differently. And if I were to say we got a good retainership After that, because he was very happy and my contract was renewed. So that was something which sort of affected the contract too well.   Speaker 1 ** 39:19 The reality is that when you tell a story, it is telling stories is something that most everyone can truly relate to, and when you tell a story that someone listens to or hears and reacts to it,   Michael Hingson ** 39:40 there's nothing better than that, and it's really important that that kind of thing happens. So I'm really glad to hear that you like storytelling. I think it is so important that we have that   39:51 absolutely,   Michael Hingson ** 39:54 yeah, it's so important to be able to do that. Well, you've told us a little bit. About inclusion and diversity and so on in India and in other countries. Do you think it's changing, both in India and in other countries? And how is it changing?   Shabnam Asthana ** 40:15 It is changing. If you go back to the 90s to the present day, you will see that people have become I think it has a lot to do with travel. It has a lot to do with interaction. So people are interacting with each other. I speak to you, you speak to me, you tell me something about you, and I say, Hey, is that worth listening to? Yes, it is. And I try and change my mindset. I become more receptive. I try and tell you my viewpoint. You listen to me. You hear me out. So I have seen companies that have moved beyond check boxes of how many women, how many people with disabilities they've, you know, inducted in the employment stream, in their jobs, and it's become more of the CEOs or the top management asking their people, how many voices have we listened to? How many decisions have been made by these people whom we have taken in. You know, how have we evolved as a company? So that has made me see in boardrooms, in various meetings, that the top management is also very aware of what kind of decisions, what policies, are being framed with people as a diverse group. And it's not funneled or restricted to just the top few. It trickles down and it goes to the people they've hired from diverse groups, and it becomes like a voice of the company. So I have seen that changing, and I have seen that diversion is now diversity sort of is moving more towards the corporate DNA. So it is not a demand anymore. It's not a checkbox. It's more as if it is flowing in naturally, and people are more aware of it. So that's what I've seen.   Michael Hingson ** 42:32 It's a mindset, it is, and people are starting to adopt that. How is it changing in India? You said that in India there's a lot more diversity. But you said inclusion isn't so much there.   Shabnam Asthana ** 42:46 Yes, it is in see in India, it was globally, I saw that diversion was backed by policies, and there was a certain framework which had a set of rules. It had a set of code of conduct. But in India, it was more based on individual goodwill. So we had people, if the CEO or the top management was pro diversity, it would happen automatically, because the ones at the junior level had no choice. They had to naturally comply. But here now in India, it's become more organized, more structured, and people, there are departments now which look into issues of diversity and inclusion, and they try and make the organization work towards that. So they are big companies. They are small companies in India, all are trying to absorb this in the corporate DNA, like I said. So people are conscious. And there are conscious. There are seminars which are happening. People are being spoken to. There is workplace, you know sensitization that follows. People talk about it, people discuss it, and there is a lot of exchange of dialog which happens. So people talk, people learn, people adapt   Michael Hingson ** 44:15 well. So you you work for the Swedish company, for you said, like, 12 years, and then what did you   Shabnam Asthana ** 44:25 do after that? I moved on to, you know, start my own company, which was empowered solutions. That's my brain child, and it's a communications PR and communications company, and I, sort of, I'm the founder director for that the Empowered solutions is my company now, and we are completed. It was set up in 2005 October.   Michael Hingson ** 44:50 2005 what? What made you decide to leave the bigger corporate world and take on all of the challenges of entrepreneur? Leadership and starting your own company, because that certainly is a major change.   Shabnam Asthana ** 45:04 It is I was in the top management. I had a set job, I had the name, the recognition, everything that comes with that. But somehow there was still that kind of, I would say, curiosity, to experiment and to try on newer things. And I am a person who gets a little bored of stagnation, and I had almost reached the height of my career in these companies, and there was nothing more I could do unless I bought over those companies and sort of, you know, became the president and the chairman, which I would I could not do. So I said, Why don't I sort of diversify and take all this learning that I have, all the goodwill that I've earned over the years with the people that have been my clients, with my colleagues, with the people I've met in my business conferences. Why don't I take all this and try and set up something on of my own where I am at liberty to do whatever I want to do without the time pressure, you know, without a pressure of morning meetings and you know, things which have to be a nine to five kind of a role here, I do agree that it is a 24 by seven job that I'm doing at present, because I'm always available. And, you know, I believe that accessibility is very important if you have to be successful, you can't sort of close off and say, no, no, I'm, you know, if somebody needs you, you can't say, Okay, I'm just closing my door and my office. So that was the the, you know, the excitement of experimenting once again and seeing, of course, entrepreneurship is something which is very exciting, and that was something which I wanted to experiment and try and see how I could change that. And, you know, get it into my career. And, you know, get off the normal nine to five job. So that's what I did. I wanted to experiment.   Michael Hingson ** 47:21 So tell me a little bit more about if you would what your company does and how you serve clients and so on. And where are your clients?   Shabnam Asthana ** 47:29 Okay, so basically, it is a PR and communications company, and we have clients now globally. I have primarily in India, because that is where my office is. But I do have clients in Europe, in us, in Canada, where I am currently. And yes, it is more about public relations and communications, and that's what we do. So it's essentially a diversification of I have also taken on writing as part of one of my services. So I do a lot of book writing. I take on people who want to be either who want to tell a story, and who don't have either the time or the expertise. I write for them. I ghost right for them. We also do events. So we have done a couple of events globally, not on a very large scale, but yes, we do have. So it's events, it's public relations, it's communications, it's training, and it's writing.   Michael Hingson ** 48:39 So that's it, right? Well, so you have written one book. Are you looking at doing any more books? By any chance?   Shabnam Asthana ** 48:49 Now I have ghost written about 16 books. So they're all ghost written and under a contract where I don't disclose the names of the books. But yes, I've authored three books, and the first one was romancing your career, a very interesting and fascinating book. That was my first book, and later on, I went on to do two biographies, and yes, I'm doing a couple more correctly, where they are being authored by me. So I'm writing the biographies.   Michael Hingson ** 49:26 So today, in all the work that that you're, that you're doing, do you, do you get involved with many international projects?   Shabnam Asthana ** 49:39 Yes, not many, but yes, we are doing a slow and steady progress there. And we do, I do, keep getting a lot of inquiries. And I must say that I have got a couple of inquiries recently which are very interesting. And I. Working on those. Maybe it's a little premature to tell you that, but yes, there is one big project that has come my way, and we're planning to expand from there. Well.   Michael Hingson ** 50:12 So you have experienced a lot of different countries and so on, and India is certainly becoming more of an economic and a world power in the in terms of what all is happening. Do you think that that the attitudes of India and the way India deals with inclusion and so on is making a difference, and Will that continue to happen?   Shabnam Asthana ** 50:43 Well, Michael, it will, because we are moving out of our country, and we have, you know, taken spots in so many other countries. So if we want to be included, it's high time we practice the same. So we have to welcome other cultures. We have to welcome other nationalities if we hope to be welcomed in other countries as well. So that is something which has really influenced the thinking of people, because we can't be rigid. We can't be, you know, thinking in our own way. And say, Well, let's not do it, because we have to welcome other countries if we have to work and move out of India. So yes, Michael, I will say that very hard. It's very heartening to note that it is changing, and it will continue to do so. In fact, you know, India is moving from being seen as an outsourced to something which people sort of welcome with open arms. But then, yes, things are changing. There are things which are happening which may limit the movement of people, or it may increase the flow of people. But then, well, we have to adopt, adapt and move on.   Michael Hingson ** 52:04 Yeah, well, there's always going to be some of that which makes which makes sense. Yes. What kind of advice would you give to someone, especially young professionals, women and others who are different? What advice would you give to someone who may feel excluded or undervalued in their careers.   Shabnam Asthana ** 52:25 The best thing that I would like to say is that if you hear a no, don't let it bog you down, because be sure that tomorrow you will hear a better yes, it will be something that is shaping the way for your future. So you must not let any naysayers or any projects that fail bog you down just because you're a woman or because you're different or anybody you know. You have to show your courage, you have to be resilient, and you have to lean on your inner strengths. The best magic, the you know, time tried and tested formula, which I would advocate, is leaning on your inner strengths. All of us have a lot of strengths, believe you me, we may not know it, but all of us have a lot of strengths. So when you see a situation that is not to your liking, just lean on your inner strengths. Take a deep breath and say today's no will be a yes tomorrow, and that is the courage that you must move ahead with anybody, irrespective of whether you are a woman or you are any person who is stepping into the corporate world. Just value yourself. Always Be confident. Wear the confidence. And that's the best accessory that you would have.   Michael Hingson ** 54:03 How would you define unstoppable mindset?   Shabnam Asthana ** 54:08 Unstoppable mindset is not something which is something which rises beyond limitations. And by limitations, I don't mean only individual limitations. It may be the limitations of the other people. Let that not define your limitation. Your the term unstoppable, to me, is a term which shows resilience. It shows something where you can fumble. It's very natural to fumble, to stumble, to fall down, to face challenges, to face, you know, rejections. It's very normal, but unstoppable is. Being able to get up again with greater strength, with a better mindset, more courageously, and more importantly, with an open heart, which says, Yes, I will do it. You cannot say you cannot. You know, sort of put me down in any way. My courage is there, my inner strength is there. I am unstoppable in that sense.   Michael Hingson ** 55:28 I think the most important thing that you just said is that you have to do it with an open heart. I think everyone should do that you may learn that your idea may not be the best solution, and it might be the best solution, but you won't know that until you truly have an open heart and an open mind.   Shabnam Asthana ** 55:46 Truly, yes, absolutely, an open heart, I would say, is really, really key. It's very, very important.   Michael Hingson ** 55:56 What keeps you motivated as you continue to advocate for adverse diversity and inclusion and equity and so on.   Shabnam Asthana ** 56:04 What keeps me motivated? Michael, are many things, but then what i If I could just zero down on a couple of them, I would say that what keeps me motivated is the trust that people had in me, and, you know, to give me certain jobs, roles, the trust that they had to sort of say, okay, you can do it. And then I did it. And the people, what keeps me motivated is something also very nice, which somebody came up to me at a recent conference in Germany, and they said, you know, the reason why I didn't give up is because of you. That is me, because I motivated them to do something, and that was your motivation for me, I was like, Okay, if I can motivate you, I too can stay motivated for a long, long time to come. And that's something which I do. I try to inspire and I try to inspire myself as well in the process.   Michael Hingson ** 57:07 Well, if you could leave everyone who is involved in hearing this podcast and so on today, if you could leave them with one powerful message about embracing diversity and so on. What would that message be?   Shabnam Asthana ** 57:23 Well, that message would be that whatever is happening today, if you feel that there is even a little bit of acceptability, that is because somebody else has worked towards it, so now it is your chance to give it back to society, to keep working, to keep opening doors for people, for a better tomorrow, for a more inclusive tomorrow. And diversity doesn't and inclusivity doesn't happen overnight. You have to work towards it. There is a it's the whole process, and you have to work towards it relentlessly. Continue working. Somebody else has worked. They have pushed you forward. They have done a whole lot of things. Now it's your turn to do your bit and ensure that the people who are coming after you come to a better tomorrow, a more inclusive tomorrow.   Michael Hingson ** 58:27 It also, by definition, means that we need to learn how to work with each other and support and help each other,   Shabnam Asthana ** 58:34 of course. And empathy. Empathy is the key, empathy, sensitivity, all that.   Michael Hingson ** 58:41 So if people would like to reach out to you, maybe use your company services or talk with you. How can they do that?   Shabnam Asthana ** 58:48 They could contact me. You can write to me at my email id, which is Shabnam, S, H, A, B n, a m, at empowered solutions, my company name, E, M, P, O, W, E, R, E, D, S, o, l, U, T, I O, N, S, dot, I n, that's my name. The emails will reach me. That's an inbox which you know I'm monitoring myself, and be sure that you will receive a reply. I'd love to hear from people, and I love to communicate. I love to write back. So very welcome.   Michael Hingson ** 59:30 And I would ask, just sort of on principle, if anyone reaches out to Shabnam, who has heard this podcast, please mention that, just so that she knows where you where you discovered her, and I think that would be a good thing to do. Well, I want to thank you for being here. I think this has been absolutely wonderful. I think we've learned a lot I have and I value the insights that you bring. So I hope that other people will take the. Those same insights away, there's there's a lot to learn here, and there's a lot to gain from this. So I want to thank you again for being here, and maybe we'll have to do this again in the future.   Shabnam Asthana ** 1:00:12 I'd love to do that. And Michael, I'd like to thank you for hosting this wonderful, wonderful show. I have seen your episodes. They are brilliant, and it's really nice. I was so looking forward to this. It's been an absolute pleasure to interact with you, and I hope that we'll be doing more of this in the near future.   Michael Hingson ** 1:00:35 Well, we'll have to explore that, and I want to thank all of you who are out there watching and listening. I want to thank you for being here. We appreciate you very much. Wherever you're listening or watching. Please give us a five star review. We value that very highly. We really would appreciate you saying good things about us. A five star review is always a wonderful thing. I'd like to hear from you as well. I'd like to hear what your thoughts are about this podcast. Feel free to email me at Michael M, I, C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, i, b, e.com, love to hear from you. Love to hear your thoughts. We value them, and we take all the comments that we get from people very much to heart. So we appreciate you doing that. And if you know anyone else who ought to be a guest on our podcast, who you think ought to be a guest, let us know. Introduce us. Shabnam, that's also true for you, please. If you know anyone who ought to be a guest, we'd love to meet people and have them come on the podcast and also help us show how we're all more unstoppable than we think we are, or we thought we were. So once again, though, I want to thank you for being here. Shabnam, this has been wonderful. Thank you very much.   Shabnam Asthana ** 1:01:51 Thank you, Michael, thank you to all the listeners.   **Michael Hingson ** 1:01:59 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Salty Chat with Author Heather Colley and her debut novel that dropped on Oct 21, 2025, 'The Gilded Butterfly' a hilarious but unflinching look at today's U.S. college campus experience, from the highs and lows of the non-stop party scene to the absurdities of modern psychiatric care, the implications of prescription drug abuse and campus sexual assault. Heather is a PhD student in English Literature at Oxford University. She holds a master's degree in literature from St Andrews University and a bachelor's degree in the same subject from the University of Michigan Ann Arbor. Her short fiction has won awards including the Oxford Review of Books short fiction prize, the Hopwood Award, the BNU-Oxford short fiction prize (runner-up), and the Desperate Literature Prize shortlist.Book Lovers, grab a copy: The Gilded Butterfly EffectSupport with Tips via Cashapp or PaypalRed Light Therapy BeltAcupressure Mat & Pillow Set Get Hulu FREE for 30 Days Try Armra Colostrum 30% Off80% Off First Order Fabletics50% Off F Factor Meals50% Off AAA The Real Law of AttractionEarth's Healing & Grounding ToolAnti Aging Hacks(aff)

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)

What is an eco-civilisation? What are its values and what are the frames within which it works? Why do we need it in the first place and what will the Establishment do to maintain business as usual? Most importantly, what can each of us do to live an eco-civilisation into being?This week's guest, Jeremy Lent, explores these ideas in depth in his forthcoming book, Ecocivlization: Making a World that Works, which is due out in May of 2026.  We've talked to Jeremy twice before, first in episode #38 about his award-winning book, The Patterning Instinct: A Cultural History of Humanity's Search for Meaning, and then in #102 about his second book in the series, The Web of Meaning: Integrating Science and Traditional Wisdom to Find Our Place in the Universe. Ecocivlisation is the third book in this trifecta and I was privileged to read the pre-proof draft, so I can tell you that it's one of the few genuinely Thrutopian books I've read. It that lays out the iniquities and downright horror of the imperial/colonial system of the Trauma culture - termed Wendigo Inc. in the book - and then brings Jeremy's trademark meticulous research and fluent prose to bear on the ways through to a system in which we all live and thrive and work towards the wellbeing of the entire ecosphere.   Given that there is such detail, I wanted to talk to Jeremy now, so that we could explore some of the foundations - the nature of the existing narratives of Business as Usual, of TINA: There is No Alternative  - and why this is so ubiquitous in spite of being self-evidently untrue.  Then I wanted to look at the broader frame of the Theory of Change proposed here so that next spring we can go into more detail ahead of the book's publication. For those of you who don't yet know him, Jeremy was born in London, has a BA in English Literature from Cambridge University, an MBA from the University of Chicago, and was a former internet company CEO. Now, he is an author, speaker and founder of the  Deep Transformation Network, a global community exploring pathways to an ecological civilization. He is also founder of the nonprofit Liology Institute, dedicated to fostering an integrated worldview that could enable humanity to thrive sustainably on the Earth. Jeremy's Website: https://www.jeremylent.comJeremy's Blog https://patternsofmeaning.comJeremy on LinkedIn https://www.linkedin.com/in/jeremy-lent-ba153017/Jeremy's YouTube channel https://www.youtube.com/@JeremyLentDeep Transformation Network https://deeptransformation.network/feedGuardian article on global tipping point https://www.theguardian.com/environment/2025/oct/13/coral-reefs-ice-sheets-amazon-rainforest-tipping-point-global-heating-scientists-reportBooksThe Patterning Instinct https://www.jeremylent.com/the-patterning-instinct.htmlThe Web of Meaning https://www.jeremylent.com/the-web-of-meaning.htmlEcoCivilization https://mhpbooks.com/books/ecocivilizationPrevious Episodes#102 - Weaving the Web of Meaning  https://accidentalgods.life/weaving-the-web-of-meaning/#38 - Fractal Flourishing https://accidentalgods.life/fractal-flourishing/What we offer: Accidental Gods, Dreaming Awake and the Thrutopia Writing Masterclass If you'd like to join our next Open Gathering offered by our Accidental Gods Programme it's  'Dreaming Your Death Awake' (you don't have to be a member) it's on 2nd November - details are here.The next one after this is 'Dreaming your Year Awake' on Sunday 4th January 2026 from 16:00 - 20:00 GMT - details are hereIf you'd like to join us at Accidental Gods, this is the membership where we endeavour to help you to connect fully with the living web of life. If you'd like to train more deeply in the contemporary shamanic work at Dreaming Awake, you'll find us here. If you'd like to explore the recordings from our last Thrutopia Writing Masterclass, the details are here

Every time I look into research on the summer slide, I get more confused. It's no wonder professionals and families are scrambling every May as they think about how kids should be spending their time in the summer. I've intended to do a deep dive into the research and gain a better understanding of how significant the “slide” is, for who, and what, exactly, is sliding. At the time I'm writing this, I still don't feel I've done that. What I can do is speak to what I DO understand, which is why I wanted to share my commentary and a clip from my interview with my colleague, David Schipper, as we discuss our conclusions on the “summer slide”. At the end of the interview, I ended up with more questions than answers, but we both came to the conclusion that kids who are already behind will benefit from consistent, explicit intervention, and that we'd both want to take advantage of time available to close gaps in students who are already behind at the end of the school year. David Schipper is the director of Strategic Learning Clinic, a position he has held since 2013. David obtained a B.A. in English Literature from Concordia University in 1998 as well as a B.Ed. in Secondary Education (English and History) from McGill University in 2002. After some work as a local teacher in Montreal, David founded 2Torial Educational Centre in 2007. Aside from his ability to put both parents and students at ease, David is able to help families get to the root of the problem(s) and propose the most suitable programs to resolve these issues. As a father of two children, David knows how to relate to the concerns of parents and as an experienced educator and passionately understands the struggles of students. His passion and dedication to teaching and learning is second to none.Here are some questions and discussion points from this episode:✅ Why we need to think about the summer in the preceding fall, not in May.✅ Looking at cumulative gains over the entire year rather than focusing on ONE time period.✅ Some students are already behind when summer starts. So how much time should we spend debating if a “slide” exists”? In this episode, I mention the School of Clinical Leadership, my program for related service providers who want to take a leadership role in implementing executive functioning support. You can learn more about the program here: https://drkarendudekbrannan.com/efleadershipI also mentioned Language Therapy Advance Foundations, my program that gives SLPs and other service providers a system for language therapy. You can learn more about the program here: https://drkarenspeech.com/languagetherapy/You can connect with David on LinkedIn here: https://www.linkedin.com/in/david-schipper-1537972a/You can learn more about Strategic Learning Clinic on their website here: https://strategiclearning.ca/, on their Facebook page here: https://www.facebook.com/SLCStrategicLearningClinic, or on Instagram @strategiclearningclinic (https://www.instagram.com/strategiclearningclinic/). We're thrilled to be sponsored by IXL. IXL's comprehensive teaching and learning platform for math, language arts, science, and social studies is accelerating achievement in 95 of the top 100 U.S. school districts. Loved by teachers and backed by independent research from Johns Hopkins University, IXL can help you do the following and more:Simplify and streamline technologySave teachers' timeReliably meet Tier 1 standardsImprove student performance on state assessments

Send us a textC4 Leaders – the ONLY nonprofit to utilize the pizza making process to create space for our companions to be seen, heard, and loved.   We work with businesses, sports teams, hospitals, churches…anyone looking to RISE TOGETHER.  We also write children's books and use the most amazing handmade, hand-tossed, sourdough pizza to bring out the best in each other.   Please check out PIZZADAYS.ORG to support our important work. Season 5 Episode #22 Heather Colley is coming from London, England  (inform, inspire, & transform)You can find Heather via her website heathercolleyauthor.comAbout our guest: Heather Colley is a PhD student in English Literature at the University of Oxford (Regents Park College). Her current research is focused on late 19th and early 20th century jazz and blues aesthetics in transatlantic modernist literature, with a particular emphasis on the impacts of musical forms and tropes on literary experimentation and cultural development. Heather completed her Master's in Modern and Contemporary Literature with Distinction at St Andrews, where she studied lyric and form in the work of mid-twentieth century African American women novelists. She received her Bachelor's in English Literature/Creative Writing and Sociology at the University of Michigan Ann Arbor. Heather's writing won The Oxford Review of Books Short Fiction Prize, the Hopwood Award, and inclusion in the Desperate Literature anthology. The Gilded Butterfly Effect is Heather's debut novel. Thanks for sharing your many gifts and creativity with the world, having the courage to take your gift and put it on paper and for being our guest on Life's Essential Ingredients…welcome to the show.TOTD – “There is no greater agony than bearing an untold story inside you.”  Maya AngelouBuild a habit - to create intention - to live your purpose! In this episode:What was life like growing up?What are your life's essential ingredients?What was your inspiration to study literature?  And to go abroad…50k students to use health services…what are some of the challenges that college students face in finding someone to talk to…The importance of connection and where fraternities and sororities attempt to fill that gap…The writing process…what is yours and how do you overcome the challenges and joys that come with it…How great did it feel to finish your book and to receive the author's copy…October 21st…released your first book…Beautiful book cover…Stella, Penny, Millie, Leah…Thoughts on substances to help with mental health challenges…Study drugs that help enhance focus… what are your thoughts on the rewiring of our brain leading to needing drugs to help us focus, leading to emotional uncertainty…What characteristics do college students need to be successful?  What characteristics do colleges need to create success for their students?What is the main takeaway you want the reader to take from your book?  How do you want to be perceived as a writer?Plans for book 2 and so on… dealing with the pressure or excited to get to writing…Book you recommend?Legacy 

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.

Dame Rose Tremain is one of Britain's most prolific and popular writers, having written 17 novels and five collections of short stories over the last 50 years. She was one of only six women on Granta magazine's inaugural 1982 list of the best young British novelists, alongside Martin Amis, Ian McEwan, Salman Rushdie and others. Her fifth novel Restoration was nominated for the Booker Prize in 1989, she won the Whitbread Prize for Music And Silence in 1999, and was awarded the 2008 Orange Prize - the precursor to the Women's Prize for Fiction - for her novel The Road Home. Having already been made a CBE in 2007, she became Dame Rose Tremain in 2020 for services to writing. Her most recent work is a short story called The Toy Car.Rose Tremain tells John Wilson how her father, a largely unsuccessful playwright called Keith Thomson, inspired her childhood interest in storytelling, although he never encouraged her to write. She recalls how she first started writing fiction to help her cope with loneliness in a household where there was little parental affection. Rose recalls how it was a teacher at her boarding school who first recognised her ability and encouraged her to apply for an Oxbridge university place, only to be dissuaded by her mother, who sent her to a finishing school in France instead. She credits the novelist Angus Wilson, one of her English Literature tutors at the University Of East Anglia, for giving her the confidence to write her first novel. She also chooses The Diary Of Samuel Pepys as a major inspiration on her 1989 Booker-shortlisted novel Restoration, which was later turned into a Hollywood film starring Robert Downey Jnr. and Meg Ryan.Producer: Edwina Pitman

Today on the show, I get to chat with Marielena Ferrer and Viktorsha Uliyanova, a multidisciplinary artist and educator working with alternative photography, installation, video, and fiber art. Her work explores impermanence, the notions of home, and cultural identity narrated through the prism of memory. Her practice is informed by her upbringing in the Soviet Union, political repression, and the immigrant experience. In her research, Uliyanova explores neglected and overlooked histories, often using archives as a catalyst for her work. She received her BA in English Literature, Language, and Criticism from Hunter College and an MFA in Photography and Related Media at State University of New York at New Paltz. Her work has been exhibited at Samuel Dorsky Museum of Art, Baxter St., MOMA PS1, Participant Inc, Collarworks, among others. She is the recipient of New York State Council on the Arts Grant, Arts Mid-Hudson Culture Grant, Traverso Photography Award, Women's Studio Workshop SAI Grant, Sojourner Truth Diversity Fellowship, and Research for Creative Projects Grant. Recently, she completed a residency at Vermont Studio Center. She lives in the Hudson Valley and teaches photography at SUNY New Paltz.Viktorsha's upcoming solo exhibit “Quieter than Water, Lower than Grass” is a multimedia installation that examines the fragility of memory and its impact on history, immigrant narratives ,and cultural identity. This work explores themes of migration, belonging, and domesticity. The opening is November 8 at Roundabouts Now Gallery in Kingston, with a panel discussion on November 16 featuring Marielena, Viktorsha, and two additional women artists whose work addresses these same themes.Today, we talk about the meaning of the show title, and how this Russian idiom permeated culture and played a role in repression and control. Viktorsha shares about the layers of her creative process and how this show came to be. We discuss some of the pieces, their meaning, the process in creating them, and the meaning behind that process. One of the main pieces in the exhibition is an installation of suspended large scale cyanotypes of "Brezhnevka"s, prefabricated  panel buildings that were built in the Soviet Union from 1964-1980. They were built fast and cheap and can still be found and seen throughout former Soviet states. Our conversation weaves through themes of assimilation, (uniform)ity, culture, healing, memory, domestication, femininity, the multidimensionality of softness, and belonging.Viktorsha's Project Statement: “Quieter Than Water, Lower than Grass'” is a multimedia project that explores the intersection between history, memory, and photographic evidence. The work employs analogue photographic processes , fabric, and video to explore remembrance, storytelling, and ancestral healing. Drawing from family albums, oral histories, and archival images, I construct narrativesthat have been hidden by the Soviet regime and are often invisible within the dominant historical discourse. The project takes its name from an old Soviet proverb which instills a behavior of keeping a low profile, avoiding any attention from the self, and acting in a way that does notgenerate conflict. The phrase has been used as a deliberate linguistic tool to disseminate imperialist ideologies, generate fear, and maintain repressive socio-political tactics throughout the USSR. This project outlines the importance of critically engaging with mainstream narrativesin order to unlearn them and see their limitations and biases.Quilts are powerful conveyors of the human experience. They are valuable historical documents and memory transmitters that honor storytelling and intergenerational knowledge. Using bed sheets , I hand-sew patchwork of imagery into quilt forms preserving not only my personal memories but also those obscured within the larger cultural and geo-political discourse.Each fabric piece will source from historical documents, family albums, and collected objects to explore, visualize, and underscore the complexity of post-Soviet trauma and immigrant experience. Blue is a color of peace, a color found in our dreams, our hopes, and our memories. It is the color of the sky, water, and our planet, Earth. The cyanotype process uses the natural elements of sun and water to register a photograph. While it is stable, the final result is prone to changing over time. Using this photographic technique allows me to address all of the themes that show up in my work such as identity, history, and memory, all of which are fragmented, mutating, and ever-changing.The project combines a collection of materials and techniques that reference matrilineage, ancestry, and transgenerational trauma. Through layering of fabrics and utilizing the deep blue hues of the cyanotype process, the work visualizes histories that have been hidden, obscured, and lost. The project examines the selective nature of memory, challenging historical biases and emphasizing the importance of community knowledge and healing. The final project will be presented to the public in an exhibition fostering cultural exchange, community dialogue, andbridging the gap between the personal and collective memories.Here's your New Moon Astrology!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

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.

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.

Amy is joined by Amie Souza Reilly, author of Human/Animal, for an eye-opening discussion about stalking and safety, about how patriarchy thrives on women's fears and about what we actually have to be afraid of.Donate to Breaking Down PatriarchyAmie Souza Reilly is a visual artist and multigenre writer from Connecticut. Her work has appeared in various journals, including Wigleaf, HAD, The Chestnut Review, The Atticus Review, Catapult, SmokeLong Quarterly, Barren, Pidgeonholes and elsewhere. She holds an MA in English Literature from Fordham University and an MFA from Fairfield University, and is the Writer-in-Residence and Director of Writing Studies at Sacred Heart University. She is the author of Human/Animal and works as the Director of Writing Studies at Sacred Heart University.