Podcasts about Faber

Cet été, nous vous proposons de (re)découvrir les épisodes des derniers mois que vous avez le plus appréciés !« L'enfant est un être social, un être tourné vers les autres, un être d'empathie dès la naissance. »Pourquoi la compréhension des compétences innées des enfants est-elle essentielle dans notre approche éducative ?Aujourd'hui j'ai la chance d'accueillir David, expert en éducation depuis 25 ans. Il nous invite à explorer les valeurs de respect, de confiance, et de qualité relationnelle pour changer notre regard sur les enfants.David est un spécialiste reconnu de l'approche de Jesper Juul, thérapeute danois influent en Europe sur les dynamiques éducatives. Formé directement par lui en Scandinavie, David a traduit plusieurs de ses ouvrages, et continue de diffuser son message à travers le réseau Family Lab France, qui propose ateliers et conférences pour aider à faire émerger le meilleur en chaque famille. Son livre récent, « De l'équidignité, cultiver cette présence qui fait grandir » aux éditions Faber, explore la nécessité d'une reconnexion à notre enfant intérieur.Au cours de l'épisode, nous plongeons dans des thématiques essentielles telles que le changement de paradigme de l'obéissance à la responsabilité, l'importance de la relation équitable entre adultes et enfants, et l'idée de se reconnecter à notre enfant intérieur : on naît compétent, équipé pour oser, ressentir et s'exprimer, comment reconnecter avec ces aptitudes innées naturelles et petit à petit retrouver contact avec cette paix intérieure qui est là en chacun d'entre nous ?Les sujets abordés :→ Présentation de David & l'approche Juul (02:14-03:56)→ La résistance culturelle française à l'approche de Jesper Juul (03:56-09:22)→ Les enfants sont compétents : réviser nos idées préconçues (09:22-14:18)→ Relation adulte-enfant : dépasser les modèles autoritaires (14:18-19:16)→ L'équidignité, une valeur novatrice pour l'éducation (19:16-30:19)→ Leadership parental bienveillant (30:19-37:06)→ Se reconnecter à notre enfance pour mieux comprendre et guider nos enfants (37:48-44:25)Ressources :- « De l'équidignité, cultiver cette présence qui fait grandir » par David Dutarte aux éditions Faber- Family Lab France : Réseau pour l'éducation respectueuse et empathiqueUn épisode qui nous invite à repenser notre modèle éducatif français, à changer notre regard sur l'enfant, en prenant soin des besoins de chacun, adultes et enfants, pour établir des relations harmonieuses.

This week's book guest is Where Did She Go? by Cariad Lloyd.Sara and Cariad are joined by award-winning children's book illustrator and author Nadia Shireen.In this episode they discuss career changes, illustrators, child development and Daniel Bedingfield.Thank you for reading with us. We like reading with you!Where Did She Go? by Cariad Lloyd is available to buy here.Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukSara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded by Ben Williams and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Faber, Annegret www.deutschlandfunkkultur.de, Länderreport

Interview recorded - 8th of July, 2025On this episode of the WTFinance podcast I had the pleasure of welcoming back Marc Faber. Marc is a well known contrarian investor & the Editor and Publisher of the “Gloom, Boom & Doom Report”.During our conversation we spoke about Marc's economic outlook, the wealth divide, why government causes all problems, borrowing, market exuberance, gold and which assets are undervalued. I hope you enjoy!0:00 - Introduction2:40 - Marc's outlook5:46 - Wealth divide9:23 - Government spending11:31 - Tariffs volatility13:12 - Are tariffs inflationary?16:13 - Borrowing18:38 - Market exuberance31:00 - Market bubble sustainable25:55 - Shift to real assets26:55 - Revaluing gold28:18 - Emerging markets to outperform?31:48 - Economic shift away from US34:09 - One message to takeawayDr Marc Faber was born in Zurich, Switzerland. He went to school in Geneva and Zurich and finished high school with the Matura. He studied Economics at the University of Zurich and, at the age of 24, obtained a PhD in Economics magna cum laude.Between 1970 and 1978, Dr Faber worked for White Weld & Company Limited in New York, Zurich and Hong Kong. Since 1973, he has lived in Hong Kong. From 1978 to February 1990, he was the Managing Director of Drexel Burnham Lambert (HK) Ltd. In June 1990, he set up his own business, publishing a widely read monthly investment newsletter “THE GLOOM BOOM & DOOM” report which highlights unusual investment opportunities.He is also the author of several books including “TOMORROW'S GOLD – Asia's Age of Discovery” which was first published in 2002 and highlights future investment opportunities around the world. “TOMORROW'S GOLD” was for several weeks on Amazon's best seller list and has been translated into Japanese, Korean, Thai and German.Dr. Faber is also a regular contributor to several leading financial publications around the world.A book on Dr Faber, “RIDING THE MILLENNIAL STORM”, by Nury Vittachi, was published in 1998.A regular speaker at various investment seminars, Dr Faber is well known for his “contrarian” investment approach.Marc Faber -Website - https://www.gloomboomdoom.com/Twitter - https://twitter.com/gloomboomdoom?lang=enLinkedIn - https://www.linkedin.com/in/marc-faber-gloomboomdoom/?originalSubdomain=hkWTFinance -Instagram - https://www.instagram.com/wtfinancee/Spotify - https://open.spotify.com/show/67rpmjG92PNBW0doLyPvfniTunes - https://podcasts.apple.com/us/podcast/wtfinance/id1554934665?uo=4Twitter - https://twitter.com/AnthonyFatseas

In this stark and sometimes disturbing discussion, Jimmy Connor speaks with “Dr. Doom” Marc Faber, who offers his brutally honest assessment of the global and U.S. economies, asserting that while financial markets may be at all-time highs, the real economy is struggling, particularly for the middle and lower classes. He says the severe wealth inequality exacerbated by central bank interest policies that — contrary to popular belief, actually inject more liquidity into the hands of the wealthy — even as the middle class is about to be hit by what he says is an unfair tax due to tariffs. Faber also goes hard at politicians and weighs in on Elon Musk's new party, while discussing the decline of the U.S. dollar's long-term purchasing power, preferring precious metals like gold, silver, and platinum as stable anchors against currency debasement. Ultimately, Faber warned that the current path of excessive government intervention and wealth disparity is creating an "unstable environment" that could eventually have severe repercussions, even for the super-rich. Key Takeaways: Why The Financial Markets are Not the Economy Manufacturing Hasn't Shrunk in the U.S., the Jobs Have Elon Musk's Party Could Sway Elections Monetary Easing Helps the Wealthy Why Gold and Precious Metals are the Safe Bet Wealth Inequality is at an All-Time High and Will Lead to Disaster, Even for the Rich Looking to buy physical gold? Our Partners at Hard Assets Alliance Can Help: https://www.hardassetsalliance.com/?aff=WTH Time to Review Your Investments? Our Expert Portfolio and Wealth Managers Will Do It For Free. Go to wealthion.com/free and fill out the form Chapters:0:30 – How's Life in Thailand for Marc Faber?  2:33 – Is a Global Economic Storm Brewing? 14:40 – The Mystery Behind America's Job Market 20:18 – How Clueless Politicians End Up in Power 23:17 – What's Really Ahead for the U.S. Economy? 27:38 – Can Elon Musk Fix U.S. Politics? 29:29 – Why Banks Are Booming in a Supposed Crisis 34:01 – Is the Dollar's Dominance Coming to an End? Connect with us online: Website: https://www.wealthion.com X: https://www.x.com/wealthion Instagram: https://www.instagram.com/wealthionofficial/ LinkedIn: https://www.linkedin.com/company/wealthion/ #wealthion #investing #finance #markets #crash #marketcrash #war #wwIII #wealthtransfer #twotieredstate #wealthinequality #gold #silver #platinum #ElonMusk #americaparty #usdollar #globaleconomy #canada #germany #trudeau #trump #marcfaber #drdoom #gloomboomdoomreport #gloomboomdoom #dr.doom ________________________________________________________________________ IMPORTANT NOTE: The information, opinions, and insights expressed by our guests do not necessarily reflect the views of Wealthion. They are intended to provide a diverse perspective on the economy, investing, and other relevant topics to enrich your understanding of these complex fields. While we value and appreciate the insights shared by our esteemed guests, they are to be viewed as personal opinions and not as investment advice or recommendations from Wealthion. These opinions should not replace your own due diligence or the advice of a professional financial advisor. We strongly encourage all of our audience members to seek out the guidance of a financial advisor who can provide advice based on your individual circumstances and financial goals. Wealthion has a distinguished network of advisors who are available to guide you on your financial journey. However, should you choose to seek guidance elsewhere, we respect and support your decision to do so. The world of finance and investment is intricate and diverse. It's our mission at Wealthion to provide you with a variety of insights and perspectives to help you navigate it more effectively. We thank you for your understanding and your trust. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's book guest is Wifedom: Mrs Orwell's Invisible Life by Anna Funder.In this episode they discuss Geoffrey Archer (again), war, domestic labour, jokes and geniuses. Thank you for reading with us. We like reading with you!Wifedom: Mrs Orwell's Invisible Life by Anna Funder is available to buy here.Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Cea de-a 6-a ediție a Bienalei Art Encounters mai poate fi vizitata pana pe 13 iulie in cateva locuri emblematice ale Timisoarei: Comenduirea Garnizoanei, FABER și sediul Fundației Art Encounters. La acestea se adauga evenimente colaterale. Intalnire cu Ami Barak, director artistic interimar, jurnalistul Francez Philippe Trétiack, artistul Sorin Neamtu si galeristul Andi Popescu (Himera).

Sintonía: "I Want To Be Happy" - Bobby Hackett and His Orchestra"Oh, Didn´t He Ramble" - Zutty Singleton´s Creole Band; "Lulu´s Mood" - Zutty Singleton´s Trio; "Pennies From Heaven" (alt tk) y "Rose Of The Rio Grande" - Bobby Hackett And His Orchestra; "I Never Knew", "Just You, Just Me" y "Henderson Romp" - Big Sid Catlet´s Band; "Sometimes I´m Happy" y "How High The Moon" - All Casey and His Sextet; "Clambake In B Flat" y "I´m Sorry I Made You Cry" - The Capitol Jazzmen; "Mighty Lak´ A Rose", "Stars Fell On Alabama" y "Deed I Do" (alt tk) - Jack Teagarden´s Chicagoans; "Sugar" (alt tk), "Ain´t Goin´ No Place" y "Someday Sweetheart" - The Capitol Jazzmen; "Them There Eyes" y "How Come?" - Anita O´DayTodas las músicas seleccionadas por Klaus Faber y extraídas de los CD 5 y 6 de la recopilación (12xCD) "Classic Capitol Jazz Sessions"Escuchar audio

Salete Faber participou do Assunto Nosso para falar sobre o Programa de Plantas Medicinais e Fitoterápicos.

Salete Faber participou do Assunto Nosso para falar sobre o Programa de Plantas Medicinais e Fitoterápicos.

When two friends hiking in the Pennines become lost, they think their fortunes have changed when they find refuge in the old Roper house. But as the night draws in and the house begins to reveal its dark secrets, they discover all is not what it seems.This original recording is an audio presentation by Jasper L'Estrange for EnCrypted Horror. “THE TRAINS” by Robert Aickman (1951). Compiled in “The Wine-Dark Sea” by Robert Aickman. Published by Faber & Faber. Read with permission.

Stella Chrysostomou of Volume Books reviews On the Calculation of Volume by Solvej Balle published by Faber.

Listen as Pastor Will Faber continues our series going through the book of Philippians.Northbrook church is a Gospel-Centered Church in North Fort Worth striving to Enjoy God, Make Disciples, & Plant Churches.Sermon Date: 07-06-2025

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

De laatste oefenwedstrijd tegen amateurs. En niet tegen zomaar een amateurclub. VAKO uit Vries, de club van Thijs Faber. En ook de man die mede-verantwoordelijk is voor het ontstaan van Thijs Faber hebben we voor onze microfoon gekregen. Daarnaast spreken we Dick Lukkien, Resink, Blokzijl en David van der Werff.Wil jij Kon Veel Minder de Podcast steunen en ook nog toegang krijgen tot exclusieve extra podcasts? Ga dan naar konveelminder.nl en word lid van onze petje.af-pagina.Bij onze sponsor The Online Retail Company krijgen jullie 16% procent korting op het hele assortiment met de kortingscode ‘KVM16'.Onze andere sponsor is ToPay, zó veel makkelijker!Jan Westman danken we voor het mogen gebruiken van zijn foto's voor onze social media.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Eindelijk werd er gisteravond laat gestemd over de asielwetten van ex-minister Faber. Maar de weg daarnaartoe was er eentje met hobbels, bananenschillen en kuilen. Kort gezegd: het was chaotisch. Verder werd Douwe Bob ineens onderdeel van een politiek debat, dat volledig uit de bocht vloog.   In de rubriek Binnen Zonder Kloppen, troffen Joost en Marleen een ziedend kamerlid. De beste voorspeller van dit korte seizoen wordt gekroond en er is een mystery-guest met een baard.

De dramatische stemming over de asielwetten van Faber. De strengere woningwet. De aanvaring tussen Yesilgöz en Douwe Bob… Het was een politieke rampweek. Maarten van Rossem en Tom Jessen blikken terug.

Zelden werd er in de Tweede Kamer zo lang vergaderd over koppen soep als deze week. Zo bizar als dat klinkt, was het ook. Het was de week waarin een minister op één dag twee brieven moest sturen aan de Kamer over het zelfde onderwerp. Er was uitleg nodig wat een bepaald amendement zou betekenen. De eerste brief had de gemoederen moeten kalmeren, maar werkte averechts. De tweede brief kocht een paar maanden tijd, en overtuigde SGP en NSC ervan dat de koppen soep niet tot problemen zullen leiden. Het leidt er wel toe dat de PVV een nieuwe strategie moet bedenken voor de aankomende verkiezingscampagne. Met het binnenhalen van twee grote Faber-wetten is het lastig volhouden dat die partij wordt tegengewerkt en gefrustreerd. Hoewel de Eerste Kamer Wilders hierin misschien nog tegemoet kan treden. Naast 'soep-gate' was er deze week ook 'Dilan-gate'. Een te snelle, emotionele tweet over Douwe Bob moest worden gladgestreken met een video van maar liefst zeven minuten. Daarin zei Dilan Yeşilgöz een soort van sorry. Deze aflevering is gemaakt door Floor Doppen, Leendert Beekman en Mark Beekhuis See omnystudio.com/listener for privacy information.

Sie ist Rektorin der Theologischen Hochschule Chur (TH Chur) und blickt auf eine wechselvolle Geschichte. Eva-Maria Faber spricht über das Verhältnis der Hochschule zum Bistum Chur und sagt, weshalb sie sich mit Herzblut für die Ökumene engagiert.Weitere Themen dieser Folge:Am 7. Juli 2025 feiert Eva-Maria Faber ein Jubiläum: Weshalb ist sie 25 Jahre an der TH Chur geblieben?Das Bistum Chur und die Hochschule: Wie hat Eva-Maria Faber die Bischöfe Amédée Grab und Vitus Huonder erlebt?Seit vier Jahren ist Joseph Maria Bonnemain Bischof des Bistums Chur: Was macht er anders als seine Vorgänger?Heute studieren fünfzig Menschen Theologie in Chur: Wer sind sie?Fehlende Gleichberechtigung in der römisch-katholischen Kirche: Wie gehen heutige Studierende damit um?Eva-Maria Faber lehrt, forscht und kümmert sich als Rektorin um die administrativen Belange: Was macht sie am liebsten?Sie lebt für die TH Chur: Wie findet sie einen Ausgleich?Die Ökumene tritt oft an Ort: Warum ist Ignatius von Loyola eine Quelle der Inspiration?

In this episode of The Catholic Man Show, hosts Adam Minihan and David Niles dive into the topic of spiritual idleness, drawing from Father Frederick Faber's Growth in Holiness: Progress of the Spiritual Life. Recorded around the Fourth of July, the episode begins with a celebration of small-town Americana, from mutton busting at the local rodeo to the ordination of their friend, Father Robert Williams. The hosts then explore seven developments of spiritual idleness—dissipation, sadness, sloth, and more—offering practical insights on how to stay vigilant and prioritize a life oriented toward God. Sipping on Balvenie's American Oak 12-Year Scotch, Adam and David discuss how modern distractions, like smartphones and excessive communication, fragment our focus and hinder our prayer life, and share strategies for cultivating presence, joy, and intentionality in both spiritual and daily routines.Key Discussion Points:Small-Town Americana: The hosts celebrate the Heart of America rodeo, mutton busting, and the communal prayer and patriotism of small-town events, reflecting on their importance in fostering connection.Priestly Ordination: David shares a moving story of his son's emotional response to Father Robert Williams' ordination, highlighting the eternal nature of the priesthood and the call to discernment.Spiritual Idleness Defined: Drawing from Father Faber's Growth in Holiness, the hosts unpack seven developments of spiritual idleness: dissipation (misprioritizing tasks), sadness (rooted in self-love), sloth (hatred of existence), useless industry (excessive communication), and general indifference to time.Dissipation's Impact: Putting less important tasks first disrupts the hierarchy of goods, leading to a loss of peace and distractions in prayer, as Faber notes: “He who is diligent will soon be cheerful.”Sadness and Self-Love: Sadness, driven by self-improvement rather than God, gives the devil power over the soul, undermining spiritual progress.Sloth as a Culmination: Sloth combines dissipation and sadness, fostering a distaste for existence and duties, disrupting the tranquility of order (Aquinas' definition of peace).Useless Industry: Faber's critique of excessive letter-writing in the 1800s applies to today's text messaging and social media, which fragment focus and reduce meaningful communication.Indifference to Time: Wasting time, especially on addictive platforms like YouTube Shorts, is a “stupid” sin that squanders the precious, irrevocable gift of time, which Faber calls “the stuff out of which eternity is made.”Focus and Presence: True focus requires saying “no” to distractions to prioritize God's will, fostering presence in both daily life and prayer, as exemplified by a man eating lunch under a tree without multitasking.Leisure Done Right: Leisure must align with one's state in life, be tethered to joy, and have a contemplative aspect, avoiding compulsory or utilitarian ends.Notable Quotes from Father Frederick Faber:“Dissipation… consists in putting things off beyond their proper times so that one duty treads upon the heels of another, and all duties are felt as irksome obligations.”“He who is diligent will soon be cheerful.”“The soul of sadness is self-love… How many are there whose real end in the spiritual life is self-improvement rather than God?”“Nothing gives the devil so much power over us [as sadness].”“Time is the stuff out of which...

This week's book guest is Portnoy's Complaint by Philip Roth.Sara and Cariad are joined by award-winning comedian, writer and 1/3 of sketch group Sheeps - Liam Williams.In this episode they discuss Kafka, addiction, wanking, wanking, wanking and Geoffrey Archer.Trigger warning: In this episode we discuss racism, racist language and antisemitism.Thank you for reading with us. We like reading with you!Portnoy's Complaint by Philip Roth is available to buy here.Tickets to see Liam in Sheeps: A Very Sheeps Christmas – Live in Concert! In the Summer! are available to buy here.Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Jul 2, 2025 – Legendary contrarian Marc Faber joins FS Insider's Cris Sheridan to unpack why “investors who own gold are in fear, but those who have none are in grave danger.” Drawing on decades of market history, Faber explains why the real risks...

In de laatste week voor het zomerreces gebeurt er nog genoeg in Den Haag. De stemming van de asielwetten staat namelijk op de agenda. Er werd gisteren al geblunderd door PvdA-GL en de Partij voor de Dieren. En het CDA maakt vandaag bekend niet in te stemmen met de erfenis van de minister Faber. In De Nieuws BV bespreken politiek duider Peter Kee (BNNVARA) en opiniemaker Francisco van Jole (Joop.nl) hoe dat nu verder moet. En ons politieke duo duikt ook nog in de zaak Douwe Bob en Dilan Yeşilgöz. Heeft de kwestie haar kansen om premier van Nederland te worden groter of kleiner gemaakt?

De Tweede Kamer stemt vandaag en donderdag over de asielwetten, de nalatenschap van oud-minister Marjolein Faber. Politiek verslaggever Liam van de Ven zag een gek debat met partijen in campagnestand, terwijl asielredacteur Andreas Kouwenhoven weet wat de impact van de wetten kan zijn.Gast: Liam van de Ven en Andreas KouwenhovenPresentatie: Bram EndedijkRedactie: Ilse Eshuis en Cas ReijndersMontage: Jeroen JaspersEindredactie: Anna KorterinkCoördinatie: Belle BraakhekkeProductie: Andrea HuntjensHeb je vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nl.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Deze week stemt de Tweede Kamer over asielwetten van voormalig PVV-minister Faber. Hoewel er een Kamermeerderheid voor strenger asielbeleid is, wordt het toch spannend. In deze aflevering van Lang verhaal kort legt Dennis uit hoe dat komt. 

With the podcast half-way through its tenth year it is a privilege to welcome back a former contributor to the show - read his piece on Clueless for The New Statesman that coincided with his previous appearance on the show - and long-time champion of The Cinematologists, Ryan Gilbey. Ryan's return is to promote and discuss his new book, the astoundingly good, It Used to be Witches: Under the Spell of Queer Cinema, published this month (June 2025) by Faber. Around the release date, I (Neil) sat down in Cinema 1 at the Barbican in London to discuss the book, the form(s) of Queer Cinema, Ryan's journey with his sexuality and how cinema is entwined and implicated, being a film obsessive, and the comfort of lists. It was a profound privilege to sit with an old friend to talk about his amazing work and this art form that we both love so much.  Around this conversation, Dario and I discuss Queer representation and the cinema as a transgressive space, ownership and authorship of texts, and the way that the cinema space affects not only the viewing of a film but in this case, the experience of talking about film. Finally, we talk about the film End of the Century (Castro, 2019, Argentina) - I mistakenly describe it as a Spanish film in the episode, apologies - the film that accompanied my visit to the Barbican to see Ryan, and also the film that magically ends his transcendent and moving book. This episode of The Cinematologists is dedicated to Barney Gilbey. ——— Visit our Patreon at www.patreon.com/cinematologists ——— You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast, so please do that if you enjoy the show. ——— Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing.

We asked our Weirdos listeners for their summer read suggestions and they delivered! In this episode Sara and Cariad chat about some of the books they're excited to read.Thank you for reading with us. We like reading with you!Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Episode OverviewDavid and Adam share humorous anecdotes from their chaotic home lives—mice-catching kids, runaway cows, and pig feeder mishaps—before diving into a deep discussion on spiritual growth. Drawing from Father Frederick Faber's Growth in Holiness, they explore five practical signs of progress in the spiritual life, offering insights for men seeking to deepen their relationship with God. The episode balances lighthearted banter with profound reflections on humility, perseverance, and living intentionally for Christ.Key Discussion PointsLife Updates:Adam recounts his son Leo's antics, including catching mice and feeding them into traps, and opening a gate, letting a cow escape during relentless Oklahoma rain. He also shares the challenges of a kitchen remodel, leading to household disorder and a mouse infestation.David discusses his pigs knocking over their feeder, eating through plywood, and his frustration-driven rebuild with metal siding, highlighting the manual labor woes of farm life.Spiritual Focus: The hosts explore Father Frederick Faber's Growth in Holiness (published by Cor Iesu Press), focusing on Chapter 1's five signs of progress in the spiritual life. Faber, a 19th-century Oratorian and convert, offers timeless clarity on Catholic spirituality.Contradictions in the Spiritual Life: Faber notes the spiritual life is full of contradictions due to our fallen nature, particularly the tension between knowing ourselves deeply while thinking of ourselves humbly. David challenges the modern adage that humility is “thinking about yourself less,” arguing that true humility requires rightly ordered self-reflection.What Not to Do:Don't Ask Your Spiritual Director for Progress Reports: Faber advises against seeking your spiritual director's judgment on your progress, as it places unfair pressure on them and risks oversimplifying complex spiritual states.Avoid Arbitrary Benchmarks: Setting personal, artificial markers of progress can lead to disquietude, distracting from genuine growth and forfeiting graces.Five Signs of Spiritual Progress:Discontent with Your Present State: A desire to be holier, coupled with humility and gratitude for past graces, indicates progress. This discontent must avoid sloth (acedia) or unease with devotional practices.Constant Fresh Starts: Persevering through repeated failures by recommitting to holiness (e.g., overcoming a persistent sin like pornography) is a sign of growth, reflecting perseverance.Specific Goals in View: Actively pursuing a particular virtue, overcoming a specific fault, or adopting a penance shows intentionality, akin to a business plan for spiritual growth.Feeling God's Particular Call: An “attraction” to a specific fault to correct or pious work to undertake, guided by the Holy Spirit, signals progress. Not all experience this, but it's significant when present.General Desire for Perfection: A broad desire to be more perfect, if acted upon through prayer, penance, or zealous acts, is valuable but must be channeled into action to avoid spiritual stagnation.Practical Reflections:Adam shares his practice of writing down elements of a “good day” (waking early, praying, reading, working hard, family dinner, early bedtime) to replicate satisfying days, aligning with Faber's call for specific goals.David reflects on overcoming obsessive thoughts by offering gratitude to God, transforming burdens into opportunities for grace, illustrating the power of fresh starts.Hot...

This week's book guest is Frankie by Graham Norton.Sara and Cariad are joined by author, comedian, presenter and National Treasure Graham Norton.In this episode they discuss cakes, art, London in the 50s, buses, restaurants and pen pals called David.Thank you for reading with us. We like reading with you!Frankie by Graham Norton is available to buy here.You can find Graham on Instagram @grahnortTickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Alice Hunt's Republic: Britain's Revolutionary Decade 1649-1650 (Faber and Faber, 2024) takes a chronological look at the current events, personalities, political struggles and cultural highlights of Britain's short-lived but intense experiment in republicanism. From the deeply controversial execution of Charles I in January 1649 to the similarly contentious restoration of his son in 1660, Professor Hunt explores a complex and unique decade in English, Scottish and Irish history, when the unexpected truly reigned. Alice Hunt is Professor of Early Modern Literature and History at the University of Southampton, UK. She is currently co-investigator on a major AHRC research project, ‘The Visible Crown: Elizabeth II and the Caribbean, 1952-present' (visiblecrown.com). Host: Matt Fraser is a freelance writer and podcaster based in Berlin, Germany. He is currently working on a blogcast project aimed at empowering readers to discover and discuss great fiction creatively and confidently. Email: illreadmillennial@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alice Hunt's Republic: Britain's Revolutionary Decade 1649-1650 (Faber and Faber, 2024) takes a chronological look at the current events, personalities, political struggles and cultural highlights of Britain's short-lived but intense experiment in republicanism. From the deeply controversial execution of Charles I in January 1649 to the similarly contentious restoration of his son in 1660, Professor Hunt explores a complex and unique decade in English, Scottish and Irish history, when the unexpected truly reigned. Alice Hunt is Professor of Early Modern Literature and History at the University of Southampton, UK. She is currently co-investigator on a major AHRC research project, ‘The Visible Crown: Elizabeth II and the Caribbean, 1952-present' (visiblecrown.com). Host: Matt Fraser is a freelance writer and podcaster based in Berlin, Germany. He is currently working on a blogcast project aimed at empowering readers to discover and discuss great fiction creatively and confidently. Email: illreadmillennial@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Alice Hunt's Republic: Britain's Revolutionary Decade 1649-1650 (Faber and Faber, 2024) takes a chronological look at the current events, personalities, political struggles and cultural highlights of Britain's short-lived but intense experiment in republicanism. From the deeply controversial execution of Charles I in January 1649 to the similarly contentious restoration of his son in 1660, Professor Hunt explores a complex and unique decade in English, Scottish and Irish history, when the unexpected truly reigned. Alice Hunt is Professor of Early Modern Literature and History at the University of Southampton, UK. She is currently co-investigator on a major AHRC research project, ‘The Visible Crown: Elizabeth II and the Caribbean, 1952-present' (visiblecrown.com). Host: Matt Fraser is a freelance writer and podcaster based in Berlin, Germany. He is currently working on a blogcast project aimed at empowering readers to discover and discuss great fiction creatively and confidently. Email: illreadmillennial@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Alice Hunt's Republic: Britain's Revolutionary Decade 1649-1650 (Faber and Faber, 2024) takes a chronological look at the current events, personalities, political struggles and cultural highlights of Britain's short-lived but intense experiment in republicanism. From the deeply controversial execution of Charles I in January 1649 to the similarly contentious restoration of his son in 1660, Professor Hunt explores a complex and unique decade in English, Scottish and Irish history, when the unexpected truly reigned. Alice Hunt is Professor of Early Modern Literature and History at the University of Southampton, UK. She is currently co-investigator on a major AHRC research project, ‘The Visible Crown: Elizabeth II and the Caribbean, 1952-present' (visiblecrown.com). Host: Matt Fraser is a freelance writer and podcaster based in Berlin, Germany. He is currently working on a blogcast project aimed at empowering readers to discover and discuss great fiction creatively and confidently. Email: illreadmillennial@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Ook zonder de PVV bleken de overgebleven coalitiepartijen van het kabinet-Schoof in staat om door te ruziën. Dit keer ging het over de invulling van de vrijgekomen post van asielminister Faber'. Die ruzie is nu op onconventionele wijze opgelost: het ministerie wordt onder drie ministers verdeeld. Maar de onrust en paniek blijft. Partijen moeten snel een nieuwe lijsttrekker vinden, en bij de ene gaat dat wat soepeler dan bij de andere.In Haagse Zaken gaan we het daarom hebben over de voormalige coalitie. Hoe gaat het met PVV, nu weer een oppositiepartij, en VVD, NSC en BBB? Je hoort van Petra de Koning, Lamyae Aharouay en Pim van den Dool over de positionering van de partijen en wat ze zien als hun kansen en bedreigingen en hoe de stemming nu is, anderhalve week na de val van het kabinet. Gasten: Lamyae Aharouay, Pim van den Dool & Petra de KoningPresentatie: Guus Valk Redactie & productie: Iris VerhulsdonkMontage: Pieter BakkerHeeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nl.Verder lezen ‘Tieman BBB-minister van Infrastructuur, Pouw-Verweij BBB-staatssecretaris voor zorg'Onrust bij NSC over nieuwe lijsttrekker, Van Vroonhoven twijfeltZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

‘Sinds het strengste asielbeleid ooit kwamen er 130.000 mensen bij in ons land', kopte De Telegraaf – een week voordat Wilders zijn tienpuntenplan aankondigde. Dat cijfer blijkt een optelsom van asielzoekers, arbeidsmigranten én internationale studenten. Hoe die groepen precies verdeeld zijn, blijft onbenoemd.Het asielbeleid van Wilders en Faber is politiek onuitvoerbaar, juridisch kansloos en zorgt in de praktijk vooral voor extra problemen. Toch blijft het Haagse debat hangen in dezelfde retoriek.Waarom zwijgen de coalitiepartijen over de juridische onhaalbaarheid van Wilders' plannen? Wat zijn de cijfers achter de vermeende 'asielcrisis' die al twee jaar het debat beheerst? En is dit beleid bedoeld om oplossingen te bieden – of om te polariseren?Kees van den Bosch spreekt met Groene-redacteur Irene van der Linde en universitair docent Martijn Stronks over wat feit is en wat fictie in het Nederlandse migratiedebat.Lees het artikel in De Groene Amsterdammer van deze week: Vier keer niksLees ook het essay van Martijn Stronks: Fabeltje FaberEn het achtergrondstuk: Streng en rechtvaardigProductie: Pleun Kraneveld en Kees van den Bosch.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

This week's book guest is The New Age of Sexism: How the AI Revolution is Reinventing Misogyny by Laura Bates.Sara and Cariad are joined by activist, best-selling writer, speaker, journalist and founder of the Everyday Sexism Project Laura Bates.In this episode they discuss sex dolls, masturbation, AI, Meta and Take That.Trigger warning: This book and discussion covers a range of non-consensual sex acts, abuse by deep fake technology and pornography.Thank you for reading with us. We like reading with you!The New Age of Sexism by Laura Bates is available to buy here.You can find Laura on Instagram @laura_bates__Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Tijdens zijn verkiezingscampagne bezocht Geert Wilders het Brabantse Budel en het Groningse Ter Apel, waar asielzoekers worden opgevangen. Hij beloofde de overlast op te lossen die inwoners daar ervaren. Regiocorrespondenten Lyanne Levy en Pim van der Hulst brachten de verantwoordelijke burgemeesters bij elkaar. Na een regeerperiode met de PVV trekken zij de conclusie: aan asielminister Faber hebben ze vrijwel niets gehad.Gast: Lyanne Levy & Pim van der HulstPresentatie: Bram EndedijkRedactie: Iddo Havinga, Nina van Hattum, Niki Ipenburg, Andrea Huntjes Montage: Marco RaaphorstEindredactie: Tessa ColenCoördinatie: Elze van DrielProductie: Andrea HuntjensLees ook het artikel: Burgemeesters Budel en Ter Apel: ‘Dring de overlast van asielzoekers bij ons terug en er ontstaat een ander beeld in het land'Heb je vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nl.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

On this episode of Buzzing About Romance, Becky is joined by Lindsey, Leah, and Amanda to review Bad Wedding by Elise Faber, part of the Billionaire Club Series. 

This week's book guest is Slags by Emma Jane Unsworth.Sara and Cariad are joined by the BAFTA-nominated and BIFA-winning screenwriter and bestselling, award-winning novelist Emma Jane Unsworth. In this episode they discuss teachers, diaries, nostalgia, otters and scaring Mark Owen.Thank you for reading with us. We like reading with you!Slags by Emma Jane Unsworth is available to buy here.You can find her on Instagram @emjaneunsworthTickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukCariad's children's book Where Did She Go? is available to buy now.Sara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

paul cliteur / andries jonker / john van loen / dick schoof / koning willem-alexander productie: meer van dit / info@meervandit.nl / muziek: keez groenteman Hosted on Acast. See acast.com/privacy for more information.

De val van het kabinet leidt tot vragen, zorgen en frustraties over de stilstand op de grote probleemdossiers: asiel, stikstof, wonen, bestaanszekerheid en klimaat. Wat is er onder het kabinet-Schoof op deze onderwerpen bereikt, en wat niet? In de podcast een rondje langs de NOS-redacteuren met deze onderwerpen in hun portefeuille: Brian van der Bol (asiel), Sarah Bürmann (stikstof), Ruben Eg (bestaanszekerheid en wonen) en Rob Ramaker (klimaat).  Tijdens het debat over de kabinetsval zei demissionair premier Schoof vanochtend dat er vier thema's zijn waar hij graag mee door wil, ondanks de demissionaire staat van zijn kabinet. En Geert Wilders wil dat de asielwetten van zijn voormalig asielminister Faber nog doorgang vinden. Of dat gebeurt, is aan de meerderheid van de Kamer.  Reageren? Mail dedag@nos.nl Presentatie en montage: Elisabeth Steinz Redactie: Judith van de Hulsbeek en Ulrike Nagel

De PVV is uit het kabinet gestapt. Geert Wilders heeft zijn ministers en staatssecretarissen teruggetrokken uit het kabinet en hij laat zijn coalitiegenoten boos en teleurgesteld achter. Zij zeggen dat hij wel door kón, maar niet wilde. Wat wil Wilders dan wél? In deze extra lange podcast De Dag duidt politiek verslaggever van Nieuwsuur Arjan Noorlander de gebeurtenissen. Hij ziet een "onzekere PVV-leider", "een politicus in paniek" die nog maar één oplossing zag: wegwezen. Ook PVV-kiezers geven in de podcast een eerste reactie. Veel van hen begrijpen waarom Wilders dit doet en zij hopen dat hij na de volgende verkiezingen een nieuwe kans krijgt. De vraag is of andere partijen na deze breuk nog wel met Wilders willen samenwerken, zegt Noorlander. Hij ziet dat de VVD bijvoorbeeld niet snel meer doen en sorteren voor op een campagne die erop gericht is om te zeggen dat zij het enige werkbare alternatief op rechts zijn. Wat betreft het asielbeleid wijzen de coalitiepartijen steeds naar de verantwoordelijk PVV-minister Faber. Ze zeggen dat zij haar werk niet goed heeft gedaan. Was zij dan de zwakke plek van Wilders? En hoe verstandig was het van Wilders om zijn eigen partij juist op asiel en migratie de eindverantwoordelijkheid te geven? Reageren? Mail dedag@nos.nl Presentatie en montage: Elisabeth Steinz Redactie: Judith van de Hulsbeek en Ulrike Nagel

Send us a textFaber Horbach of Sowulo joins the Nordic Sound for episode 52 to talk about Sowulo's origins, the recent tour, and walk us through the band's development from Alvenrad to Wurdiz. We also get into a pretty good discussion about artistic integrity when bridging music, mythology, and history. Thanks for hanging out, Faber!0:00 Intro1:08 Europoean Tour, Echoes and Mervailles, Opening for Heilung12:52 Early Sowulo26:30 Alvenrad29:34 Sol35:08 Artistic Integrity47:39 Mann55:56 Grima1:03:20 Wurdiz1:14:16 What's Next?Support the showThe Nordic Sound is supported by its patrons over on Patreon.com/nordicsoundThe Nordic Sound is supported by its patrons:GeorgeBetsCarrieGenLeighMikeCindyClaytonDrakeEricJamieJuliaMaryMichaelMichaelSeanSimonTony

In onvoorspelbare tijden in Den Haag is er altijd tenminste één voorspelbare factor. Je weet nooit wat er gaat gebeuren, maar je weet wel hoe Geert Wilders zich gedraagt. Hij trekt zich terug, praat één keer per week op dinsdagmiddag kort met de pers en reageert verder alleen op X. Daar dreigt hij regelmatig het kabinet te laten vallen en prijst hij zijn eigen bewindspersonen. Maar zijn woorden daar hebben vrijwel geen consequenties.Deze week brak Wilders met die voorspelbaarheid door een persconferentie te organiseren in perscentrum Nieuwspoort, waarin hij onder meer een tienpuntenplan over migratie presenteerde. In Haagse Zaken bespreken Lamyae Aharouay en Petra de Koning wat deze ongebruikelijke stap onthult over Wilders en de PVV. Hoe verhoudt Wilders zich tot het kabinet en zijn bewindspersonen? Hoe doen zij het eigenlijk? En waarom besloot Wilders een persconferentie te organiseren?Gasten: Lamyae Aharouay en Petra de KoningPresentatie: Guus Valk Redactie & productie: Ignace SchootMontage: Pieter BakkerHeeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nl.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

In this episode of the Bryan Air Podcast, I sit down with Mauritz Faber, corporate pilot and founder of Avixoo Aviation—to explore how technology is reshaping the aviation recruitment landscape. From leveraging algorithms to improve job visibility to building credibility and influence, Mauritz reveals how Avixoo helps aviation professionals find better career matches, faster.   ⏱️ TIMESTAMPS:   00:00 Intro 00:58 Pilot Journey 03:25 Industry Challenges 04:59 Birth of Avixoo 06:01 How It Works 09:58 Visibility, Credibility, Influence 16:43 Networking 18:41 Tech Development 31:45 Future of Careers 38:34 Real Networking 41:11 Platform Features 54:18 Flight Attendant & Pilot Hiring 58:12 Community & Tech Leverage 1:08:12 Wrap-up  

New series starts Thursday 29th May 2025.Thank you for reading with us. We like reading with you!Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukSara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Cariad's children's book The Christmas Wish-tastrophe is available to buy now.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub Produced by Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Carl Quintanilla, Jim Cramer and David Faber led off the show with market reaction to the House passing President Trump's big tax and spending cuts bill: The 30-year bond yield rose above 5.1-percent and solar stocks plunged. New data from across the Atlantic show China's BYD sold more fully electric vehicles in Europe than Tesla last month for the first time. Also in focus: a fresh record high for Bitcoin, OpenAI buys former Apple executive Jony Ive's AI startup, Snowflake surges, Faber reacts to the Indiana Pacers' stunning comeback victory over the New York Knicks in the NBA Playoffs.Squawk on the Street Disclaimer

Carl Quintanilla, Jim Cramer and David Faber kicked off the hour by discussing the S&P aiming for its 5th straight day of gains, with megacap tech stocks leading the charge. Nvidia and Tesla shares were up double digits since Monday. Faber also broke down the deal of the day, as Charter announced it would acquire Cox Communications to create one of the largest cable companies in the U.S. Also in the mix: Novo Nordisk announced that CEO Lars Jorgensen would be stepping down from his role, citing recent market challenges. Shares of Novo Nordisk were down more than 50% over the last full-year of trading.  Squawk on the Street Disclaimer 

J-Si is talking with the President and GM of Texas Motor Speedway about the big race. Learn more about your ad choices. Visit megaphone.fm/adchoices