Podcasts about Gaunt

In this episode of our Southwark History Festival special series we speak to Michael Jones about the life of Edward, The Black Prince! We looked how he obtained the moniker, what he was like as a military leader, and his relationship with John of Gaunt!The Southwark History Festival is going on from the 18th of July to the 19th of July! Grab your tickets hereTo keep up to date with Michael head to his websiteIf you want to get in touch with History with Jackson email: jackson@historywithjackson.co.ukTo support History with Jackson to carry on creating content subscribe to History with Jackson+ on Apple Podcasts or support us on our Patreon!To catch up on everything to do with History with Jackson head to www.HistorywithJackson.co.ukFollow us on Facebook at @HistorywithJacksonFollow us on Instagram at @HistorywithJacksonFollow us on X/Twitter at @HistorywJacksonFollow us on TikTok at @HistorywithJackson Hosted on Acast. See acast.com/privacy for more information.

Dr. Shaddai Tembo is joined by Amy Gaunt, Director of Learning, Impact and Influence at Voice21, a national oracy education charity who work with schools across the UK.  Amy and Shaddai discuss how oracy is defined and how we deliberately think about the way we speak with children. They highlight the benefits of an oracy-rich curriculum to support life beyond school and help children to be good friends and life partners in their adult life.  Amy touches on the four strands of the oracy framework that Voice 21 developed with University of Cambridge and touches on focussing on strengths and developing skills.  Practitioners will learn about how human skills are needed in the age of AI and technology as well as the importance of the things we don't say.  

This week we're joined by award-winning scholar, ethnomusicologist, and cultural anthropologist Dr. Kyra Gaunt to explore the powerful intersections of music, play, and identity in the lives of Black girls and women. Dr. Gaunt, author of The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, offers a brilliant breakdown of how musical play, like hand games, cheers, and jump rope rhymes, does more than entertain. It becomes a form of cultural transmission, identity-building, and resistance for Black girls navigating their earliest social worlds. About the Podcast The Therapy for Black Girls Podcast is a weekly conversation with Dr. Joy Harden Bradford, a licensed Psychologist in Atlanta, Georgia, about all things mental health, personal development, and all the small decisions we can make to become the best possible versions of ourselves. Resources & Announcements We're building our TBGU Advisory Council and are looking for some amazing young women to join us! The Advisory Council will be made up of traditionally college-aged young Black women (18-23) who are passionate about shaping conversations around mental health and the experiences of this community. This group will be instrumental in helping to develop content for the TBGU podcast and social media channels. Please go here if you're interested in learning more or applying. Did you know you can leave us a voice note with your questions for the podcast? If you have a question you'd like some feedback on, topics you'd like to hear covered, or want to suggest movies or books for us to review, drop us a message at memo.fm/therapyforblackgirls and let us know what’s on your mind. We just might share it on the podcast. Grab your copy of Sisterhood Heals. Where to Find Our Guest Dr. Kyra Gaunt Instagram - @kyracurates www.kyraocity.com Stay Connected Join us in over on Patreon where we're building community through our chats, connecting at Sunday Night Check-Ins, and soaking in the wisdom from exclusive series like Ask Dr. Joy and So, My Therapist Said. ​ Is there a topic you'd like covered on the podcast? Submit it at therapyforblackgirls.com/mailbox. If you're looking for a therapist in your area, check out the directory at https://www.therapyforblackgirls.com/directory. Grab your copy of our guided affirmation and other TBG Merch at therapyforblackgirls.com/shop. The hashtag for the podcast is #TBGinSession. Make sure to follow us on social media: Twitter: @therapy4bgirls Instagram: @therapyforblackgirls Facebook: @therapyforblackgirls Our Production Team Executive Producers: Dennison Bradford & Maya Cole Howard Director of Podcast & Digital Content: Ellice Ellis Producers: Tyree Rush & Ndeye ThioubouSee omnystudio.com/listener for privacy information.

We're back in the Imperial Guard with the fourth Gaunt's Ghosts novel, where Colonel-Commissar Guant is yet again screwed over by high command and ends up drunk and religious! Enjoy the sights of Hagia as the Tanith First and only learn about tanks and giant armadillos! Mira ► https://twitter.com/miramanga Mira's Patreon ► https://www.patreon.com/miramanga/ Mira's Youtube Channel ►https://www.youtube.com/user/miramanga Buy MERCH on the store at: ► https://www.arbitorian.com Support the channel and get EARLY VIDEOS and GIVEAWAYS: Patreon ► https://www.patreon.com/arbitorian YT Membership ► https://www.youtube.com/channel/UCHOFy9rDa1Zsvb39hYBBVpA/join Get your discount HOBBY FIX with these fantastic affiliate links! Firestorm Games UK ► https://www.firestormgames.co.uk/?aff=6390a44b70fed Elsewhere on the internet: Bluesky ► @arbitorian.bsky.social Instagram ► instagram.com/arbitorian Copyright: Unless noted in the video, all images © Games Workshop 1987-2022. Title music is 'Black Rainbows' by Karl Casey @White Bat Audio #warhammer40k, #lore, #bookclub, #warhammerlore, #spacemarines, #astartes, #warhammer, #history, #horusheresy, #imperium, #boardgames, #tabletopgaming, #gamesworkshop, #warhammer30k

The patriarch of the Lancastrian dynasty, John of Gaunt, is dead. His penultimate act was to show his nephew, Richard II, his rotting penis. While the king leaves gagging, this cunning Plantagenet also smells a jackpot.  If you can't get enough of This Is History, join our court of royal favourites on our Patreon. There, you get bonus episodes, PLUS extra perks including dispatches from Dan, and the chance to vote on future subscriber episodes, and lively chat rooms with fellow history nerds.  We'd love to see you there: patreon.com/thisishistory  A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  Presented by Dan Jones Producer - Alan Weedon  Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Sound Design and Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Is Ryan Seacrest too skinny and WNBA expansion. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Reel Faith  What does it look like to truly love your enemies—not just in theory, but in practice? In this powerful message, Pastor David Gaunt uses the film Remember the Titans to help us confront one of Jesus' most difficult commands:

In 1392, nobody in the Plantagenet realm was expecting one of their own to be gored to death by a wild boar. The grim reaper's busy. More shock deaths befall the Gaunt and Bolingbroke household, and Richard is made a widow. While the king puts on the waterworks, Richard turns grief into opportunity. Remember, you can always keep the discussion as a royal favourite subscriber on our Patreon. Following this episode, we want to talk about other novel ways to die. Choose your untimely demise at: patreon.com/thisishistory A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices Presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole Production Manager - Jen Mistri Production coordinator - Eric  Ryan Sound Design and Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

A devilish shopkeeper arrives in a small Maine town, his suitcase packed with wonders and his ledger full of names. In "Needful Things," we witness the unraveling of Castle Rock through the machinations of one Leland Gaunt, a stranger with uncanny insight into the deepest desires of everyone he meets.Max von Sydow masterfully portrays Gaunt, the charismatic proprietor offering townsfolk exactly what they want most—a rare baseball card, a carnival glass lampshade, Elvis Presley's sunglasses—items that speak to profound yearning far beyond their material worth. But these treasures come with a hidden cost. Each customer must perform a seemingly harmless prank on another resident, tricks that Gaunt orchestrates to prey on existing tensions within the community.What makes this Stephen King adaptation so compelling isn't the supernatural elements but its exploration of human psychology. As Sheriff Alan Pangborn (Ed Harris) watches his peaceful town descend into chaos, we witness how easily social bonds fray when neighbors suspect each other of increasingly malicious acts. The film excels at demonstrating the domino effect of Gaunt's manipulations—how small slights escalate to violence, how petty rivalries bloom into murderous rage.The film poses an uncomfortable question that resonates beyond its 1993 release: What would you sacrifice for your heart's desire? As we watch characters commit increasingly terrible acts to obtain or keep seemingly trivial objects, we're forced to examine our own attachments and what price we might pay for them. When the shop stands empty for those who want nothing, we're left wondering—is contentment our strongest defense against temptation? And in a world constantly selling us solutions to problems we didn't know we had, perhaps this cautionary tale about the cost of getting exactly what you want strikes deeper now than ever before. Head to www.screamsandstreams.com for more information related to our episode.

Fourteenth century England was a time of upheaval, extended war, political turmoil, and overall chaos. Dr Helen Carr joins us to talk about her new book that covers the life of the famous and lesser-known people of a time that changed power structures and the monarchy forever.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by NumbersCourting the Virgin Queen Dr Helen Carrhelencarr.com@helenhcarrHistory Hit, Intelligence Squared, BBC, The New Statesman, etc.The Red Prince: John of Gaunt, Duke of LancasterWhat is History, Now? (co-author and editor)Sceptered Isle: A New History of the Fourteenth CenturyHistory shows us what's possible.

We discuss the history of the house at 15 Usher's Island where "The Dead" was set.Listen to the full episode at patreon.com/barnaclecast

The most significant rebellion of the Medieval era, the so-called Peasant's Revolt, kicked off in Brentwood, Essex on 30th May, 1381, when tax collector John Bampton attempted to collect unpaid poll tax. The protest triggered a violent confrontation, rapidly spreading across the south-east of the country. Within a month, the rebels were marching towards London, massacring merchants and razing the palace of the king's uncle, John of Gaunt. In this episode, Arion, Rebecca and Olly consider whether the protestors really were ‘peasants' at all; appraise 14 year-old king Richard II's handling of their appeasement; and explain how, despite the horrific hardship of the Black Death, the working classes had, for once, something of an advantage… Further Reading: • ‘The Peasants' Revolt Of 1381: A Guide' (HistoryExtra, 2021): https://www.historyextra.com/period/medieval/your-guide-peasants-revolt-facts-timeline/ • ‘Peasants' Revolt' (British Library): https://www.bl.uk/learning/timeline/item132518.html • ‘The Untold Story Of The 1381 Peasants Revolt' (Timeline, 2018): https://www.youtube.com/watch?v=4kq9sbtFCR8&t=2s Love the show? Support us!  Join 

Fresh off a 12/1 winner last week, the Final Furlong Podcast crew returns with a full preview of the weekend's action from Haydock, Chester and York. Emmet Kennedy is joined by George Gorman, Andy Newton and Peter Michael, and the betting heat is turned way up:

The Whole Story 

Clive Anderson brings us Loose Ends from the Hay Festival. Joining Clive in front of a Hay audience are singer Paloma Faith who last year released her most personal album 'The Glorification of Sadness'. She also published her first book 'MILF' (no, not that one), a rousing call to arms for women to take up space, based on her experiences in the music industry, and as a mother. Welsh comedian Mike Bubbins is the star of the sitcom 'Mammoth', in which he plays Tony Mammoth, a PE teacher from the 70's who finds himself in 2024. Writer Frank Cottrell Boyce has an impressively diverse CV, having written films such as 24 Hour Party People, Hilary & Jackie, Code 46 as well as the 2012 London Olympics Ceremony. He's the author of many beloved children's books including Millions, and his latest 'The Blockbusters'. Historian Helen Carr is the author of the best-selling 'The Red Prince: The Life of John of Gaunt, the Duke of Lancaster and her new book 'Sceptred Isle: A new history of the fourteenth century'And there's music from Euros Childs and Kizzy CrawfodPresenter: Clive Anderson Producer: Jessica Treen

Tonight's Horrorhound Filmfest guest is Mike Ede who is an award winning screenwriter that has had his scripts featured at Horrorhound as well as Days of the Dead. Some of the titles include "Gaunt," a creepy hospital story with a twist, "Team Bonding," which gives a whole new meaning to company retreat and "All I Want for Christmas is... You!," a Christmas Horror comedy about a Canadian crooner and an American Diva who settle their feud once and for all. A long time supporter of the podcast as well, it was such a pleasure having Mike on to discuss his writing process, what inspired him to be a screenwriter and what his favorite scary movies are. Follow Mike on Instagram at bahhumguy and show him your support at Days of the Day Indy this year!   'Salem's Secret' by Peter Gundry   Merchandise: https://dfwtopodcast.creator-spring.com/   Sponsored by:   Dietsmoke.com - use promo code DFWTO for 50% off your purchase   Betterhelp: Visit betterhelp.com/dfwto to get 10% off when you sign up for your first month.

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. 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

Mark has a fireside chat with David Gaunt from Gleebooks. Turn the volume up, find somewhere quiet and listen to this mesmerising conversation from 2 doyens of our industry.

Mats Strandberg är och hälsar på, och vi har läst Ellika Lagerlöfs novellsamling ”Den sista kastraten” tillsammans! Mats berättar även om sin nya roman ”Musan”, som verkar råball. I nästa avsnitt gästar Johan Egerkrans podden igen! Tills dess läser vi Dan Abnetts Warhammer-roman "First and Only" (del 1 i Gaunt's Ghosts-serien). >> Glöm inte att stötta oss på Patreon – pengar är kul!

The mental health effects of perimenopause can be severe and swift - often arriving at a time in a woman's life when she may have no other symptoms and be completely unaware of what is happening to her. Craig Gaunt became aware of this knowledge gap after losing his wife, Debbie, to suicide in 2019, following severe and sudden mental health issues that have since been partially attributed to the hormonal effects of perimenopause. To honour Debbie, the Gaunt family set up the Debbie Gaunt Foundation, which works to fund projects aimed at providing a greater understanding of the mental health impacts of perimenopause and other conditions that affect women's mental health. To find out more, head to debbiegauntfoundation.com.auSee omnystudio.com/listener for privacy information.

Joe and Lauren break down the next Major Moment of Book 6, The House of Gaunt! 00:00 Open 10:09 MugglePoll/Giveaway 14:30 Major Moments - The House of Gaunt 1:01:45 Community Emails   Joe - @CustomVinylLush Lauren - @Maev_Cleric Alex - @AtariAlex Show - @TalesFromGH TikTok- @TFGHshow   Email - TalesFromGodricsHollow@gmail.com Facebook - www.facebook.com/talesfromgodricshollow  Instagram - www.instagram.com/talesfromgodricshollow Podchaser - www.podchaser.com/TFGH   Special Shout Out to our Producers/Sponsors AND Headmistresses "The Mysteriously Haunted Headmistress of Beauxbaton Academy" and Kori A!   Thank you to ALL of the Patreon supporters!!! We can't do all of this without you all!   Support us on PATREON! www.Patreon.com/TalesFromGodricsHollow   Spellio Revelio and E-Mail sounds/beds came from https://musicradiocreative.com/

Ethnomusicology is the study of music in a cultural context. Black Feminist Ethnomusicologist and Assistant Professor at the University at Albany, Kyra Gaunt, gives us a glimpse into her life including her first memories of music growing up in Maryland. Kathleen Beaudoin reports

Listen to Erika L. Sanchez and the No Chingues crew talk about all of the day's chingaderas: ·     No Chingues Keeps it Current: Will Smith, Getting Jiggy With It, and The Smack·     The Recalibration of the Ego·     Elon and the Crumbling Myth of the Genius Billionaire·     Decorum is King: Democrats and Compromises with Nazis·     He Smells Like Poo-Poo* (*Allegedly)·     Put the Nazis on Their Heels·     The Billionaires Want Tax Cuts So Your Grandma Has to Eat Cat Food·     The Oligarchs: “Let it Fail. Privatize it ALL!” (“So We Can Swoop in and Profit!”)·     The Crew's Content Constipation·     Meat Sack·     Just Some Print Estimating NBD·     Cubans Getting Humbled·     Dictator 101·     Oh, Now Some of These Bitches Care·     “Cooking a Salad With Meghan Markle”·     Jorge Hates Balsamic Vinegar (Send Hate Mail)·     Mexican Work Lunches Are No Fucking Joke·     Incel Fanboys·     Cybertruck: Held Together With Spit and Elmer's Glue·     Sallow, Gaunt, and Deep Faced·     Will Moo and Oink Sponsor Us?·     Roddy Disrespects Mexican Food… Again·     Churros vs. Conchas: The Debate That Broke the Pod·     How Do You Handle Rudeness?·     Hammurabi's Code…Kinda·     “Are We Doing This?” We have no idea what we're doing... but we're keeping it moving with the unearned confidence of a mediocre White man!¯_(ツ)_/¯Listen, subscribe, share, and leave a five-star review! (or go to hell).Follow The No Chingues Crew on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, BlueSky, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠. Martin Malecho – BlueSky TikTok, Threads

Sounds & Sweet Airs - The Complete Works of Shakespeare 'Richard II' Act 2 John of Gaunt is nearing the end of his life, but his final breaths hold a stinging tirade for Richard's reign. Unfazed, the king seizes Bolingbroke's inheritance to fund his war in Ireland, unaware that the challenger to his throne has returned to raise an army... CAST King Richard - Andrew Peter Shaw Bolingbroke - Rhydian Sendall John of Gaunt - Andrew Faber Duke of York - Philip Donnelly Earl of Northumberland - Kati Herbert Duke of Aumerle - Helen Tamlyn Queen of England - Filipa Garrido Henry Percy - Caspia Huntington-Davies Lord Ross - Gareth Johnson Green - Jacki Dann Bushy - John North Bagot - Chris Barnett CREW Writer - William Shakespeare Producer / Director - Dario Knight Sound Engineers - Stephan Medhurst & Gareth Johnson Music - John Bjork

Chapter 10 - The House of Gaunt, covered by Abby!Bob Ogden's fashion choices, love potions, and so many Deathly Hallows in one room.⚡️

Llegan a la Torre del Cuervo los Korps de la Muerte de Krieg. No son solo un regimiento, sino el epítome del sacrificio absoluto. En este episodio de La Torre del Cuervo, exploramos su historia, su doctrina militar y su brutal papel dentro del Astra Militarum. ¿Son el arma definitiva del Imperio o una condena sin fin? Además, continuamos nuestro bloque dedicado a la guerra en Warhammer 40K, conectando con los Fantasmas de Gaunt y adelantando lo que está por venir. Únete a la conversación en nuestro canal de Telegram y descubre más sobre nuestros próximos contenidos, incluyendo un especial en honor a Philip K. Dick. La guerra nunca termina, y hoy nos sumergimos en su frente más despiadado. Ahora más que nunca, vuestro apoyo es fundamental. Podéis uniros a nuestro Patreon MultiverseWar, donde nos ayudáis a seguir creciendo y desarrollando nuevos proyectos. A partir de enero, lanzaremos programas exclusivos para nuestros mecenas, con contenido inédito, ficciones únicas y muchas más sorpresas. Además, como mecenas, participáis automáticamente en nuestro sorteo mensual de 200€ en material de wargames, cortesía de nuestros amigos de www.MultiversoWar. Es nuestra manera de agradeceros por ser el pilar que sostiene esta Torre. Si aún no formáis parte, os animamos a uniros. Cada contribución, por pequeña que parezca, nos acerca más a nuestras metas y nos permite seguir explorando los rincones más oscuros y fascinantes de los universos que amamos. Y os animamos a entrar en nuestro Grupo de Telegram en el que sois bienvenidos y en el que os mantendremos informados de toda la actualidad de la Torre: https://t.me/+fnXc1Gr1WydmYTY8 Gracias, Cuervos de la Tormenta. Gracias por vuestra confianza, por vuestro tiempo y por ser parte de esta gran familia. Y muchas gracias a Sandra!!! por narrar de forma magistral!!! Nos despedimos con la certeza de que juntos, podemos seguir trayendo las historias que merecen ser contadas. Sed felices, que el tiempo apremia. ¡Viktoria o muerte!"* Recordad que podéis uniros al Canal de Telegram de La Torre del Cuervo para estar al tanto de todas las novedades: https://t.me/+fnXc1Gr1WydmYTY8 Y no olvidéis visitar nuestra página web: https://latorredelcuervo.com/ Encontraréis artículos con novedades del hobby, reseñas de las novelas más Grimdark y menciones a eventos que podrían estar ocurriendo en vuestra ciudad sin que lo sepáis. Apóyanos en iVoox pulsando el botón azul. Con tu ayuda, no solo haces posible este programa, sino que participas automáticamente en el sorteo mensual de 200€ en material de wargames, cortesía de MultiversoWar. www.multiversowar.com ¡Notición en La Torre del Cuervo! Nos complace anunciar nuestra nueva colaboración con InstaGaming, la plataforma líder para conseguir tus juegos favoritos a precios de locura. ️ Ahora, gracias a esta alianza, podrás disfrutar de descuentos exclusivos y apoyar a nuestro proyecto al mismo tiempo. ¿Cómo funciona? Es muy sencillo: entra en este enlace, explora un catálogo brutal de juegos con ofertas increíbles y hazte con ese título que llevabas tiempo deseando. RPG, estrategia, aventuras… ¡lo tienen todo! Y lo mejor: parte de tus compras ayudarán a seguir haciendo crecer La Torre del Cuervo. ⚔️ Sorteos y ventajas especiales Además, gracias a esta colaboración, InstaGaming nos patrocina los sorteos que hemos preparado para nuestra comunidad. ¡Prepárate para llevarte premios épicos! Entra ya en este enlace, aprovecha los descuentos y no pierdas esta oportunidad de jugar más por menos! https://www.instant-gaming.com/?igr=gamer-7f052f1 ¡Gracias por vuestro apoyo constante y por seguirnos en este viaje grimdark! ⚔️ Síguenos en nuestras redes sociales: Facebook: La Torre del Cuervo Twitter: @LaTorredelCuervo Instagram: El_Corintio La Torre del Cuervo YouTube: Canal La Torre del Cuervo Telegram: https://t.me/+fnXc1Gr1WydmYTY8 Para sugerencias o comentarios: info@latorredelcuervo.com

Justin Bieber Looks Gaunt And Unwell In Latest Video PostSee omnystudio.com/listener for privacy information.

Parenting is one of life's greatest blessings—and biggest challenges. But what if there was a divine blueprint for raising children in a way that honors God and shapes their hearts for Him? In this powerful message, Pastor David Gaunt dives into what God's Plan is for Biblical Parenting. Whether you're a parent, grandparent, mentor, or simply someone who influences the next generation, this message will equip you with biblical wisdom and practical steps to guide children toward a lifelong faith. Watch now and discover how God's perfect plan for parenting can transform your home and impact generations to come! - NEXT STEPS  Looking to take your next step?  We want to help! Text the word NEXT to 909-281-7797 or visit sunrisechurch.org/nextsteps. - GIVE TO SUNRISE CHURCH Imagine what God can do through our giving. You can give today at sunrisechurch.org/give  - FOLLOW US ON SOCIAL MEDIA Facebook: https://www.facebook.com/SunriseChurchCA  Instagram: https://www.instagram.com/sunrisechurchca  Youtube: https://www.youtube.com/SunriseChurch

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Military reporter Emanuel Fabian joins host Amanda Borschel-Dan for today's Daily Briefing. Kibbutz Nir Oz said early Saturday morning that resident Shiri Bibas was murdered while held captive in Gaza, after Hamas handed over her body overnight and it was brought to Israel for identification. Fabian updates us on what we know of her and her children's fate. Hostages Tal Shoham, Omer Shem Tov, Omer Wenkert, Eliya Cohen, Avera Mengistu and Hisham al-Sayed were released from captivity and returned to Israel today, as part of the ongoing ceasefire-hostage deal between Israel and Hamas. The terror group paraded five of the six freed hostages on stages in propaganda-filled handover ceremonies in two locations in Gaza, handing them over to the Red Cross, while al-Sayed was released separately to the Red Cross later in the day, without a ceremony. We hear a little about each man's current status and how he arrived in Gaza. Israel Police and the Shin Bet security agency reportedly detained two Jewish Israelis and a Palestinian in connection with explosions on three buses in central Israel Thursday night, as the IDF bolstered operations in the West Bank following what is thought to have been a narrowly averted large-scale terror attack. There is a gag order on this case, so Fabian updates us on what we are allowed to report. Please see today's ongoing live blog for more updates. Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by the Adina Karpuj. For further reading: Shiri Bibas’s body returned to Israel; officials assess she was ‘brutally’ murdered with sons in Gaza IDF: Captors murdered children Ariel and Kfir Bibas ‘in cold blood’ with ‘their bare hands’ These are the six living hostages set to be released Saturday These are the 4 hostages set to be released on Thursday; all are believed to be dead 2 Jewish Israelis, Palestinian said arrested in connection with botched bus bombings IMAGE: Israelis in Hostages Square, Tel Aviv, watch a big screen showing the releases of hostages Avera Mengistu and Tal Shoham from Hamas captivity in Gaza, February 22, 2025. (Roya Lavi / Hostages Families Forum)See omnystudio.com/listener for privacy information.

Nos adentramos en el trasfondo del arco narrativo de la Primera Fundación , explorando a fondo el contexto en el que los Fantasmas de Gaunt se forjan en el fuego de la guerra. En este programa, nos centramos en los primeros tres libros de la saga: Primer y Único de Tanith, El Hacedor de Fantasmas y Necrópolis, la primera gran campaña que definió el destino de este regimiento. Y lo hacemos acompañados de dos grandes conocedores del trasfondo: nuestra compañera Isharael, de Wikihammer, y nuestro hermano Dani, ambos fieles al León y a los Ángeles Oscuros. Con ellos, hemos hablado largo y tendido sobre los secretos y entresijos de los Fantasmas de Gaunt, desmenuzando cada matiz de esta saga sin dejarnos nada en el tintero. Este programa es solo el inicio de una serie dedicada a desentrañar el trasfondo de Warhammer 40k. Nos quedan muchas más sagas por recorrer dentro de los Fantasmas de Gaunt, incluyendo La Santa, Los Olvidados y Los Asediados, que exploraremos en futuros episodios. Seguiremos sumergiéndonos en el oscuro universo del 41º Milenio, explorando sus conflictos, sus personajes y sus batallas legendarias. Ahora más que nunca, vuestro apoyo es fundamental. Podéis uniros a nuestro Patreon MultiverseWar, donde nos ayudáis a seguir creciendo y desarrollando nuevos proyectos. A partir de enero, lanzaremos programas exclusivos para nuestros mecenas, con contenido inédito, ficciones únicas y muchas más sorpresas. Además, como mecenas, participáis automáticamente en nuestro sorteo mensual de 200€ en material de wargames, cortesía de nuestros amigos de www.MultiversoWar. Es nuestra manera de agradeceros por ser el pilar que sostiene esta Torre. Si aún no formáis parte, os animamos a uniros. Cada contribución, por pequeña que parezca, nos acerca más a nuestras metas y nos permite seguir explorando los rincones más oscuros y fascinantes de los universos que amamos. Y os animamos a entrar en nuestro Grupo de Telegram en el que sois bienvenidos y en el que os mantendremos informados de toda la actualidad de la Torre: https://t.me/+fnXc1Gr1WydmYTY8 Gracias, Cuervos de la Tormenta. Gracias por vuestra confianza, por vuestro tiempo y por ser parte de esta gran familia. Y muchas gracias a Sandra!!! por narrar de forma magistral!!! Nos despedimos con la certeza de que juntos, podemos seguir trayendo las historias que merecen ser contadas. Sed felices, que el tiempo apremia. ¡Viktoria o muerte!"* Recordad que podéis uniros al Canal de Telegram de La Torre del Cuervo para estar al tanto de todas las novedades: https://t.me/+fnXc1Gr1WydmYTY8 Y no olvidéis visitar nuestra página web: https://latorredelcuervo.com/ Encontraréis artículos con novedades del hobby, reseñas de las novelas más Grimdark y menciones a eventos que podrían estar ocurriendo en vuestra ciudad sin que lo sepáis. Apóyanos en iVoox pulsando el botón azul. Con tu ayuda, no solo haces posible este programa, sino que participas automáticamente en el sorteo mensual de 200€ en material de wargames, cortesía de MultiversoWar. www.multiversowar.com ¡Notición en La Torre del Cuervo! Nos complace anunciar nuestra nueva colaboración con InstaGaming, la plataforma líder para conseguir tus juegos favoritos a precios de locura. ️ Ahora, gracias a esta alianza, podrás disfrutar de descuentos exclusivos y apoyar a nuestro proyecto al mismo tiempo. ¿Cómo funciona? Es muy sencillo: entra en este enlace, explora un catálogo brutal de juegos con ofertas increíbles y hazte con ese título que llevabas tiempo deseando. RPG, estrategia, aventuras… ¡lo tienen todo! Y lo mejor: parte de tus compras ayudarán a seguir haciendo crecer La Torre del Cuervo. ⚔️ Sorteos y ventajas especiales Además, gracias a esta colaboración, InstaGaming nos patrocina los sorteos que hemos preparado para nuestra comunidad. ¡Prepárate para llevarte premios épicos! Entra ya en este enlace, aprovecha los descuentos y no pierdas esta oportunidad de jugar más por menos! https://www.instant-gaming.com/?igr=gamer-7f052f1 ¡Gracias por vuestro apoyo constante y por seguirnos en este viaje grimdark! ⚔️ Síguenos en nuestras redes sociales: Facebook: La Torre del Cuervo Twitter: @LaTorredelCuervo Instagram: El_Corintio La Torre del Cuervo YouTube: Canal La Torre del Cuervo Telegram: https://t.me/+fnXc1Gr1WydmYTY8 Para sugerencias o comentarios: info@latorredelcuervo.com

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Military reporter Emanuel Fabian joins host Amanda Borschel-Dan for today's episode. Eli Sharabi, 52, Or Levy, 34, and Ohad Ben Ami, 56, are back home in Israel after 491 days of captivity. Sharabi was kidnapped from Kibbutz Be’eri when Hamas terrorists rampaged through southern Israel on October 7, 2023. His wife and daughters were murdered in their home’s safe room and he and his brother Yossi were taken captive. Brother Yossi has since been confirmed dead and Hamas is holding his body. Or Levy, 34, was kidnapped from the Supernova rave near Kibbutz Re’im on October 7. His wife Eynav was killed, and their now three-year-old son Almog has been staying with his grandparents since. Ohad Ben Ami, was kidnapped from Be’eri. His wife Raz Ben Ami was also abducted, and released as part of a week-long ceasefire in November 2023. We learn about initial health assessments and hear about the ceremony this morning, in which Hamas forced the men to speak onstage in Dir El Balak and thank the terror organization for their "good treatment." We discuss how the IDF is still operating in parts of the Gaza Strip and what is meant to happen in the next two weeks of phase 1 of the already mediated deal, even as phase 2 is still in process. Defense Minister Israel Katz ordered IDF Chief of Staff Lt. Gen. Herzi Halevi on Friday to reprimand the head of the Military Intelligence Directorate, Maj. Gen. Shlomi Binder, after he reportedly warned during a military assessment meeting about potential security risks relating to US President Donald Trump’s plan to take over the Gaza Strip and displace its population. Fabian weighs in on this incident and what it may signify. We discusses what is happening on the ground in the West Bank as the IDF continues its almost three-week ongoing intensive counter-terrorism operation there. The Israeli Air Force carried out strikes on Hezbollah targets in Lebanon on Thursday night, targeting weapons storage sites in the Nabatieh area and the Beqaa Valley. Fabian updates us on the extended truce in Lebanon and expected next steps ahead of the February 18 deadline.Please see today's ongoing live blog for more updates. Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by the Pod-Waves. For further reading: Gaunt and frail, hostages Eli Sharabi, Or Levy and Ohad Ben Ami freed after 16 months Poll: 70% of Israelis support second phase of hostage-ceasefire deal Katz reprimands IDF intel chief for warning discourse on Trump’s Gaza plan could prompt violence IDF fighter jets hit Hezbollah weapons depots that Israel says violated ceasefire IMAGE: Israeli hostage Eli Sharabi, who has been held hostage by Hamas in Gaza since October 7, 2023, is paraded by Hamas gunmen before being handed over to the Red Cross in Deir al-Balah, central Gaza Strip, February 8, 2025. (AP Photo/Abdel Kareem Hana)See omnystudio.com/listener for privacy information.

Alice and Martha start the Bobversation at the House of Gaunt and Coleminate at Tom Riddle's orphanage. This week's dynamic duo of characters is thick as thieves and incredibly stannable, or as Dumbledore might say, rich in detail and satisfyingly accurate. Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

TW: DV and SA are discussed in this episode. Can a villain also be a victim? Embark on a journey through the layered narrative of Merope Gaunt, the enigmatic mother of Voldemort, as we mark one year of Critical Magic Theory. Merope's contentious life story, shaped by a web of abuse and desperation, invites a deeper examination of the societal and family dynamics that molded her path. In this episode, we scrutinize Merope's struggle for empowerment against the backdrop of a turbulent family life, drawing parallels to Harry Potter's own hardships. With a focus on her role as a mother and a pureblood, we confront the challenging dichotomy of victimhood and villainy, exploring whether her circumstances justify her controversial decisions.A special thanks to the new Patreon Deep Divers: Alysha, Nia, Cassandra, Daphne, and Millicent 

Join us as we unpack the paradoxical realities of the Gaunt family in the Harry Potter universe. Discover how Marvolo and Morfin Gaunt's fierce dedication to their bloodline leads to a toxic supremacy that survives despite their poverty and lack of societal advantages. This episode promises to uncover the complex dynamics that set the stage for Merope Gaunt's tragic story, which we will explore in the next episode.In our exploration, we contrast the Gaunts with other notable families like the Malfoys and Weasleys, examining how financial standing and status influence their actions and beliefs. By comparing the Gaunts' aggressive brand of supremacy with the more calculated fanaticism of families like the Malfoys, we gain deeper insights into the interplay between lineage, ideology, and power. We also investigate the Gaunts' dark legacy and its profound impact on Merope and her son, Tom Riddle Jr. A special thanks to our  new Patreon Deep Divers: AdrianSarahMary-MargaretMeghanVirginiaShBrycipooAshley

Title: Prince of Peace Description: It's amazing how fragile some gifts are. When God's great gift of creation had just been unwrapped, the first people on the planet broke it.  As the first couple chose to pridefully trust a crafty creature instead of the King & Creator, sin wrecked everything. Join us as Pastor David Gaunt shares Part 5 of our message series called “The Promise of Christmas” and teaches us how God chose to provide a solution to the brokenness of this world. - NEXT STEPS  Looking to take your next step?  We want to help! Text the word NEXT to 909-281-7797 or visit sunrisechurch.org/nextsteps. - GIVE TO SUNRISE CHURCH Imagine what God can do through our giving. You can give today at sunrisechurch.org/give  - FOLLOW US ON SOCIAL MEDIA Facebook: https://www.facebook.com/SunriseChurchCA  Instagram: https://www.instagram.com/sunrisechurchca  Youtube: https://www.youtube.com/SunriseChurch

At the end of June in 1399 Henry Bolingbroke, son of John of Gaunt and cousin to King Richard II, landed at Ravenspurn with a small force intent on the overthrow of Richard. The King, who had been in Ireland, did not rush to return to England, but when he did, his throne had been lost, and Bolingbroke became King Henry IV. Richard would die in mysterious circumstances not long after. Henry had secured the throne but his would not be a happy reign. Joining to discuss the two grandsons of Edward III is Helen Castor, author of The Eagle and the Hart: the Tragedy of Richard II and Henry IV as we delve into the two characters in a fascinating period of medieval history. Helen Castor Links The Eagle and the Hart: The Tragedy of Richard II and Henry IV Helen on X Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Bienvenidos a La Torre del Cuervo En este programa damos inicio a nuestro nuevo proyecto, explorando el oscuro y apasionante universo de los Fantasmas de Gaunt con el primer capítulo de la épica novela Necrópolis, escrita por Dan Abnett. Adentraos con nosotros en las trincheras de la colmena Vervun y los mundos de Sabbat, donde el heroísmo, el sacrificio y la supervivencia definen el destino de los personajes. Agradecemos profundamente a todos nuestros oyentes por su apoyo, y especialmente a los mecenas de iVoox, cuyo respaldo nos permite seguir creciendo y creando contenido de calidad. Recordad que, como mecenas, participáis automáticamente en nuestro sorteo mensual de 200€ en materiales de wargames, cortesía de nuestra tienda amiga MultiversoWar. Además, os invitamos a uniros a nuestro Patreon MultiverseWar, donde podréis disfrutar de contenido exclusivo y ayudarnos a seguir creando nuevas ficciones y programas. No olvidéis pasar por nuestro Canal de Telegram: https://t.me/+fnXc1Gr1WydmYTY8 Descubre nuestra página web: www.latorredelcuervo.com En nuestra web encontrarás artículos sobre las novedades del hobby, reseñas de las novelas más Grimdark, menciones a eventos locales y mucho más. Gracias a todos los cuervos de la tormenta por participar en este programa. Dramatis Personae: Capítulo 1 Narrador: VladirSaulus VOR -> Adri Agun SORIC-> Omar WORLIN -> Lucas LIVY-> Viktoria Hyvins TROOR-> Helberth DALIN-> PENDIENTE es el niño de Lvy TONA CRID-> Rosa Folik -> Keew18 MINCER-> Lucas DONCELLA FRANCER -> Lucia DONCELLA WHOLT -> Nikka MERITY CHASS-> Mercurita GOL KOLEA-> Xavi TRUG VEREAS-> JB MINERO 1-> Emilio SOLDADO-> RA DAUR-> Yannick BENDANCE-> Icaro GENERAL VEGOLAIN-> Apolo COMISARIO KOWLE-> Sergi 3 VOCES ROBÓTICAS MARISCAL GNIDE-> Dani Dominguez Edición, efectos digitales y musicalización por: ElCorintio/Antonio "Lobo" Salinas Cervi (Podcast Partidas en mi Casa) Apóyanos en iVoox con el botón azul y forma parte de nuestra comunidad. Síguenos en redes sociales: Facebook: La Torre del Cuervo Twitter: @LaTorredelCuervo Instagram: El_Corintio La Torre del Cuervo YouTube: Canal La Torre del Cuervo Esperamos tus comentarios y sugerencias en: info@latorredelcuervo.com ¡Lo dicho, hermanos y hermanas de Deliverance! Nos vemos en los cielos. Viktoria o muerte.

durée : 03:59:58 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Par Michel Random - Avec Emilio Servadio (psychanalyste), Gabriel Marcel (théologien et philosophe), Raymond Abellio (philosophe), Hubert Larcher (rédacteur en chef de la Revue métapsychique), Maryse Choisy (écrivaine et journaliste), Valérie Gaunt (actrice), Paul Chauchard (médecin), André Poray (écrivain, ingénieur), Georges-Emmanuel Clancier (écrivain et poète), Alfred Tomatis (oto-rhino-laryngologiste), Marianne Kohler (journaliste) et Rosalind Heywood (témoin/victime d'expériences métapsychiques) - réalisation : Massimo Bellini

Shortly after the ratification of the US Constitution in 1789, twenty-two-year-old Andrew Jackson pledged his allegiance to the king of Spain. Prior to the Louisiana Purchase, imperial control of the North American continent remained an open question. Spain controlled the Mississippi River, closing it to American trade in 1784, and western men on the make like Jackson had to navigate the overlapping economic and political forces at work with ruthless pragmatism. In Empire of Commerce: The Closing of the Mississippi and the Opening of Atlantic Trade (University of Virginia Press, 2024), Dr. Susan Gaunt Stearns takes readers back to a time when there was nothing inevitable about the United States' untrammeled westward expansion. Her work demonstrates the centrality of trade on and along the Mississippi River to the complex development of the political and economic structures that shaped the nascent American republic. Dr. Stearns's perspective-shifting book reconfigures our understanding of key postrevolutionary moments—the writing of the Constitution, the outbreak of the Whiskey Rebellion, and the Louisiana Purchase—and demonstrates how the transatlantic cotton trade finally set the stage for transforming an imagined west into something real. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Shortly after the ratification of the US Constitution in 1789, twenty-two-year-old Andrew Jackson pledged his allegiance to the king of Spain. Prior to the Louisiana Purchase, imperial control of the North American continent remained an open question. Spain controlled the Mississippi River, closing it to American trade in 1784, and western men on the make like Jackson had to navigate the overlapping economic and political forces at work with ruthless pragmatism. In Empire of Commerce: The Closing of the Mississippi and the Opening of Atlantic Trade (University of Virginia Press, 2024), Dr. Susan Gaunt Stearns takes readers back to a time when there was nothing inevitable about the United States' untrammeled westward expansion. Her work demonstrates the centrality of trade on and along the Mississippi River to the complex development of the political and economic structures that shaped the nascent American republic. Dr. Stearns's perspective-shifting book reconfigures our understanding of key postrevolutionary moments—the writing of the Constitution, the outbreak of the Whiskey Rebellion, and the Louisiana Purchase—and demonstrates how the transatlantic cotton trade finally set the stage for transforming an imagined west into something real. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Shortly after the ratification of the US Constitution in 1789, twenty-two-year-old Andrew Jackson pledged his allegiance to the king of Spain. Prior to the Louisiana Purchase, imperial control of the North American continent remained an open question. Spain controlled the Mississippi River, closing it to American trade in 1784, and western men on the make like Jackson had to navigate the overlapping economic and political forces at work with ruthless pragmatism. In Empire of Commerce: The Closing of the Mississippi and the Opening of Atlantic Trade (University of Virginia Press, 2024), Dr. Susan Gaunt Stearns takes readers back to a time when there was nothing inevitable about the United States' untrammeled westward expansion. Her work demonstrates the centrality of trade on and along the Mississippi River to the complex development of the political and economic structures that shaped the nascent American republic. Dr. Stearns's perspective-shifting book reconfigures our understanding of key postrevolutionary moments—the writing of the Constitution, the outbreak of the Whiskey Rebellion, and the Louisiana Purchase—and demonstrates how the transatlantic cotton trade finally set the stage for transforming an imagined west into something real. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Shortly after the ratification of the US Constitution in 1789, twenty-two-year-old Andrew Jackson pledged his allegiance to the king of Spain. Prior to the Louisiana Purchase, imperial control of the North American continent remained an open question. Spain controlled the Mississippi River, closing it to American trade in 1784, and western men on the make like Jackson had to navigate the overlapping economic and political forces at work with ruthless pragmatism. In Empire of Commerce: The Closing of the Mississippi and the Opening of Atlantic Trade (University of Virginia Press, 2024), Dr. Susan Gaunt Stearns takes readers back to a time when there was nothing inevitable about the United States' untrammeled westward expansion. Her work demonstrates the centrality of trade on and along the Mississippi River to the complex development of the political and economic structures that shaped the nascent American republic. Dr. Stearns's perspective-shifting book reconfigures our understanding of key postrevolutionary moments—the writing of the Constitution, the outbreak of the Whiskey Rebellion, and the Louisiana Purchase—and demonstrates how the transatlantic cotton trade finally set the stage for transforming an imagined west into something real. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Shortly after the ratification of the US Constitution in 1789, twenty-two-year-old Andrew Jackson pledged his allegiance to the king of Spain. Prior to the Louisiana Purchase, imperial control of the North American continent remained an open question. Spain controlled the Mississippi River, closing it to American trade in 1784, and western men on the make like Jackson had to navigate the overlapping economic and political forces at work with ruthless pragmatism. In Empire of Commerce: The Closing of the Mississippi and the Opening of Atlantic Trade (University of Virginia Press, 2024), Dr. Susan Gaunt Stearns takes readers back to a time when there was nothing inevitable about the United States' untrammeled westward expansion. Her work demonstrates the centrality of trade on and along the Mississippi River to the complex development of the political and economic structures that shaped the nascent American republic. Dr. Stearns's perspective-shifting book reconfigures our understanding of key postrevolutionary moments—the writing of the Constitution, the outbreak of the Whiskey Rebellion, and the Louisiana Purchase—and demonstrates how the transatlantic cotton trade finally set the stage for transforming an imagined west into something real. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In today's Afro-Euro Reco12 pop-up meeting, Andrew E speaks to us.  His talk is entitled "The Gaunt Prospector".Here is a little about  Andrew E:I came into recovery 8 months ago in a 12 step treatment centre after more than 40 years of active addiction, primarily to alcohol, heroin and crack. In that treatment centre I found what I always thought would be unattainable  - the solution. I have a sponsor, I've been through the steps a second time, I go to meetings every day, I do lots of service, I sponsor other guys and I have a life led by God. A God who has given me a life of freedom, meaning, purpose and usefulness.Reco12 Afro-Euro Timezone is a Reco12 Resource in and for the Afro-Euro time zone hosted by Karen A.  We hope that you will join us and draw strength and hope from these podcasts that we will host every other Wednesday at 9AM GMT / 11AM Israel time.Reco12 appreciates your help in keeping us working our 12th Step with these great resources and services for the addict and loved ones.  We gratefully accept contributions to help cover the costs of the Zoom platform, podcast platform, web hosting, and administrative costs.  To become a Reco12 Spearhead you can quickly and easily become a monthly donor here: https://www.reco12.com/support  or you can do one-time donations through PayPal (https://www.paypal.me/reco12)  or Venmo:  @Reco-Twelve .  Thanks for your support!If you would like to get in contact with either Karen A or Andrew E, please send an email to reco12pod@gmail.com and we will get you connected with them.Support the showPrivate Facebook GroupInstagram PageBecome a Reco12 Spearhead (Monthly Supporter)PatreonPayPalVenmo: @Reco-TwelveYouTube ChannelReco12 WebsiteEmail: reco12pod@gmail.com to join WhatsApp GroupReco12 Shares PodcastReco12 Shares Record a Share LinkReco12 Noodle It Out with Nikki M PodcastReco12 Big Book Roundtable Podcast

Send us a textLaird Barron is on the podcast. This feels like cause for celebration.  Not only is Laird Barron a phenomenal writer. Not only is it wonderful that he's back to writing and talking about writing. Not only am I lucky to be able to speak to him… We also talked about DOGS!  Granted, a cybernetic, immortal monster hound called Rex – but a dog nonetheless. That's just one of the crazy concepts that make up the stories in Laird's new collection, Not a Speck of Light… and I mean crazy. These stories involve evil fathers, strange invasions, billionaire bird-women and a disaster-addicted monster – and we talk about how Laird balances the bizarre and brutal, the cosmic and the cynical, the horrific and the hardboiled. Plus a lot of info on a very exciting project he's currently working hard on. Let's all just be happy, Laird Barron is back. He's writing. And he's Talking Scared. Enjoy. Join the Laird Barron Reddit Read-along  Other books mentioned:When Things Get Dark: Stories Inspired by Shirley Jackson (2021), edited by Ellen DatlowThe Beautiful Thing That Awaits Us All (2013), by Laird BarronBlood Standard (2018), by Laird BarronThe Fisherman (2016), by John Langan“On Skua Island” – in Mr Gaunt and Other Uneasy Encounters (2009), by John LanganThe Children of Old Leech: A Tribute to the Carnivorous Cosmos of Laird Barron (2014), edited by Ross E. Lockhart and Jason SteeleThe Delicate Prey, and Other Stories (1950), by Paul BowlesThe Sheltering Sky (1949), by Paul Bowles Support Talking Scared on Patreon Come talk books on Twitter @talkscaredpod, on Instagram, or email direct to talkingscaredpod@gmail.com Support the show

This week, Vanessa and Matt explore the theme of Ambition in Chapter 10 of Harry Potter and the Half Blood Prince! They discuss the Half Blood Prince's gender, Snape's ambition, and Merope's blossoming romance! Throughout the episode we consider the question: how do our ambitions shift over time?Thank you to Natalie for this week's voicemail! Next week we're reading Chapter 11, Hermione's Helping Hand, through the theme of Despair with Matt Potts.--It's two sickles to join S.P.E.W., and only two dollars to join our Patreon for extra bloopers every week! Please consider helping us fill our Gringotts vault so we can continue to make this show. Hosted on Acast. See acast.com/privacy for more information.

This week, Vanessa and Casper explore the theme of Empowerment in Chapter 9 of Harry Potter and the Half Blood Prince! They discuss McGonnagall's excellent leadership, Harry's snappy come-backs, and how to be a good quidditch captain! Throughout the episode we consider the question: how do you redistribute power in broken systems?Thank you to our anonymous listener for this week's voicemail! Next week we're reading Chapter 10, The House of Gaunt, through the theme of Ambition with Matt Potts.--It's two sickles to join S.P.E.W., and only two dollars to join our Patreon for extra bloopers every week! Please consider helping us fill our Gringotts vault so we can continue to make this show. Hosted on Acast. See acast.com/privacy for more information.

"Uneasy lies the head that wears a crown…” Henry IV has been portrayed as both a shadowy, obscure figure, and a strong king who was loved by his people. Prior to ascending the throne, Henry, the son of John of Gaunt, was admired for his glamour, clemency, courage and strong faith, but these sympathies quickly turned to suspicion when he became a ruling regicide. Indeed, after a failed rebellion in 1388 against Richard II, Henry led a second coup against the king, and successfully usurped the throne in 1399. Once king, keen to gain legitimacy, he delivered his claim to the throne in English, and vowed to respect the will of the people. But he had inherited a divided country, which was surrounded by enemies in France, Scotland and Wales. And, despite being elected to the throne by his peers, and, as some sources claimed, prophesied by Merlin and selected by a greyhound, Henry quickly lost popularity, and himself faced violent rebellions. When the brewing uprising in Northern Wales finally erupted in the autumn of 1400, with the Scots following suit not long thereafter, Henry would need all his allies to stand firmly by his side… Join Tom and Dominic as they explore the life and reign of Henry IV, an epic tale of plunder, rivalry and jealousy. _______ *The Rest Is History LIVE in the U.S.A.* If you live in the States, we've got some great news: Tom and Dominic will be performing throughout America in November, with shows in San Francisco, L.A., Chicago, Philadelphia, Washington D.C., Boston and New York.  *The Rest Is History LIVE at the Royal Albert Hall* Tom and Dominic, accompanied by a live orchestra, take a deep dive into the lives and times of two of history's greatest composers: Wolfgang Amadeus Mozart and Ludwig van Beethoven. Tickets on sale now at TheRestIsHistory.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Woniya Dawn Thibeault, winner of Alone: Frozen, author of Never Alone: A Solo Arctic Survival Journey   In 2019, primitive skills instructor and master hide-tanner Woniya Dawn Thibeault was selected for the Alone Season Six challenge. She and nine other contestants were dropped off along the East Arm of the Great Slave Lake, in Canada's Northwest Territories, in late fall, with the arctic winter closing in. It was a grim and unforgiving landscape unlike anything she'd ever encountered or even imagined. Her life there became a slow-moving race with starvation and brutal cold, fishing, eating grubs and running snares, perfecting her shelter and learning, learning, to listen to the earth for whatever it might offer her. Thibeault survived 73 days, becoming the second-to-last contestant, drawing on every reserve of tenacity and skill to meet the challenges of each day. Gaunt, near physical collapse and fifty pounds lighter, she tapped out and returned home to California. Her convalescence took months, and she re-entered her life an entirely changed person. And then she did it again.    ____ Enter the MeatEater Experience Sweepstakes: https://go.bhafundraising.org/meateatersweeps24/Campaign/Details

Chris Kerr was 12 when he first observed a deathbed vision. His memory of that summer in 1974 is blurred, but not the sense of mystery he felt at the bedside of his dying father. Throughout Kerr's childhood in Toronto, his father, a surgeon, was too busy to spend much time with his son, except for an annual fishing trip they took, just the two of them, to the Canadian wilderness. Gaunt and weakened by cancer at 42, his father reached for the buttons on Kerr's shirt, fiddled with them and said something about getting ready to catch the plane to their cabin in the woods. “I knew intuitively, I knew wherever he was, must be a good place because we were going fishing,” Kerr told me.Kerr now calls what he witnessed an end-of-life vision. His father wasn't delusional, he believes. His mind was taking him to a time and place where he and his son could be together, in the wilds of northern Canada.Kerr followed his father into medicine, and in the last 10 years he has hired a permanent research team that expanded studies on deathbed visions to include interviews with patients receiving hospice care at home and with their families, deepening researchers' understanding of the variety and profundity of these visions.