Podcasts about Evelyn Waugh

It's been said that Muriel Spark's career was not so much a life as a plot, and she did indeed repeatedly reinvent herself, closing one chapter of her life and opening another, regardless of how many friends and business associates she abandoned along the way. This month the Slightly Foxed team were joined by Muriel Spark's biographer Martin Stannard, and Spark enthusiast Emily Rhodes of Emily's Walking Book Club, to discuss the work of this highly original and somewhat forgotten writer and learn how Muriel first invited Martin to write her biography and then did her best to prevent it seeing the light of day. Born in 1918, Muriel grew up in a working class family in Edinburgh – the setting for her most famous novel The Prime of Miss Jean Brodie, which was based on a charismatic teacher at her own school. At the age of 19 she closed that chapter of her life by marrying an older maths teacher, Sydney Oswald Spark, known (appropriately) thereafter as SOS, and going with him to Southern Rhodesia (now Zimbabwe) where their son Robin was born. Unfortunately it soon became obvious that Sydney had severe psychiatric problems and in 1943 Muriel left husband and son and returned to London where she began her career as a novelist. Several times shortlisted for the Booker Prize, and much admired by Evelyn Waugh and Graham Greene, Muriel produced 22 novels, most of them drawing on events in her own life. Everyone at the Slightly Foxed table had their favourites, including The Girls of Slender Means, A Far Cry from Kensington, Loitering with Intent, and Memento Mori, a clear eyed and also very funny look at old age. Everyone agreed on the brilliance of her writing with its dark humour, preoccupation with the supernatural and with the presence of evil in unlikely places. Her life was equally fascinating, moving from poverty to great wealth and success, and from the shabbier parts of London to intellectual life in New York centred on The New Yorker magazine, to which she became a contributor. In 1954 she was received into the Roman Catholic church and for some time she lived in Rome, relishing the glitter of Italian high society, finally settling in Tuscany with her friend Penelope Jardine, where she died in 2005. Summer reading recommendations included Caledonian Road by Andrew O'Hagan, Death at the Sign of the Rook by Kate Atkinson, Homework by Geoff Dyer and Of Thorn and Briar by Paul Lamb. Martin also praised Electric Spark, the new – and very different – biography of Muriel Spark by Frances Wilson. For episode show notes, please see the Slightly Foxed website. Opening music: Preludio from Violin Partita No. 3 in E Major by Bach Hosted by Rosie Goldsmith Produced by Philippa Goodrich

This is a free preview of a paid episode. To hear more, visit www.racket.newsThe inside scoop on the latest (actually important) Russigate developments. Plus, correspondent Boot reaches Africa in Evelyn Waugh's Scoop.

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. 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

Wist je dat Forrest Gump gebaseerd is op een boek? En dat de o zo bekende quote 'Life is like a box of chocolates' daar helemaal niet in staat? In deze aflevering vertellen Charlotte, Ellen, Joost en Marja over hun favoriete boekverfilmingen. Wat voor zin heeft het om een boek te verfilmen? In welke gevallen is de film beter dan het boek en vice versa? Doet een (goede) verfilming ons op een andere manier naar het boek kijken? En welke boeken zijn (nog) ten onrechte onverfilmd gebleven? Besproken boekverfilmingen: Ellen: Under the Skin (2013, regie Jonathan Glaser), gebaseerd op de gelijknamige roman van Michel Faber uit 2000Joost: Brideshead revisited, roman van Evelyn Waugh uit 1945, in 1980 voor het eerst verfilmd Marja (kon weer niet kiezen): De aanslag (1986, Fons Rademakers) gebaseerd op de roman van Harry Mulisch en The Lost Daughter (Elena Ferrante, 2006), verfilmd door Maggie Gyllenhaal (2021)Charlotte: Forrest Gump (1994, Robert Semackis), gebaseerd op een roman uit 1986 door Winston GroomZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comSam is a biographer, historian, and journalist. He used to be the editor of the New York Times Book Review, a features writer for Vanity Fair, and a writer for Prospect magazine. He's currently a contributing writer for the Washington Post. His many books include The Death of Conservatism and Whittaker Chambers: A Biography, and his new one is Buckley: The Life and the Revolution That Changed America.It's a huge tome — almost 1,000 pages! — but fascinating, with new and startling revelations, and a breeze to read. It's crack to me, of course, and we went long — a Rogan-worthy three hours. But I loved it, and hope you do too. It's not just about Buckley; it's about now, and how Buckleyism is more similar to Trumpism than I initially understood. It's about American conservatism as a whole.For three clips of our convo — Buckley as a humane segregationist, his isolationism even after Pearl Harbor, and getting gay-baited by Gore Vidal — head to our YouTube page.Other topics: me dragging Sam to a drag show in Ptown; the elite upbringing of Buckley during the Depression; his bigoted but charitable dad who struck rich with oil; his Southern mom who birthed a dozen kids; why the polyglot Buckley didn't learn English until age 7; aspiring to be a priest or a pianist; a middle child craving the approval of dad; a poor student at first; his pranks and recklessness; being the big man on campus at Yale; leading the Yale Daily News; skewering liberal profs; his deep Catholicism; God and Man at Yale; Skull and Bones; his stint in the Army; Charles Lindbergh and America First; defending Joe McCarthy until the bitter end and beyond; launching National Review; Joan Didion; Birchers; Brown v. Board; Albert Jay Nock; Evelyn Waugh; Whittaker Chambers; Brent Bozell; Willmoore Kendall; James Burnham; Orwell; Hitchens; Russell Kirk; not liking Ike; underestimating Goldwater; Nixon and the Southern Strategy; Buckley's ties to Watergate; getting snubbed by Reagan; Julian Bond and John Lewis on Firing Line; the epic debate with James Baldwin; George Will; Michael Lind; David Brooks and David Frum; Rick Hertzberg; Buckley's wife a fag hag who raised money for AIDS; Roy Cohn; Bill Rusher; Scott Bessent; how Buckley was a forerunner for Trump; and much more. It's a Rogan-length pod.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Jake Tapper and Alex Thompson on the Biden cover-up, Walter Isaacson on Ben Franklin, Robert Merry on President McKinley, Tara Zahra on the last revolt against globalization after WWI, N.S. Lyons on the Trump era, Arthur C. Brooks on the science of happiness, and Paul Elie on crypto-religion in ‘80s pop culture. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

En vísperas del funeral del Papa Francisco, los culturetas hacen un repaso del género vaticano y aprovechan para contar sus andanzas durante las vacaciones de Semana Santa. A propósito de la nueva edición de Un puñado de polvo (Impedimenta), recorren la vida y obra de Evelyn Waugh, autor de Retorno a Brideshead y cronista del ocaso de la aristocracia británica, y del resto de la prolífica saga Waugh. Con Rubén Amón, Isabel Vázquez, Guillermo Altares, Sergio del Molino y Rosa Belmonte.

En vísperas del funeral del Papa Francisco, los culturetas hacen un repaso del género vaticano y aprovechan para contar sus andanzas durante las vacaciones de Semana Santa. A propósito de la nueva edición de Un puñado de polvo (Impedimenta), recorren la vida y obra de Evelyn Waugh, autor de Retorno a Brideshead y cronista del ocaso de la aristocracia británica, y del resto de la prolífica saga Waugh. Con Rubén Amón, Isabel Vázquez, Guillermo Altares, Sergio del Molino y Rosa Belmonte.

Excelente novela de Waugh, de un modernismo increíble para su época.

Charles Ryder, a curious Oxford dreamer, meets Sebastian Flyte, a magnetic soul whose lavish life promises an alluring freedom. At the grand estate that looms over their friendship, beauty battles with duty, and every laugh hides a secret waiting to unravel. Join us in this week's episode of the #BecomeFire Podcast as we open up part one of Brideshead Revisited by Evelyn Waugh.

Leyéndole Dickens al loco.

Tony solo en la selva amazónica.

El señor Last en la selva amazónica.

Ambos mundos: la selva y Londres.

Tony Last en medio de la selva.

Tony y Teresa.

El señor Last y la manera de enfrentar su situación de divorcio.

El señor Last, Brenda, Beaver, la cuota de alimentos.

Evelyn Waugh (1903-1966) fue un escritor y periodista inglés nacido en Londres. Tras la desilusión de una juventud vivida con desenfreno y la separación de su mujer, se convirtió al catolicismo en 1930. Comenzó su carrera como autor con la publicación de varios libros y continuó con sus obras más conocidas: *Retorno a Brideshead*, y las novelas sobre santa Elena y san Edmundo Campion, entre otros. D. Emilio Domínguez Díaz, doctor en Humanidades y Filología Inglesa, y autor de varios libros, nos acerca a este influyente autor del siglo XX en este programa de «Entre Profesionales».

En marcha el divorcio de los Last.

Seguimos con el matrimonio Last.

La patética vida de los Last.

Seguimos con Evelyn Waugh.

Continuamos con Evelyn Waugh y su mirada sarcástica sobre la clase alta inglesa.

Lo amantes, la vida matimonial, las constumbres sociales.

Seguimos con el mundo de la clase alta inglesa.

Seguimos con la historia de los amantes.

Beaver y su aventura con la mujer casada.

La clase alta británica según Waugh.

Terence Bendixson was the Guardian's planning correspondent in the 1960s when he wrote a piece that propelled him into walking campaigning. In 1969 he joined Living Streets (then the Pedestrians' Association) when he and its founder hit it off.Foley, a London-based journalist, founded the Pedestrians Association in 1929, when motor vehicles were proliferating; he was concerned about the dangers they posed. In 1939 Evelyn Waugh described Piccadilly Circus as 'still as a photograph, broken and undisturbed'.In its early years the charity shaped road safety law, including the introduction of the first Highway Code and the driving test, 30mph speed limits and pedestrian crossings. Post-war 'The Peds' were involved in the first zebra crossings and the new offence of drink driving As TransportXtra reports.Terence Bendixson was part of the hugely successful Homes for Roads movement, as told by Steve Chambers, of Transport for New Homes https://planningtransport.co.uk/2020-03-08-homes-before-roads.html. Bendixson's book, Instead of Cars, is 50 this year:On Living Streets' pavement parking campaign; on CEO Catherine Woodhead being appointed in April 2024.Ben Plowden joined in the late 90s; he and Bendixson applied to the Esmee Fairburn Trust for £69,000, which paid for premises, staff and a rebrand. Plowden became CEO of CPRE in 2025.Dr Amit Patel: https://www.dramit.uk/; On removal of the Leicester flyover .For ad-free listening, behind-the-scenes and bonus content and to help support the podcast - head to (https://www.patreon.com/StreetsAheadPodcast). We'll even send you some stickers! We're also on Bluesky and welcome your feedback on our episode: https://bsky.app/profile/podstreetsahead.bsky.social Support Streets Ahead on Patreon Hosted on Acast. See acast.com/privacy for more information.

Seguimos con esta novela de Waugh.

Seguimos con esta novela de Waugh.

Mirada irónica sobre la clase alta británica.

Controversies in Church History is back! The first episode of 2025 is a review of the books I've been reading the past year, featuring some interesting works on theology and liturgy with a side dollop of nothing-to-do-with-Catholicism-in-particular. If you like hearing someone's else's opinions about books you've never read, this is the episode for you. Also, I preview upcoming episodes and lament how behind I am on book reviews. Cheers! Books Discussed: 1. Peter Kwasniewski, Treasuring the Goods of Marriage in a Throwaway Society 2. Abbé Claude Barthe, A Forest of Symbols: the Traditional Mass and its Meaning 3. Peter Kwasniewski, Ultramontanism and Tradition: the Role of Papal Authority in the Catholic Church 4. Erick Ybarra, The Papacy: Revisiting the Debate Between Catholic and Orthodox 5. Evelyn Waugh, Men at Arms (Sword of Honor Trilogy #1) 6. Tim Blanning, The Romantic Revolution 7. Viktor Frankl, Man's Search for Meaning 8. David Grann, The Wager: a Tale of Shipwreck, Mutiny and Murder 9. Fawwaz Traboulsi, A History of Modern Lebanon 10. Augustus Richard Norton, Hezbollah: a Short History 11. John J. Mearsheimer and Stephen Walt, The Israel Lobby and U.S. Foreign Policy 12. Ilan Pappé, The Ethnic Cleansing of Palestine 13. Ilan Pappé, A Very Short History of the Israel-Palestine Conflict 14. Ronen Bergman, Rise and Kill First: the Secret History of Israel's Targeted Assassination Program

This is a free preview of a paid episode. To hear more, visit www.racket.newsLos Angeles is in flames, and California's leaders seem helpless, unmasking a generation of public investment in non-essential services. Also, "On Guard," by Evelyn Waugh

De winterboekeneditie van Betrouwbare Bronnen weerspiegelt de turbulentie rond het leiderschap van deze tijd. Mark Rutte fietste weg van het Torentje, Dries van Agt stierf hoogbejaard na een rijk leven, van Ruud Lubbers kwam een monumentale biografie uit en Ruttes favoriete collega Angela Merkel schreef haar autobiografie. Olaf Scholz viel, net als Rishi Sunak en Michel Barnier. En met Dick Schoof kwam een premier aan het roer die lijkt op een romanfiguur van Robert Musil, Der Mann ohne Eigenschaften.Jaap Jansen en PG Kroeger bespreken boeken die allerlei dimensies en verhalen bevatten over premiers, politieke leiders en hun leven en werk. En wat wij daarvan kunnen leren.***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!Deze aflevering bevat een advertentie van De Schrijverscentrale. Boek ook een schrijversbezoek!Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend een mailtje naar adverteren@dagennacht.nl en wij zoeken contact.Op sommige podcast-apps kun je niet alles lezen. De complete tekst plus linkjes en een overzicht van al onze eerdere afleveringen vind je hier***1] Jaap de Haan - De eerste minister van de Republiek (Amsterdam University Press)Wie waren de Ruud en Mark van de Gouden Eeuw? Jaap de Haan promoveerde op het functioneren en regeren door de burgerlijke leider van die heel aparte staat, de Republiek, dus van de raadspensionaris. Hij laat zien, dat zij veel weg hadden van machtige mannen elders in Europa die onder een absolute monarch de touwtjes in handen hielden. Een Richelieu, een Cromwell of een Metternich.Johan van Oldebarnevelt maakte deze functie als geen ander en die machtspositie kostte hem letterlijk de kop. Johan de Witt kon regeren zonder een Oranjeprins en domineerde, hoewel hij Ruttiaans bescheiden deed. Toen ook hij ten onder ging in 1672 kwam de minder bekende Gaspar Fagel aan het bewind. En juist die blijkt in dit boek een erg leerzame en handige leider te zijn geweest. Met prins Willem III speelde hij good cop, bad cop. Zo pakten ze samen de stad Amsterdam aan!2] Robert Harris – Afgrond (Cargo)Een roman over een premier? Jazeker, en wat voor een. Robert Harris komt met een huzarenstukje, een spannende detective over waargebeurde verwikkelingen tussen de man in Downing Street 10 en een societygirl van adel.Herbert Asquith was obsessioneel verliefd en schreef Venetia Stanley honderden brieven terwijl de Eerste Wereldoorlog uitbrak. Staatsgeheimen, verslagen van de ministerraad, telegrammen van de tsaar, het rolde allemaal in haar brievenbus. Het is alsof Evelyn Waugh een Downton Abbey tv-serie schrijft vermengd met geopolitieke explosies en een gisse jongen van de Secret Service, die op het spoor komt van Venetia. Hoe loopt dit af?3] Remieg Arts, Coen Brummer, Gertjan Schutte (red.) – Machtswoorden (Prometheus)Premiers zijn vaak schrijvers. Hun woorden hebben impact. Als ideoloog, als strateeg, als memoiresauteur en soms zelfs als romancier. Denk maar aan Benjamin Disraeli! Machtswoorden is een rijk en origineel boek met een reeks essays over politici als auteurs en hoe schrijven en ook op die wijze boodschappen verspreiden door en door politiek kan zijn.De kinderboeken van Jan Terlouw, de duizenden krantenstukken van Abraham Kuyper, de sociale essays van Sam van Houten, politieke brochures tegen het koloniaal bewind in Indië en de persoonlijke worstelingen en belevenissen van de eerste generatie allochtone politici, het zijn allemaal bijzondere genres die soms van grote betekenis blijken voor politiek denken en handelen.Een verrassende ontdekking in de bundel is de radicale democraat en pro-Franse patriot Pieter Vreede. Hij was als politiek auteur buitengewoon actief en controversieel. Pleegde een staatsgreep, maar moest uiteindelijk na Napoleons val zoete broodjes bakken met het Oranjehuis. Een leven waarin vele regimes elkaar opvolgden en Vreede steeds weer zijn nek uitstak.4] Auke van der Woud - De steden, de Mensen 1850-1900 (Prometheus)Auke van der Woud is de Jürgen Osterhammel van ons land. Hij beschrijft de transformatie van Nederland in de 19e eeuw. Zijn boek analyseert hoe na 1850 het verpauperde land in een ongekende 'Tweede Gouden Eeuw' ontpopte tot een wereldwijd actieve, expansionistische economische macht.Hij maakt ook korte metten met legendes als die van de 'kanalenkoning' Willem I die zo'n vooruitziende blik zou hebben gehad. En analyseert waarom premier Thorbecke zo cruciaal was. Hij gaf bestuurlijk, economisch en logistiek het land een redesign en ontketende nieuwe economische en financiële krachten.Voor premier Schoof en minister Sophie Hermans is het deel van dit boek over de energietransitie van die decennia toen verplicht leesvoer. Wat Kees Vendrik in Betrouwbare Bronnen 471 'de grootste verbouwing van Nederland ooit' noemde, heeft een voorloper gehad, waarbij alle uitdagingen van nu zich evenzeer aandienden.5] Robert Caro - The Power Broker (Alfred A. Knopf) Als het gaat om boeken over mensen met macht en wat macht met mensen doet, kun je niet heen om Robert Caro. Zijn (tot nu toe) vier delen over LBJ zijn de legendarische gouden standaard van boeken over presidenten. Zijn boek The Power Broker is dat over bijna onzichtbare machtsdieren in het openbaar bestuur, zoals Robert Moses, de baas van openbare werken van New York City (1888-1981).Dat boek verscheen in 1974 en is nooit weggeweest uit de boekhandel. De vijftigste verjaardag is reden tot een expositie in het stadsmuseum van NYC, zo beroemd is Caro hiermee geworden. Voor Barack Obama heeft dit boek als student zijn visie op de politiek bepaald.Caro kreeg het bij verschijnen van het magnum opus aan de stok met de hoogbejaarde potentaat. Maar het boek is toch vooral ook een uiting van respect voor diens visionaire blik, zijn daadkracht, lef en finesse van manipulatie en politieke kracht. Moses was 'larger than life'. Net als LBJ en even energiek en meedogenloos. Wellicht dat ook daarom Mark Rutte zo'n fan is?6] Nancy Pelosi - The Art of Power (Simon & Schuster)Is zij de Robert Moses van DC? Een machtsdier, onstuitbaar energiek, gedreven, een 'living legend' ook? Nancy Pelosi was alleen allesbehalve onzichtbaar en ze ontleende haar macht wel aan verkiezingen.Haar boek over de kunst van de macht is zeer persoonlijk en vol lessen uit de meest kritische momenten in de vele decennia van haar leven als parlementariër en de eerste vrouw als voorzitter van het Huis. Ze komen allemaal langs, de Bushes, de Clintons, Trump, Xi, Poetin en de Obamas. Ze krijgen er soms ook stevig van langs, zeker als je goed tussen de regels doorleest!Uit dit boek leer je waarom de Republikeinen uiteraard de politieke tegenstander zijn, maar de Senaat de politieke vijand. Duidelijk schetst Pelosi waarom the Speaker zo'n beetje de raadspensionaris van Amerika is en dus een beetje de premier. Die bepaalt met het Huis de begroting en de wetten. Niet de president en zeker niet de Senaat.Een sterke Speaker kan een president maken of breken als deze 'de kunst van het mogelijke' bij machtsuitoefening beheerst. The Art of Power, zoals Otto von Bismarck het al noemde.Het boek begint en eindigt met grof geweld. Eerst de gijzeling en bijna moord van haar man Paul Pelosi in hun eigen huis in San Francisco en tot slot de bestorming van het Capitool op 6 januari 2021. Zij ziet die als een poging tot staatsgreep zoals in Latijns-Amerika en is ervan overtuigd dat zij dit alleen door een wonder heeft overleefd.7] Mathieu Segers - Europa en het idee uit de toekomst (Prometheus)Precies een jaar geleden brachten wij postuum een saluut aan professor Mathieu Segers die zo jong stierf, maar zelf nog zijn magnifieke boek over Europa aan ons had toegestuurd. Dat is nu vertaald: Europa en het idee uit de toekomst.Elke pagina van het boek schittert met verrassende inzichten en onbekende feiten en mensen uit de voorgeschiedenis van de Europese unie. Maar juist nu valt het begin zo op. Segers zag het moment gekomen dat Europa zich opnieuw moest uitvinden. Precies wat de ook in december 2023 overleden Jacques Delors zei en wat in het jaar na hun beider dood de kern werd van Mario Draghi's uitdagende rapport. Mathieu Segers was ook hier weer zijn tijd vooruit.***Verder kijkenTurn Every Page - The Adventures of Robert Caro and Robert Gottlieb***Verder luisteren441 - Extra zomeraflevering: boekenspecial!395 - Vijf boeken en een afscheidsbrief363 - Extra zomeraflevering: PG tipt boeken!317 - Extra winteraflevering: PG tipt boeken!286 - Extra zomeraflevering: PG tipt boeken!269 - Vijf boeken die je moet lezen om Europa beter te begrijpen259 - De omgevallen boekenkast: leestips van PG!207 - Zomer 2021: Boekentips van PG!133 - Amerikaanse presidenten: boeken die je volgens PG móet lezen!99 - Tips voor thuis: de omgevallen boekenkast van PG!403 - Sam van Houten, een eeuw lang verrassend dwars274 - Thorbecke, denker en doener221 - Madam Speaker: de spijkerharde charme van Nancy Pelosi149 - De zeven levens van Abraham Kuyper, een ongrijpbaar staatsman40 - De geniale broers Von Humboldt***Tijdlijn00:00:00 – Deel 100:47:52 – Advertentie De Schrijverscentrale01:03:28 – Deel 201:17:25 – Deel 301:35:49 – Einde Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Donate to Conversations with Tyler Give Crypto Other Ways to Give What can Thomas Hardy's tortured marriages teach us about love, obsession, and second chances? In this episode, biographer, novelist, and therapist Paula Byrne examines the intimate connections between life and literature, revealing how Hardy's relationships with women shaped his portrayals of love and tragedy. Byrne, celebrated for her bestselling biographies of Jane Austen, Evelyn Waugh, and Barbara Pym, brings her unique perspective to explore the profound ways personal relationships, cultural history, and creative ambition intersect to shape some of the most enduring works in literary history. Tyler and Paula discuss Virginia Woolf's surprising impressions of Hardy, why Wessex has lost a sense of its past, what Jude the Obscure reveals about Hardy's ideas about marriage, why so many Hardy tragedies come in doubles, the best least-read Hardy novels, why Mary Robinson was the most interesting woman of her day, how Georgian theater shaped Jane Austen's writing, British fastidiousness, Evelyn Waugh's hidden warmth, Paula's strange experience with poison pen letters, how American and British couples are different, the mental health crisis among teenagers, the most underrated Beatles songs, the weirdest thing about living in Arizona, and more. Read a full transcript enhanced with helpful links, or watch the full video. Recorded November 14th, 2024. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Paula on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

We don't do it often, but we are giving two episodes to one conversation: the Great Ann Patchett talking about the Annotated Bel Canto.  After we wrap our conversation with her we talk to her bookstore, Parnassus and its manager, Cat Bock.  Tune in and find out why we love Ann Patchett so much.   Books mentioned in this week's episode: Bel Canto: The Annotated Edition by Ann Patchett The Dutch House by Ann Patchett These Precious Days by Ann Patchett The Patron Saint of Liars by Ann Patchett State of Wonder by Ann Patchett Commonwealth by Ann Patchett Run by Ann Patchett This is the Story of a Marriage by Ann Patchett Truth & Beauty by Ann Patchett Tom Lake by Ann Patchett Taft by Ann Patchett Abide with Me by Elizabeth Strout Cold Comfort Farm by Stella Gibbons Brideshead Revisited by Evelyn Waugh, The Audiobook Version read by Jeremy Irons The Dream Hotel by Laila Lalami Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1946 Evelyn Waugh declared that 20th-century society – ‘the century of the common man', as he put it – was so degenerate that satire was no longer possible. But before reaching that conclusion he had written several novels taking aim at his ‘crazy, sterile generation' with a sparkling, acerbic and increasingly reactionary wit. In this episode, Colin and Clare look at A Handful of Dust (1934), a disturbingly modernist satire divorced from modernist ideas. They discuss the ways in which Waugh was a disciple of Oscar Wilde, with his belief in the artist as an agent of cultural change, and why he's at his best when describing the fevered dream of a dying civilisation.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://apple.co/4dbjbjGIn other podcast apps: lrb.me/closereadingsFurther reading in the LRB:Seamus Perry:https://www.lrb.co.uk/the-paper/v45/n16/seamus-perry/isn-t-london-hellJohn Bayley:https://www.lrb.co.uk/the-paper/v16/n20/john-bayley/mr-toad Hosted on Acast. See acast.com/privacy for more information.

Today I sat down with Vanessa Beaumont, a former literary agent and novelist about her debut novel The Other Side of Paradise which follows Jean Buckman, a young American newspaper heiress, who arrives in London in the glittering 1920s, and evolves throughout the story, through personal tragedy and loss. Over the course of the story, we watch her grapple with the pressures of mid-Century society on a woman, what it means to do one's duty, and the pull of desire in the face of it all. It's kind of a Downtown Abbey meets Francis Scott Fitzgerald, with a modern feminist perspective As always, Vanessa picked the four books which have had the biggest impact on her as both a reader and a writer, and we also discussed her career trajectory. Before publishing The Other Side of Paradise, Vanessa spent 8 years as a Commissioning Editor at Short Books, and co-founded and ran a literary agency, so it was fascinating to get some insights from that. It was such a great conversation, and as always, such a pleasure talking with Vanessa. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading! Vanessa Beaumont's four books were: Little Women, Louisa May Alcott (1868) The Age of Innocence, Edith Wharton (1920) Brideshead Revisited, Evelyn Waugh (1945) Tender is the Night, F Scott Fitzgerald (1934)

"El Hombre al que le Gustaba Dickens" (The Man Who Liked Dickens) es un relato fantástico del escritor norteamericano Evelyn Waugh (1903-1966), publicado en 1933. Evelyn Waugh suele demostrar una versatilidad asombrosa, casi siempre a través de la ironía y el humor sarcástico. Sin embargo "El hombre al que le gustaba Dickens" explora otra faceta, más oscura y desconocida, el horror. Aquí se narra la historia de un explorador inglés perdido en una aldea del Amazonas. El pueblo está gobernado por el descendiente de un escocés y una muchacha autóctona que protege al inglés durante su convalecencia. Este escocés posee una colección bastante peculiar en un ambiente «salvaje», la obra completa de Charles Dickens. Él mismo no sabe leer, pero recuerda que su padre solía leérselo en voz alta cuando era niño. Música y Ambientación: "Green Hell" Adam Skorupa, Krzysztof Wierzynkiewicz and Michał Cielecki Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

For most of us, Sunday is the day we attend Mass, setting it aside as our Sabbath. However, once we step out of the church, we often find ourselves caught up in the same rush as any other day. Whether it's catching up on work, running errands, or tackling household chores, we rarely allow ourselves a true day of rest. Travel, shopping, and the endless to-do list can lead us to forget the essential purpose of the Sabbath. The commandment to keep the Sabbath day holy is not just about worship in the morning, but about dedicating the entire day to Him.On episode #170, I spoke with Daniel Fitzpatrick about the significance of restoring the Lord's day. Here are some key questions and topics from our discussion:Cultural Observations: What inspired Daniel to explore the relationship between the Sabbath and societal trends, particularly those he observed in New Orleans?Historical and Literary Influence: How did the works of authors like Homer, Dante, and Evelyn Waugh shape his understanding of the Sabbath and influence the structure of his book?Modern Challenges: In his book, Daniel discusses how modern society mirrors the Pharaohs' obsession with work and anxiety. What does he believe are the root causes of this shift?And much more...Tune in for an insightful conversation!Biography:Daniel Fitzpatrick lives in New Orleans with his wife and four children. He is the author of the novels Only the Lover Sings and First Make Mad. His verse translation of the Divine Comedy, illustrated by Timothy Schmalz, was published in 2021 in honor of the seven hundredth anniversary of Dante's death. He is the editor of Joie de Vivre, a journal of art, culture, and letters for South Louisiana, and he teaches English at Jesuit High School of New Orleans.Links:Book: Restoring the Lord's DayOur Sponsors:This is a Good Catholic Podcast.  If you're interested in purchasing a Good Catholic digital series, use code GBS for 20% off your total order.Looking for the perfect Catholic gift? Check out The Catholic Company and find it today! Use code SAINTS20OFF for 20% off your next purchase! Support the Show.

Welcome back to Bad Dads Film Review! Today's episode is a seasonal journey, a seaside escapade, and a culinary exploration all rolled into one. We're starting with our top 5 favourite seasons in cinema, taking a detour to the charming town of Saltburn, and wrapping up with a dive into the flavoursome world of Salt Fat Acid Heat.Top 5 Seasons in Cinema:Spring - "Spring, Summer, Fall, Winter... and Spring" (2003): This beautiful film uses the cyclical nature of the seasons to tell profound stories of human life, reflecting the passage of time and the lessons learned along the way.Summer - "The Endless Summer" (1966): An iconic surf documentary that follows two surfers on a global quest to find the perfect wave, capturing the essence of summer and adventure.Autumn - "When Harry Met Sally" (1989): The autumnal scenes of New York City provide a picturesque backdrop to this classic romantic comedy, enhancing the film's themes of change and maturity.Winter - "The Revenant" (2015): Winter's harshness is palpable in this survival drama, where the icy landscapes are both breathtakingly beautiful and brutally challenging.All Seasons - "Forrest Gump" (1994): Forrest's life story moves through the seasons of his life, with the changing scenery reflecting his journey from a young boy to a seasoned adult.Buckle up, podcast listeners, for a cinematic ride that's equal parts posh and psychotic. We're diving into "Saltburn," the darkly comedic brainchild of Emerald Fennell, the filmmaker who brought us the unforgettable (and slightly terrifying) "Promising Young Woman."This time, Fennell takes us to the hallowed halls of Oxford University, where we meet Oliver Quick. Oliver's about as out of place as a rogue Crocs sandal in a Savile Row suit. But fear not, for a knight in shining bespoke armour appears – well, more like a charming aristocrat named Felix Catton.Felix, dripping in privilege and charisma, offers Oliver a summer getaway he can't refuse: an invitation to Saltburn, the sprawling estate overflowing with Felix's equally eccentric family. Imagine "The Grand Budapest Hotel" if it took a very wrong turn down Downton Abbey Lane.Oliver jumps at the chance to escape his dorm room ramen existence. But what starts out as a posh poolside dream quickly descends into a hilarious, horrifying mess. Think "Weekend at Bernie's" meets "The Talented Mr. Ripley," with a healthy dose of Evelyn Waugh thrown in for good measure.Shifting from the cinematic to the culinary, Salt Fat Acid Heat is a fascinating docuseries hosted by chef and food writer Samin Nosrat. Based on her bestselling book, the series explores these four fundamental elements of cooking to uncover how they can be used to enhance flavour and create culinary delights. Nosrat's journey takes viewers around the world, from the sea salt of Japan to the olive groves of Italy, making it a mouth watering exploration of global cuisine. We were of course really only interested in the salt contentWhether you're a film aficionado, a seaside explorer, or a culinary enthusiast, today's episode offers a rich palette of discussions. So, join us as we traverse through cinematic seasons, uncover the charm of Saltburn, and savour the fundamental tastes of Salt Fat Acid Heat.

Host Meg Wolitzer presents two unconventional love stories, one classic, one contemporary, that avoid the usual tropes of “meet cute,” “opposites attract,” or “happily ever after” but are still engaging.  In “Love in the Slump,” by Evelyn Waugh, clueless upper-crust newlyweds are sent on a comic odyssey.  The reader is Jane Kaczmarek.  And Esther Yi's “Moon” explores something we often mistake for love—obsession, as a young woman is drawn farther and farther into K-Pop fandom.The story was selected by guest editor Min Jin Lee for Best American Short Stories 2023.  It's read by Hettienne Park.  And we hear Lee's and Park's thoughts about the story.

Kiwi writer and poet Freya Daly Sadgrove joins Liz and Ben from Sydney as we adjust our uniforms and march into the horrible realities of war (class, gender and literal) to discuss Terry Pratchett's thirty-first Discworld novel, 2003's Monstrous Regiment. Polly Perks has cut off her hair, put on some trousers and joined the army under the name of Oliver, all so she can find her strong but gentle-minded brother, Paul. Is soon turns out that her regiment, led by the infamous Sergeant Jackrum who swears to look after “his little lads”, is quite possibly the last one left in all of Borogravia. In her search for Paul, Polly will have to deal with the enemy, the free press, a vampire who might kill for a coffee, Sam Vimes, and The Secret: she might not be the only impostor in the ranks... Coming in between the first two Tiffany Aching novels, Monstrous Regiment - which is also monstrous in size, possibly Pratchett's second longest novel - is the last truly standalone Discworld story. It introduces a wonderful cast of characters who, sadly, we'll never see again. Not only that, but it gives major supporting roles to old favourites Sam Vimes and William de Worde, with a side order of Otto von Chriek! Critics at the time compared it to Evelyn Waugh, Jonathan Swift and All Quiet on the Western Front, and it remains one of Pratchett's most beloved and celebrated novels - both for what it says about war, and about gender. Did you know The Secret before you read Monstrous Regiment? What's it like re-reading it when you do know? How do you feel about the ending(s)? How does Pratchett's handling of gender hold up against our modern understanding? What would you prohibit, in Nugganite fashion? And would you rather have a type of food or clothing named after you? Get on board the conversation for this episode with the hashtag #Pratchat76. Freya Daly Sadgrove (she/her) is a pākehā writer and performance poet from New Zealand, currently living in Sydney. Her first book of poetry, Head Girl, was published in 2020 by Te Herenga Waka University Press, and she is one of the creators of New Zealand live poetry showcase Show Ponies, which presents poets like they're pop stars. Her first full-length live show, 2023's Whole New Woman, blended poetry with live rock music. Freya has a website at freyadalysad.com (though it might not be available at the moment), and you can also find her as @FreyaDalySad on Twitter. As usual you'll find comprehensive notes and errata for this episode on our website, including lots of photos of the components we discuss. Next episode we're discussing two short stories about animals: “Hollywood Chickens” (found in A Blink of the Screen) and “From the Horse's Mouth” (from A Stroke of the Pen). Our guest will be the author of The Animals in That Country, Laura Jean McKay. Get your questions in by mid-April 2024 by replying to us or using the hashtag #Pratchat77 on social media, or email us at chat@pratchatpodcast.com.

Novelist Sally Franson joins co-hosts Whitney Terrell and V.V. Ganeshananthan to talk about Fashion Week 2024, the role fashion plays in characterization, and how stylish authors and characters have modeled and influenced tastes and trends. Franson reflects on her time working in the industry and discusses insiders' perceptions of various Fashion Weeks around the globe. She discusses literary style icons including Isabel Archer, Nancy Mitford, James Baldwin, and Bridget Jones, and considers the influence of fashion in her first novel, A Lady's Guide To Selling Out, which has just been reissued in paperback. She reads an excerpt from that book. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/ This episode of the podcast was produced by Anne Kniggendorf. Sally Franson A Lady's Guide To Selling Out  Big In Sweden (forthcoming) "Shoe Obsession for the Ages: Prince's Killer Collection of Custom Heels, Now on View" August 3, 2021 | The New York Times Others: "Top 10 best-dressed characters in fiction" by Amanda Craig, July 1, 2020 | The Guardian  “The Best Looks from New York Fashion Week Fall/Winter 2024” | Elle.com "Off the page: fashion in literature" by Helen Gordon, September 18, 2009 | The Guardian "Literature-inspired menswear collections for summer 2024" by Paschal Mourier| France24 "Anna Sui's new collection is inspired by Agatha Christie, so obviously the runway was at the Strand." by Emily Temple | Literary Hub James Baldwin Joan Didion Not-Knowing by Donald Barthelme Rachel Comey and The New York Review of Books The Pursuit of Love by Nancy Mitford Bridget Jones's Diary by Helen Fielding Vile Bodies by Evelyn Waugh   Little Women by Louisa May Alcott  The Portrait of a Lady by Henry James Learn more about your ad choices. Visit megaphone.fm/adchoices

If aesthetics, British aristocracy and nostalgia sounds like an appealing combination, Brideshead Revisited by Evelyn Waugh is the book for you. In today's episode, we talk through the key themes, relationships, Waugh's stated purpose for writing Brideshead, and we ask: is Brideshead Revisited a satire or a novel with satirical elements? Plus, today's pairings include a fantasy novel, historical fiction and a psychological thriller. If you love our extra nerdy discussion on the podcast today, we have a hunch that you would also love our Novel Pairings Patreon community. Our Patreon is a great space to take part in public scholarship and talk about books with a smart group of readers. Subscriptions start at just $5 a month, and yearly discounts are available. To learn more about our Patreon, visit patreon.com/novelpairings.   Books Mentioned: The Other Significant Others by Rhaina Cohen The Secret History by Donna Tartt The Goldfinch by Donna Tartt Tom Lake by Ann Patchett Come and Get It by Kiley Reid This Must Be the Place by Maggie O'Farrell American Gods by Neil Gaiman Slippery Creatures by KJ Charles The Secret Lives of Country Gentlemen by KJ Charles   Also Mentioned: Downton Abbey  Brideshead Revisited Mini Series The Crown  

Happy new year! On this first episode of The Writer and the Critic for 2024, your hosts Kirstyn McDermott and Ian Mond, begin by with a very brief discussion of recent reads and whether writing a 'young' or an 'old' voice might be more ... ah ... challenging. The books up for dissection this month are The Haunting of Hill House by Shirley Jackson [5:10] and A Haunting on the Hill by Elizabeth Hand [39:20]. If you've skipped ahead to avoid spoilers, please come back at 1:02:00 for final remarks - including a surprise anecdote involving Evelyn Waugh! Next episode, the two books on the slab will be: A Helping Hand by Celia Dale Monsters by Emerald Fennell Read ahead and join in the spoilerific fun!

Delve into the life of 20th century novelist Evelyn Waugh, his loss and rediscovery of faith, and the profound influence of Catholicism on his greatest work, Brideshead Revisited. This episode weaves through Waugh's tumultuous experiences, his conversion, and concludes with his poignant death on Easter Sunday after a traditional Latin Mass, mirroring the themes of divine grace prevalent in his novels.LEARN MORE - USE COUPON CODE AUTHORITY25 FOR 25% OFF: Poems Every Catholic Should Know: https://bit.ly/3rlPDwG Poems Every Child Should Know: https://bit.ly/3NDPVqp The Genius of G.K. Chesterton: https://bit.ly/3PJKBV2 The Literary Imagination of C.S. Lewis: https://bit.ly/3PMURvU Further Up & Further In (C.S. Lewis & Narnia): https://bit.ly/3POEnmO Old Thunder (Hilaire Belloc): https://bit.ly/43gCGSm The Hidden Meaning of The Lord of the Rings: https://bit.ly/43uycaZ Shakespeare's Catholicism: https://bit.ly/46G1dTC The Authority with Joseph Pearce is a podcast from TAN that introduces you to the men and women behind history's greatest works of literature. Come along every week as we explore these renowned authors, the times and genres in which they wrote, why scholars praise their writing, and how we, as Catholics, should read and understand their works. For updates on new episodes and to support The Authority and other great free content from TAN, visit http://TheAuthorityPodcast.com/ to subscribe. Use Coupon Code AUTHORITY25 to get 25% off your next order, including books, audiobooks and video courses by Joseph Pearce on literary giants such as Tolkien, Chesterton, Lewis, Shakespeare, and Belloc, as well as TAN's extensive catalog of content from the saints and great spiritual masters to strengthen your faith and interior life. To follow Joseph and support his work, check out his blog and sign up for email updates and exclusive content at https://JPearce.co/. Thanks for listening!

Carl is joined by actor Simon Jones, whose distinguished career has included King George V on "Downton Abbey", stage productions on Broadway and the West End,  and his current role as Bannister on HBO's "The Gilded Age".Simon takes us backstage as he discusses his career from his earliest roles, including in the radio drama version of "The Hitchhiker's Guide to the Galaxy" and film version, his role as Brideshead in the iconic 1981 adaptation of Evelyn Waugh's "Brideshead Revisited", and his work with John Cleese and "the Pythons" among others.  Simon also discusses his experiences with his many well-known co-stars and colleagues over the years, including Sir Laurence Olivier, Dame Maggie Smith,  Lauren Bacall, Penelope Keith and Angela Lansbury.  In addition, Simon takes us behind the cameras and shares some fascinating insight on creating the role of Bannister on HBO's "The Gilded Age". 

We all know that Oscar fawns over costume dramas of literary adaptations… or so we tell ourselves when forming predictions and one with a whiff of prestige arrives. In 2008, director Julian Jerrold delivered a new adaptation of Evelyn Waugh's Brideshead Revisited with an up-and-coming young cast paired with Dame Emma Thompson as the devoutly religious Lady … Continue reading "265 – Brideshead Revisited"