Podcasts about George Eliot

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. 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

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel.

Nick Cohen and Dr Bharat Tandon, academic, novelist & Booker Prize judge, discuss Jane Austen's astonishing legacy before delving into a detailed analysis of her enduring popularity and literary significance. They explored themes of claustrophobia in Austen's works, particularly how her novels depict the constraints of patriarchal structures and economic relations for women, while also examining the misinterpretation of her writing by modern figures like Milo Yiannopoulos. The discussion concluded with an analysis of Austen's subtle political commentary in "Mansfield Park" and her innovative narrative style, emphasising the importance of returning to the original texts for a deeper understanding of her work.Bharat and Nick discuss the theme of claustrophobia in the works of early 19th-century women writers, particularly focusing on Jane Austen. They explore how Austen's novels, such as "Sense and Sensibility" and "Pride and Prejudice," depict the inescapable constraints of patriarchal structures and economic relations for women. Bharat highlighted the significance of the number 27 in Austen's fiction, representing the age at which women might lose economic security and be forced into undesirable marriages.Nick compares Austen's portrayal of a claustrophobic society to modern experiences of social media, where individuals are constantly under scrutiny. They also discussed Austen's innovative narrative style, which allows readers to connect with marginalised female characters while highlighting their societal constraints.Slavery in Austen's 'Mansfield ParkBharat and Nick discuss the portrayal of slavery in Jane Austen's "Mansfield Park," analyzing whether the novel is complicit with the social injustices of its time. Bharat argues that while the novel acknowledges the economic and ethical presence of slavery, it does not easily draw the conclusion that Austen is complicit with it. Instead, he suggests that the novel highlights the socio-economic guilt of the early 19th century without offering a solution, reflecting the characters' anxious avoidance of discussing slavery.Read all about it! Dr Bharat Tandon is a writer and lecturer at the University of East Anglia's School of Literature, Drama and Creative Writing.A graduate in English literature from Trinity College, Cambridge, Bharat then taught at Cambridge from 1995 to 2006, and at Oxford from 2006-11, before joining the UEA in 2012. His research and teaching interests take in British literature from 1700 to the present day, and American literature from 1900. His doctoral research was on Jane Austen, and he has worked in detail on other nineteenth-century novelists such as Charles Dickens, George Eliot, and Thomas Hardy, as well as on British Modernist writers such as Henry Green. In addition to his academic research and teaching, he been active since 1994 as a commentator on contemporary British and American fiction and culture, writing regularly for publications such as The Times Literary Supplement and The Daily Telegraph.Nick Cohen's @NickCohen4 latest Substack column Writing from London on politics and culture from the UK and beyond. Hosted on Acast. See acast.com/privacy for more information.

A very special Christmas treat for our listeners. Joseph and Jessa discuss George Eliot's Felix Holt: The Radical, which asks the very important question: is the socialist's primary task to yell at people and tell them they are wrong about everything? Set in the 1830s after political reform has granted voting rights to new -- but still very limited -- populations, a small English market town deals with the tumult that follows. A powerfully rich heir returns to stand for public office as "a radical," a young man decides to devote himself to the bettering of the working classes by telling them they are all ignorant drunks, and a young woman must decide which one of these weirdos to marry.  But there is also a strange paternity case and a power struggle over an estate, a satirical storyline about the foolishness of patriarchal lineage, and a few good jokes about atheists.  Join the discussion: http://theculturewedeserve.substack.com

In part two of our “Best Books of the Year” conversation, Hunter and Autumn share their favorite reads as categorized within general interest, children's books, and fiction and literature, reflecting on the stories that stuck with them this year. From critiques of modern discourse and meditations on land and interdependence to novels of grace, friendship, and moral awakening, these books ask what it means to live well and love rightly.Resources mentioned in this episode:General Interest:Summer of our Discontent: The Age of Certainty and the Demise of Discourse by Thomas Chatterton WilliamsA Walk in the Park: The True Story of a Spectacular Misadventure in the Grand Canyon by Kevin FedarkoFrom Strength to Strength by Arthur BrooksChildren's:We Sing! and Pippa and the Singing Tree by Kristyn GettyColorado: 50 Hikes With Kids by Wendy Gorton and Kristin TillackFiction and Literature:Lord of the Rings (3 Vols.) by J.R.R. Tolkien - Fiction and LiteratureTill We Have Faces by C.S. LewisSilas Marner: The Weaver of Raveloe by George EliotOrdinary Grace by William Kent KruegerMaster and Commander by Patrick O'BrianDeath Comes for the Archbishop by Willa CatherSmall Things Like These by Clare Keegan

On December 22, 1880, George Eliot died quietly in her house on Cheyne Row in Chelsea, brought down not by drama but by a winter cold caught at a London concert. This piece revisits her final days and the life behind the name: the woman who disguised herself to be heard, wrote novels that taught generations how to think and feel, and reshaped English fiction by insisting that ordinary lives mattered. A winter tale of intellect, sympathy, and the quiet power of place.

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

Merriam-Webster's Word of the Day for December 1, 2025 is: pseudonym • SOO-duh-nim • noun A pseudonym is a name that someone (such as a writer) uses instead of their real name. // bell hooks is the pseudonym of the American writer Gloria Jean Watkins. See the entry > Examples: “Edgar Wright, the filmmaker and genre specialist who has given the world modern gems like Shaun of the Dead, Hot Fuzz, and Baby Driver, estimates he was around 13 years old when he read ‘the Bachman Books,' a collection of four novels that Stephen King published under the pseudonym Richard Bachman during the early years of his career.” — Don Kaye, Den of Geek, 9 Oct. 2025 Did you know? Pseudonym has its origins in the Greek adjective pseudōnymos, which means “bearing a false name.” French speakers adopted the Greek word as the noun pseudonyme, and English speakers later modified the French word into pseudonym. Many celebrated authors have used pseudonyms. Samuel Clemens wrote under the pseudonym “Mark Twain,” Charles Lutwidge Dodgson assumed the pseudonym “Lewis Carroll,” and Mary Ann Evans used “George Eliot” as her pseudonym.

This is a "re-air," since economic uncertainty continues this year-end giving season."...for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs..."This week, I am reflecting a quote from George Eliot's Middlemarch, published in 1871 to ask the question, "will donor give during uncertainty?"Reflection QuestionsWhen was the last time you did a temperature check with your donors? Asked them how they are feeling in the uncertainty?  Asked them how they are keeping the darkness at bay? And, just listen.Then consider, will your vision inspire donors to give to a capital campaign?Reflection for Capital CampaignsOne common question I receive is “is this the right time for a campaign because of … the fill-in-the-blank economic or societal uncertainty?”  Will donors give?During uncertain times, the ordinary people who are our donors often feel overwhelmed.  When there is increased division, enmity, and strife, it's easy to feel powerless and to focus inward. We begin to feel as though nothing will change and, for some, this can lead to a decrease in their giving. And, yet, neuroscience has proven that the act of giving boosts a donor's mood and their feelings of agency.  When we give donors a concrete way that they can help their community, they no longer feel as powerless.  Their donations become the small acts of kindness and love that they can do to push back against the enmity.  Through giving, we empower them to partner with us to keep the uncertainty in check.  We empower them to grow the good in each of our communities through these unhistoric acts.  A well-planned capital campaign can cast a vision that becomes a visible reminder of the good they can do in the community.  What do you think? Send me a text. To explore small town capital campaign coaching deeper and to schedule an free explore coaching call, visit ServingNonprofits.com.Music credit: Woeisuhmebop

It is never too late to be what you might have been. –George Eliot   Check out John Lee Dumas' award winning Podcast Entrepreneurs on Fire on your favorite podcast directory. For world class free courses and resources to help you on your Entrepreneurial journey visit EOFire.com

In this episode of Quakers Today, co-hosts Sweet Miche (they/them) and Peterson Toscano (he/him) invite you to learn more about the sometimes baffling practice of silent worship. Whether you're a long-time Friend or someone who has never stepped into a mostly silent meeting, we are pulling back the curtain to explore what happens in our hearts, minds, and bodies when we sit together in worship. The Purpose of Ministry We speak with author Rhiannon Grant about her book, Speaking in Quaker Meeting for Worship: What, When, How, and Why. Rhiannon helps us understand the purpose of spoken ministry in the silent meeting, explaining how speech that deepens silence is a vital part of our shared spiritual practice.  Quote: "The purpose of ministry then might be understood as deepening the silence of meeting for worship." Read a review of Speaking in Quaker Meeting for Worship by Paul Buckley at FriendsJournal.org.  Learn more about Rhiannon Grant's book and other Quaker Quicks at QuakerBooks.org/Collections/Quaker-Quicks. Our First Meetings for Worship Peterson and Sweet Miche share their first experiences in Quaker worship: Peterson's search for community after 9/11 and Sweet Miche's feeling of guidance at Pendle Hill. We also hear from Paula Christophersen, a Quaker in Germany, who shared her first experience of ministry. You can watch the full video of Paula Christophersen on YouTube or at QuakerSpeak.com. Meeting for Worship with Attention to Worship Peterson introduces a new format for meeting for worship he's been experimenting with: Meeting for Worship with Attention to Worship. This model of worship uses the meeting's existing structure to guide newcomers by making the internal work of worship visible and conversational. Quaker Fiction We explore how writers use fiction and poetry to make the internal, mystical experience of worship visible. Anne E.G. Nydam's story, “The Conduits”, reveals the flow of connection in meeting through glowing lines of light. Peterson shares two of his short stories! “Penn's Spring”, uses a mysterious, unexplained wet patch on a meetinghouse wall to represent a spiritual movement in a "stagnant and dry" meeting. “What Is Actually There” features a high-schooler named Jordan reflecting on the enduring effort of the Quaker path. “A Fine Showing for the Court of Owls” by Jonathan Doering is a story about the radical Quaker abolitionist Benjamin Lay. Read Quaker-themed fiction and poetry in the November 2025 issue of Friends Journal. Listener Responses Who is someone you've encountered in fiction that embodies Quakerness? The character could be from a book or movie. They could be a hero or even a minor character, and they do not need to be Quaker.  This month's fictional “Quakers” include: Pooh Bear, Maisie Dobbs, Gumby, Ted Lasso, Dorothy from The Wizard of Oz, WALL-E, Stevens from The Remains of the Day, and Dorothea from George Eliot's Middlemarch. Next Month's Question We want to hear from you! What do you believe now that you didn't believe before becoming a friend or before encountering Quakerism?  Leave us a voice memo with your name and town at 317-QUAKERS (317-782-5377). (+1 if outside the U.S.) You can also reply by email at podcast@FriendsJournal.org or on our social media channels. Sponsors Quakers Today is the companion podcast to Friends Journal and other Friends Publishing Corporation content. It is written, hosted, and produced by Peterson Toscano and Sweet Miche. Season Five of Quakers Today is sponsored by the American Friends Service Committee and Friends Fiduciary. For over a decade, the American Friends Service Committee has provided technical and strategic support for divestment campaigns around the world. Today, AFSC's Action Center for Corporate Accountability aims to expose and reduce corporate complicity in mass incarceration, immigrant detention, border militarization, and the Israeli military occupation. Visit investigate.afsc.org and find resources to help you divest from corporate-sponsored state violence. Friends Fiduciary is a Quaker non-profit offering cost-effective, professional investment services to Friends meetings, churches, schools, and organizations. We offer five value-aligned portfolios, managed by 12 SEC-registered firms. We screen every holding for Quaker values, engage in shareholder advocacy, and in 2024, distributed $16 million to our constituents. Learn more about us at FriendsFiduciary.org. Music in this episode comes from Epidemic Sound. For the extended video version of this episode, visit the Friends Journal YouTube channel (insert hyperlink). For a full transcript, visit QuakersToday.org.

Nous sommes le 22 décembre 1880 au cimetière de Highgate au nord de Londres. C'est là que l'on vient d'inhumer Mary Ann Evans mieux connue sous le nom de George Eliot. Son jeune mari avait rêvé pour dernière sépulture, du « Coin des poètes » dans l'abbaye de Westminster, mais pour une femme ayant transgressé toutes les convenances de la très rigide société victorienne, c'était impensable. Des « scènes de la vie du clergé » à « Daniel Deronda » en passant par « The Mill and the Floss », « Middelmarch » et quelques autres, celle qui s'inventera son nom de plume, George Eliot, n'aura eu cesse de témoigner des grandes questions de son temps : l'industrialisation, la foi, l'éducation , l'antisémitisme et, déjà, les inégalités entre les sexes. Adepte d'un changement de société dans la douceur, elle refusait le progrès rapide et brutal, ce qui déplut au féministe qui la suivront. D'elle, , l'auteur des « Ailes de la Colombe », écrira : « elle était d'une magnifique laideur ; elle avait une tête chevaline , une allure de bas-bleu ; Je ne sais pas en quoi réside son charme, mais dans cette grande laideur réside une beauté puissante. » De cette laideur George Eliot fera sa force. Partons sur les traces d'une femme qui, après avoir connu tous les honneurs et quelques déshonneurs, sera oubliée avant que ne la redécouvre une certaine … Virginia Woolf. Partons sur les traces de George Eliot. Invitée : Myriam Campinaire, traductrice et interprète. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this third discussion on Silas Marner, Hunter and Autumn discuss Marner's transformation and the effect of sin and secrecy in Godfrey Cass' life. Eppie's arrival transforms Silas's lonely life and increasingly connects him to the life of Raveloe. George Eliot shows that the effects of sin and redemption are often slow but sure. Godfrey Cass's hidden guilt ripens into regret, while Silas's increasing openness to love and spiritual community blossoms into restoration.Through Dolly Winthrop's steadfast faith, the quiet working of Providence, and the contrast between false and true treasure, Eliot paints a vision of faith, family, and community. The return of Silas's gold and the reappearance of Godfrey remind us that what is hoarded in secrecy turns to emptiness, but what is shared in love endures. The novel closes with a scene in the context of the life of the village — Eppie's marriage, Silas's contentment, and the joy of belonging.

Catherine Crowe was a wildly acclaimed Victorian novelist, playwright, social critic and …ghost hunter? Her novels were as popular as Charles Dickens,' and Ralph Waldo Emerson, Harriet Martineau, and George Eliot were her ardent fans. And her pioneering catalog of ghosts and the supernatural, The Night Side of Nature, was one of the first and most influential works to be adopted by the up-and-coming Spiritualist movement. So how did this incredibly talented, incredibly famous woman disappear from our collective memory? The answer involves a few misbehaving spirits, a little bit of nudity, and a whole lot of mean-spirited gossip by one very famous frenemy.  For this year's Halloween Special, Professor Ruth Heholt helps Olivia resurrect the wildly famous, wildly fascinating, wildly under-appreciated Catherine Crowe. Selections from Catherine Crowe's works read for us by Matthew Meikle and Emma Porter. Music featured in this episode provided by Amanda Setlik Wilson, Kevin MacLeod, Doug Maxwell, Myuu, Brian Bolger, Jesse Gallagher, and the Weber State University Choirs and Orchestra. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ask yourself: can you? It is a question that George Eliot asks over and over through her characters in Middlemarch, a 19th-century novel that speaks to our own fractious age. Eliot highlights how important it is to see the world from the point of view of others — even characters we don't like. *This is second episode in our two-part series. It originally aired on April 7, 2002.We'd love to hear from you! Complete our listener survey here.

Virginia Woolf called George Eliot's novel, Middlemarch “one of the few English books written for grownups.” It's a book full of characters asking: is it a good thing to live a life of duty, or is it ridiculous? Even after 150 years since the book was published, it provides up-to-date lessons in how to live a modern life. *This is part one or two-part series. It originally aired on April 6, 2022.

Critic and opinion writer Christopher Scalia, son of the late Justice Antonin Scalia, recommends 13 novels with conservative themes that, he says, aren't widely known by conservatives. In his book "13 Novels Conservatives Will Love (but Probably Haven't Read," the former English professor discusses books by Walter Scott, George Eliot, P.D. James, Zora Neale Hurston, and others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Critic and opinion writer Christopher Scalia, son of the late Justice Antonin Scalia, recommends 13 novels with conservative themes that, he says, aren't widely known by conservatives. In his book "13 Novels Conservatives Will Love (but Probably Haven't Read," the former English professor discusses books by Walter Scott, George Eliot, P.D. James, Zora Neale Hurston, and others. Learn more about your ad choices. Visit megaphone.fm/adchoices

By Touch Alone: Blindness and Reading in Nineteenth-Century Culture (U Michigan Press, 2025) by Dr. Vanessa Warne demonstrates how reading by touch not only changed the lives of nineteenth-century blind people, but also challenged longstanding perceptions about blindness and reading. Over the course of the nineteenth century, thousands of blind people learned how to read by touch. Using fiction, essays, letters, and speeches authored by blind readers, By Touch Alone traces the ways in which literacy changed blind people's experiences of education, leisure, spirituality, and social engagement. Analyzing records of activism and innovation as well as frustration, this study documents the development of an inkless book culture shaped by blind readers' preferences and needs. While By Touch Alone features the writing and ideas of an understudied community of nineteenth-century blind authors, innovators, and activists, it also engages the work of sighted authors such as George Eliot and Rudyard Kipling to explore the culture-wide effects of reading by touch. The emergence of a new category of readers who did not rely on sight to read prompted sighted people to reimagine blindness and adopt more progressive attitudes toward blind people. In our own era, one characterized by the increasing digitization of our reading lives, Vanessa Warne's exploration positions scholars and blind readers to navigate present-day developments and shape the future of their reading lives. A carefully contextualized study of how reading by touch shaped Victorian culture, By Touch Alone adds new chapters to the history of disability and reading. This interview was conducted by Dr. Miranda Melcher whose 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. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcast 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

By Touch Alone: Blindness and Reading in Nineteenth-Century Culture (U Michigan Press, 2025) by Dr. Vanessa Warne demonstrates how reading by touch not only changed the lives of nineteenth-century blind people, but also challenged longstanding perceptions about blindness and reading. Over the course of the nineteenth century, thousands of blind people learned how to read by touch. Using fiction, essays, letters, and speeches authored by blind readers, By Touch Alone traces the ways in which literacy changed blind people's experiences of education, leisure, spirituality, and social engagement. Analyzing records of activism and innovation as well as frustration, this study documents the development of an inkless book culture shaped by blind readers' preferences and needs. While By Touch Alone features the writing and ideas of an understudied community of nineteenth-century blind authors, innovators, and activists, it also engages the work of sighted authors such as George Eliot and Rudyard Kipling to explore the culture-wide effects of reading by touch. The emergence of a new category of readers who did not rely on sight to read prompted sighted people to reimagine blindness and adopt more progressive attitudes toward blind people. In our own era, one characterized by the increasing digitization of our reading lives, Vanessa Warne's exploration positions scholars and blind readers to navigate present-day developments and shape the future of their reading lives. A carefully contextualized study of how reading by touch shaped Victorian culture, By Touch Alone adds new chapters to the history of disability and reading. This interview was conducted by Dr. Miranda Melcher whose 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. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

By Touch Alone: Blindness and Reading in Nineteenth-Century Culture (U Michigan Press, 2025) by Dr. Vanessa Warne demonstrates how reading by touch not only changed the lives of nineteenth-century blind people, but also challenged longstanding perceptions about blindness and reading. Over the course of the nineteenth century, thousands of blind people learned how to read by touch. Using fiction, essays, letters, and speeches authored by blind readers, By Touch Alone traces the ways in which literacy changed blind people's experiences of education, leisure, spirituality, and social engagement. Analyzing records of activism and innovation as well as frustration, this study documents the development of an inkless book culture shaped by blind readers' preferences and needs. While By Touch Alone features the writing and ideas of an understudied community of nineteenth-century blind authors, innovators, and activists, it also engages the work of sighted authors such as George Eliot and Rudyard Kipling to explore the culture-wide effects of reading by touch. The emergence of a new category of readers who did not rely on sight to read prompted sighted people to reimagine blindness and adopt more progressive attitudes toward blind people. In our own era, one characterized by the increasing digitization of our reading lives, Vanessa Warne's exploration positions scholars and blind readers to navigate present-day developments and shape the future of their reading lives. A carefully contextualized study of how reading by touch shaped Victorian culture, By Touch Alone adds new chapters to the history of disability and reading. This interview was conducted by Dr. Miranda Melcher whose 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. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

By Touch Alone: Blindness and Reading in Nineteenth-Century Culture (U Michigan Press, 2025) by Dr. Vanessa Warne demonstrates how reading by touch not only changed the lives of nineteenth-century blind people, but also challenged longstanding perceptions about blindness and reading. Over the course of the nineteenth century, thousands of blind people learned how to read by touch. Using fiction, essays, letters, and speeches authored by blind readers, By Touch Alone traces the ways in which literacy changed blind people's experiences of education, leisure, spirituality, and social engagement. Analyzing records of activism and innovation as well as frustration, this study documents the development of an inkless book culture shaped by blind readers' preferences and needs. While By Touch Alone features the writing and ideas of an understudied community of nineteenth-century blind authors, innovators, and activists, it also engages the work of sighted authors such as George Eliot and Rudyard Kipling to explore the culture-wide effects of reading by touch. The emergence of a new category of readers who did not rely on sight to read prompted sighted people to reimagine blindness and adopt more progressive attitudes toward blind people. In our own era, one characterized by the increasing digitization of our reading lives, Vanessa Warne's exploration positions scholars and blind readers to navigate present-day developments and shape the future of their reading lives. A carefully contextualized study of how reading by touch shaped Victorian culture, By Touch Alone adds new chapters to the history of disability and reading. This interview was conducted by Dr. Miranda Melcher whose 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. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Rectenwald discusses his newly founded Anti-Zionist America PAC (AZAPAC) which exists to end America's political, financial, and military entanglement with Israel. He explains what has gone wrong with Zionist influence, how its mask has come off under the Trump administration, the attack on civil liberties, the devastation of Gaza, and more. He also gives an update on where we're at with the globalist project for a technocratic world state. Watch on BitChute / Brighteon / Rumble / Substack / YouTube Geopolitics & Empire · Michael Rectenwald: Disentangling the Zionist Lobby Through AZAPAC #572 *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics easyDNS (15% off with GEOPOLITICS) https://easydns.com Escape The Technocracy (15% off with GEOPOLITICS) https://escapethetechnocracy.com/geopolitics Expat Money Summit 2025 (20% off VIP with EMPIRE) https://2025.expatmoneysummit.com PassVult https://passvult.com Sociatates Civis https://societates-civis.com StartMail https://www.startmail.com/partner/?ref=ngu4nzr Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites Michael Rectenwald https://www.michaelrectenwald.com AZAPAC https://www.aza-pac.com Substack https://mrectenwald.substack.com X https://x.com/RecTheRegime About Michael Rectenwald Dr. Michael Rectenwald is the author of twelve books, including The Great Reset and the Struggle for Liberty: Unraveling the Global Agenda (Jan. 2023), Thought Criminal (Dec. 2020); Beyond Woke (May 2020); Google Archipelago: The Digital Gulag and the Simulation of Freedom (Sept. 2019); Springtime for Snowflakes: “Social Justice” and Its Postmodern Parentage (an academic's memoir, 2018); Nineteenth-Century British Secularism: Science, Religion and Literature (2016); Academic Writing, Real World Topics (2015, Concise Edition 2016); Global Secularisms in a Post-Secular Age (2015); Breach (Collected Poems, 2013); The Thief and Other Stories (2013); and The Eros of the Baby-Boom Eras (1991). (See the Books page.) Michael was a distinguished fellow at Hillsdale College and a Professor of Liberal Studies and Global Liberal Studies at NYU. He also taught at Duke University, North Carolina Central University, Carnegie Mellon University, and Case Western Reserve University. His scholarly and academic essays have appeared in The Quarterly Journal of Austrian Economics, Academic Questions, Endeavour, The British Journal for the History of Science, College Composition and Communication, International Philosophical Quarterly, the De Gruyter anthologies Organized Secularism in the United States and Global Secularisms in a Post-Secular Age, and the Cambridge University Press anthology George Eliot in Context, among others (see the Academic Scholarship page). He holds a Ph.D. in Literary and Cultural Studies from Carnegie Mellon University, a Master's in English Literature from Case Western Reserve University, and a B.A. in English Literature from the University of Pittsburgh. (See his C.V. for details.) Michael's writing for general audiences has appeared on The Mises Institute Wire, Newsweek, The Epoch Times, RT.com, Campus Reform, The New English Review, The International Business Times, The American Conservative, Quillette, The Washington Post, Pittsburgh Post-Gazette, CLG News, LotusEaters.com, Chronicles, and others. (See the Essays and Presentations page.) Michael has appeared on major network political talk shows (Tucker Carlson Tonight, Tucker Carlson Originals, Fox & Friends, Fox & Friends First, Varney & Company, The Ingraham Angle, Unfiltered with Dan Bongino, The Glenn Beck Show), on syndicated radio shows (Coast to Coast AM, Glenn Beck, The Larry Elder Show, and many others),

Join us on Substack - https://substack.com/@elishaandkatievoetbergThis is a newsletter and deeply personal space for us to share family life, homeschooling, and music with you all. We have been writing on Instagram and email for years, but ever since leaving social media behind with our smart phones a few years ago, we have been looking for another space to connect in a meaningful way. -Get it All Done Club: Stop drowning in motherhood and start thriving! https://www.nowthatwereafamily.com/get-it-all-done-clubIs your life just too complicated to ever feel peaceful? Learn how to create a peacefully productive home in one week. Check out Katie's Free Home Management Masterclass: https://www.nowthatwereafamily.com/peacefully-productive-home-masterclass-Katie's book club books: - “My Dear Hemlock - A Christian Living Book for Women, Guard Against Vices, Grow in Virtue, Christian Book for Women” by Tilly Dillehay - https://amzn.to/46jPoV8 - “In Order to Live: A North Korean Girl's Journey to Freedom” by Yeonmi Park - https://amzn.to/3IEveMm - “Silas Marner” by George Eliot - https://amzn.to/4gFC5BL - “Surprised by Joy: The Shape of My Early Life” by C.S. Lewis - https://amzn.to/429nRmU

At the heart of human existence is a tragic ambiguity: the fact that we experience ourselves both as subject and object, internal and external, at the same time, and can never fully inhabit either state. In her 1947 book, Simone de Beauvoir addresses the ethical implications of this uncertainty and the ‘agonising evidence of freedom' it presents, along with the opportunity it creates for continual self-definition. In this episode Jonathan and James discuss these arguments and Beauvoir's warnings against trying to evade the responsibilities imposed upon us by this ambiguity. They also look at the ways in which Beauvoir developed these ideas in The Second Sex and her novels, and her remarkable readings of George Eliot, Virginia Woolf and E.M. Forster. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠https://lrb.me/applecrcip⁠⁠⁠ In other podcast apps: ⁠⁠⁠https://lrb.me/closereadingscip Read more in the LRB: Joanna Biggs: ⁠https://lrb.me/cipbeauvoir1⁠ Toril Moi: ⁠https://lrb.me/cipbeauvoir2⁠ Elaine Showalter: ⁠https://lrb.me/cipbeauvoir3⁠ Audiobooks from the LRB Including Jonathan Rée's 'Becoming a Philosopher: Spinoza to Sartre': ⁠https://lrb.me/audiobookscip

"...for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs..."This week, I am reflecting a quote from George Eliot's Middlemarch, published in 1871 to ask the question, "will donor give during uncertainty?"Reflection QuestionsWhen was the last time you did a temperature check with your donors? Asked them how they are feeling in the uncertainty?  Asked them how they are keeping the darkness at bay? And, just listen.Then consider, will your vision inspire donors to give to a capital campaign?Reflection for Capital CampaignsOne common question I receive is “is this the right time for a campaign because of … the fill-in-the-blank economic or societal uncertainty?”  Will donors give?During uncertain times, the ordinary people who are our donors often feel overwhelmed.  When there is increased division, enmity, and strife, it's easy to feel powerless and to focus inward. We begin to feel as though nothing will change and, for some, this can lead to a decrease in their giving. And, yet, neuroscience has proven that the act of giving boosts a donor's mood and their feelings of agency.  When we give donors a concrete way that they can help their community, they no longer feel as powerless.  Their donations become the small acts of kindness and love that they can do to push back against the enmity.  Through giving, we empower them to partner with us to keep the uncertainty in check.  We empower them to grow the good in each of our communities through these unhistoric acts.  A well-planned capital campaign can cast a vision that becomes a visible reminder of the good they can do in the community.  What do you think? Send me a text. To explore small town capital campaign coaching deeper and to schedule an free explore coaching call, visit ServingNonprofits.com.Music credit: Woeisuhmebop

In this week's episode of The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Great Hearts Academies' Dr. Helen Baxendale interview Dr. Kathryn Hughes, academic historian and award-winning author of George Eliot: The Last Victorian. Dr. Hughes discusses the significance of 19th-century novelist Mary Ann Evans, better known by her pen name George Eliot, in […]

In this week's episode of The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Great Hearts Academies' Dr. Helen Baxendale interview Dr. Kathryn Hughes, academic historian and award-winning author of George Eliot: The Last Victorian. Dr. Hughes discusses the significance of 19th-century novelist Mary Ann Evans, better known by her pen name George Eliot, in shaping British literature and capturing the societal tensions of the Victorian era. She highlights Eliot's formative years in rural Warwickshire, her intellectual and scandalous personal relationship with the philosopher George Henry Lewes, and how her unconventional experiences shaped her writing. Additionally, she delves into Eliot's most celebrated works, including Adam Bede, Silas Marner, and Middlemarch. Dr. Hughes reflects on recurring themes of marriage, women's roles, and political reform, solidifying her reputation as one of the greatest writers of the 19th century and ensuring her lasting impact on modern readers. She concludes the interview with an excerpt from her book, George Eliot: The Last Victorian.

Eindelijk... we openen seizoen 13 met Middlemarch van George Eliot! In Engeland geldt het als een van de belangrijkste Engelstalige boeken ooit geschreven, voor Boeken FM-luisteraars geldt het als het boek dat ze al heel lang een keer besproken zouden willen hebben. In Middlemarch beschrijft Eliot het leven van een aantal mensen uit de Engelse middenklasse, en hoe ze met elkaar omgaan, in het provinciestadje Middlemarch rond 1830. George Eliot was het pseudoniem van Mary Ann Evans. Onlangs is Middlemarch opnieuw gedrukt met een nawoord van onze Ellen, in een vertaling van Annelies Roeleveld en Margret Stevens. Wat heeft Middlemarch betekend voor het volwassen leven van het Boeken FM-panel? Is het eigenlijk een historische roman? Waarom zijn klassiekers van alle tijden? En wie is de vertelstem precies? Een luisteraar vraagt ons of we wel eens graven van schrijvers bezoeken. Voor welke graven zijn we omgelopen? SPONSOR - Brabants Boek Present Het Brabants Boek Present is een initiatief van literair productiehuis Tilt en CultuurfondsNoord-Brabant en wordt dit jaar geschreven door Leonieke Baerwaldt. Meer info lees je opwww.brabantsboekpresent.nl See omnystudio.com/listener for privacy information.

Since the publication of John Milton's epic poem Paradise Lost in 1667, readers and critics have noted the relationship between the poem and the author's political and personal struggles. What has been less prominent - at least until now - is how the poem came to haunt various political struggles over the next four centuries. In this episode, Jacke talks to author Orlando Reade about his book What in Me Is Dark, which looks at twelve readers - including Malcolm X, Thomas Jefferson, George Eliot, and Hannah Arendt - to see how Paradise Lost was understood and used by people immersed in their own revolutionary battles against tyranny and oppression. PLUS author Jodi Picoult (By Any Other Name) stops by to discuss her choice for the last book she will ever read. Join Jacke on a trip through literary England (signup open through the end of September)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠John Shors Travel⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠historyofliterature.com⁠. Or visit the ⁠History of Literature Podcast Tour itinerary⁠ at ⁠John Shors Travel⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠gabrielruizbernal.com. Help support the show at ⁠patreon.com/literature ⁠or ⁠historyofliterature.com/donate ⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Truce That is Not Peace by Miriam Toews is a heartfelt and hopeful memoir about life and art. Miriam joins us to talk about why she writes, silence, language, living in translation and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): A Truce That is Not Peace by Miriam Toews Fight Night by Miriam Toews Sandwich by Catherine Newman Crime and Punishment by Fyodor Dostoevsky The Grapes of Wrath by John Steinbeck The Bell Jar by Sylvia Plath Pride and Prejudice by Jane Austen Middlemarch by George Eliot

In this episode, Hunter and Autumn consider what Proverbs teaches us about how to work wisely—commending diligence, urging careful planning, and calling us to seek wise counsel. While Proverbs and various New Testament passages emphasize the immediate reward of diligent, thoughtful work, Jesus also emphasizes the eternal nature of our work and the necessity of working wisely in and for his kingdom.Resources mentioned in this episode:Silas Marner by George EliotWisdom for Today's Issues: A Topical Arrangement of the Proverbs by Stephen Voorwinde

Tonight's reading comes from Middlemarch. Written by George Eliot (the pen name of Mary Ann Evans) and first published in 1871, this story is part of a series that explores live in a provincial English town. My name is Teddy and I aim to help people everywhere get a good night's rest. Sleep is so important and my mission is to help you get the rest you need. The podcast is designed to play in the background while you slowly fall asleep.For those new to the podcast, it started from my own struggles with sleep. I wanted to create a resource for others facing similar challenges, and I'm so grateful for the amazing community we've built together.

Fort Zumwalt West (MO) Percussion Director and Chapter President for the Missouri Percussive Arts Society Neil Flannigan stops by to talk about his teaching position (03:25), the MOPAS Presidency (21:40), growing up in STL, his percussion and guitar background, the band Rush, Southwind Drum and Bugle Corps, and working at Dierberg's Grocery Store (31:00), attending St. Louis CC and the University of Missouri-St. Louis for undergrad, and meeting his eventual wife Jessie (47:30), his early teaching jobs, his decision not to follow the band director path, and landing his current position during COVID lockdown (01:00:00), and finishes with the Random Ass Questions, including discussions about setting boundaries, Indian food, Jurassic Park, puppetry, bourbon, and great visual art (01:27:00).Finishing with a Rave on the classic George Eliot novel Middlemarch (02:03:20).Neil Flannigan links:Neil Flannigan's Innovative Percussion pageNeil Flannigan's SABIAN Cymbals pagePrevious Podcast Guests mentioned:Jessie Flannigan in 2025Alex Smith in 2018Alexandros Fragiskatos in 2021Megan Arns in 2016Josh Knight in 2017Ivan Trevino in 2017Matt Henry in 2017Patricia Islas in 2021Eric Willie in 2022Other Links:MMPATNicole HackelSebastian BuhtsSt. Louis Wind SymphonyMichael Burritt“Tom Sawyer” - Rush“Smells Like Teen Spirit” - Nirvana“When Doves Cry” - Prince Southwind Drum and Bugle CorpsJim Widner“Fix You” - ColdplayJurassic Park trailerThe Martian trailerThe Martian - Andy WeirGhost Rider - Neil Peart“I Want it That Way” - Backstreet BoysWater Lilies - Claude MonetRaves:Middlemarch - George Eliot

Summer is slipping away and we are on break this week. But we have a fantastic rerun for you — our conversation with Min Jin Lee from last summer, when her book "Pachinko" was named one of the "100 Best Books of the 21st Century" by a New York Times Book Review panel. She spoke about her novel as well as the book she's read the most times — George Eliot's "Middlemarch."“I'm willing to say it's the best English language novel, period. Without question,” Lee says. “George Eliot is probably the smartest girl in the room ever as a novelist. She really was a great thinker, a great logician, a great empathizer and also a great psychologist. She was all of those things. And she was also political. She understood so many aspects of the human mind and the way we interact with each other. And then above all, I think she has a great heart.” Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Our classic literature correspondent Kat Weaver joins us for a look at George Eliot's masterpiece about small towns and bad marriages. We find some wizards in it.

The Mill on the Floss is George Eliot's most autobiographical novel, and the first she published after her identity as a woman was revealed. A ‘dreamscape' version of her Warwickshire childhood, the book is both a working-through and a reimagining of her life. Ruth Yeazell and Deborah Friedell join Tom to discuss the novel and its protagonist Maggie Tullliver, for whom duty – societal, familial, self-imposed – continually conflicts with her personal desires. They explore the book's submerged sexuality, its questioning of conventional gender roles, and the way Eliot's satirical impulse is counterbalanced by the complexity of her characters. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: https://lrb.me/applecrna In other podcast apps: https://lrb.me/closereadingsna Further reading in the LRB: Rachel Bowlby on reading George Eliot: ⁠https://www.lrb.co.uk/the-paper/v35/n07/rachel-bowlby/waiting-for-the-dawn-to-come⁠ Dinah Birch on Eliot's journals: ⁠https://www.lrb.co.uk/the-paper/v21/n10/dinah-birch/no-wonder-it-ached⁠ Rosemary Ashton on Eliot and sex: ⁠https://www.lrb.co.uk/the-paper/v05/n03/rosemary-ashton/two-velvet-peaches⁠ Gordon Haight's speech on Eliot at Westminster Abbey: ⁠http://lrb.co.uk/the-paper/v02/n14/gordon-haight/gordon-haight-s-speech-in-westminster-abbey-on-21-june-when-a-memorial-stone-to-george-eliot-was-unveiled⁠ Next episode: ‘Our Mutual Friend' by Charles Dickens.

It is never too late to be what you might have been. –George Eliot Check out John Lee Dumas' award winning Podcast Entrepreneurs on Fire on your favorite podcast directory. For world class free courses and resources to help you on your Entrepreneurial journey visit EOFire.com

What does feel like to live helplessly in a world that is coming undone? If you're alive in 2025, you are probably very familiar with this feeling - and if you'd been alive in the age of Victorian literature, you might have felt that way too. In this episode, Jacke talks to author Nathan K. Hensley about his book Action without Hope: Victorian Literature after Climate Collapse, which studies how authors like George Eliot, Emily Brontë, H.G. Wells, Lewis Carroll, and Christina Rossetti used aesthetic strategies to deal with the anxiety and despair of ongoing climate disaster. What did they face? How did they cope? And can we learn from their examples? PLUS Jacke dives into some news from Italian museums, where people have been "losing their brains." What's going on with them? AND two Dickens experts, Stephen Browning and Simon Thomas, co-authors of The Real Charles Dickens, stop by to discuss their choice for the last book will they ever read. Will they choose something by Dickens? Note: The "My Last Book" conversation in this episode was recorded before the untimely passing of Stephen Browning. He was a wonderful guest, and we at the History of Literature Podcast are very grateful to have had the chance to speak with him. Our deepest sympathies are with his friends, family, and loved ones. May he rest in peace. Special Announcement: The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠John Shors Travel⁠. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠historyofliterature.com⁠. Or visit the ⁠History of Literature Podcast Tour itinerary⁠ at ⁠John Shors Travel⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠gabrielruizbernal.com ⁠. Help support the show at ⁠patreon.com/literature ⁠or ⁠historyofliterature.com/donate ⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠thepodglomerate.com/historyofliterature ⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the 200th episode of Sarah's Bookshelves Live with a very special celebration with both co-hosts: Susie (@NovelVisits) and Catherine of Gilmore Guide to Books. Today, they are answering listener-submitted questions all about their reading journeys, their podcast journeys, and some about their pre-podcast blogging days! This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Their early reading lives. The most surprising things about their reading history. Susie's secret endeavor! How much they talk about books in their day-to-day lives. What their friends outside of the book world think about what they do. Would Susie or Catherine ever want to do an author interview? How their feelings about the podcast have changed over the years. Topic Highlights Key Moments in Their Reading Lives [1:59] A few of the questions answered: Have you always been a reader, and do you have a distinct memory of when you truly fell in love with reading? [2:11]  Was there a time in your life when you were not reading very much? [6:34]  What parts of your reading tastes have changed dramatically over the course of your reading life and what parts have stayed consistent? [10:56]  Currently, what is your reading “why”? What's the primary reasoon you read? [29:35] Their Professional Reading Journeys [34:17] A few of the questions answered: Why did you start your blogs? [34:26]  Is there anything you miss from the time when you only blogged? Anything you don't miss? [40:35]  What is your relationship like off mic? [44:49]  How has social media changed your reading life? [53:04] Anything you wish you had known about podcasting before you got involved? [1:03:13]  Books Mentioned Dick and Jane Reading Collection  [2:41] Ant and Bee and the ABC  (1950) [4:31]  The Secret of the Old Clock by Carolyn Keene (1930) [4:59] Kristy's Great Idea (The Baby-Sitters Club, 1) by Ann M. Martin (1986) [5:02]  Goodnight Moon by Margaret Wise Brown (1947) [5:29]  The Interestings by Meg Wolitzer (2013) [9:47]  Double Love (Sweet Valley High, 1) by Francine Pascal (1983)  [16:09]  Great Expectations by Charles Dickens (1861)  [16:49]  Tell Me Lies by Carola Lovering (2018)  [17:42]  Normal People by Sally Rooney (2019)  [17:43]  Bitter Sweet by Hattie Williams (2025)  [17:44]  Madame Bovary by Gustave Flaubert (1857) [18:46]  Middlemarch by George Eliot (1872) [18:54]  Out of Africa by Isak Dinesen (1937) [19:17] 

Welcome to Episode 237 where we DO NOT talk about the scheduled ghost story, “Thrawn Janet” by Robert Louis Stevenson due to human error. We'll discuss it on the next episode along with “The Open Door” by Margaret Oliphant. Now, on to what we DID discuss. What we're currently reading: THE GARDEN by Clare Beams, SILAS MARNER by George Eliot, and COOKING IN REAL LIFE by Lidey Heuck. What we've just read: THE SHINING by Stephen King, MEMORIAL DAYS by Geraldine Brooks, and SO FAR GONE by Jess Walter. There are Biblio Adventures: Chris talked about attending the very first Bloomsday celebration at the Guilford Free Library and watching the 1980 film adaptation of The Shining. Emily shares her stop at the Montclair Public Library in New Jersey on the way to Princeton, and recaps the excitement of attending the 2025 Aspen Food & Wine Classic and fan-girling over Nancy Silverton whose book, THE COOKIE THAT CHANGED MY LIFE, is a longtime favorite. We had a wonderful discussion at our monthly Reading Salon with Patreon supporters about short books (the flip side of last month's big books). As always we wrapped with upcoming jaunts and reads, and a reminder about our third quarter readalong in our year of reading Ghost Stories – THE UPSTAIRS HOUSE by Julia Fine with a companion read of “The Yellow Wallpaper” by Charlotte Perkins Gilman. Happy Reading! https://www.bookcougars.com/blog-1/2025/episode237

In a world competing for our attention, our guest this week admits: “It's probably harder to read novels now than it ever was.” But their value cannot be overstated. The novel's unique humanity, its careful and open treatment of the human experience, helps us to develop a sympathetic imagination, tuning our hearts and minds in a way that non-fiction argument simply cannot. Christopher Scalia, author of 13 Novels Conservatives Will Love (but Probably Haven't Read), makes the case that it is a distinctly conservative interest to explore the Western tradition through fiction. Recommendations in hand, he invites adults to refresh their reading list with novels—from the very inception of the form up to the present. Chapters: 1:47 The great book rut 4:11 Novels: the medium of recent Western tradition 5:30 The 18th-century bildungsroman 9:47 “Conservative” themes 16:18 The American dream in My Ántonia 22:39 Miraculous realism in Peace Like a River 29:02 Acknowledging the existence of evil 31:44 Wonder and encounter over strict interpretation 37:03 Revisiting works from your school years 38:47 Why narrative works 42:01 Books that nearly made the cut Links: 13 Novels Conservatives Will Love (but Probably Haven't Read) by Christopher Scalia Christopher J. Scalia at American Enterprise Institute The History of Rasselas by Samuel Johnson (1759) Evelina by Frances Burney (1778) Waverley by Sir Walter Scott (1814) The Blithedale Romance by Nathaniel Hawthorne (1852) Daniel Deronda by George Eliot (1876) My Ántonia by Willa Cather (1918) Their Eyes Were Watching God by Zora Neale Hurston (1937) The Girls of Slender Means by Muriel Spark (1963) The Children of Men by P. D. James (1992) Peace Like a River by Leif Enger (2001) Gilead by Marilynne Robinson (2004) The Road by Cormac McCarthy (2006) How I Won a Nobel Prize: A Novel by Julius Taranto (2023) Also on the Forum: Heights Forum Book Reviews On Reading Literature by Joseph Bissex Some Summer Reading Recommendations for Teachers by Tom Cox Modern Literature: On Curating the Contemporary featuring Mike Ortiz Guiding Our Boys through Modern Literature featuring Joe Breslin and Lionel Yaceczko Featured opportunities: Teaching Essentials Workshop at The Heights School (June 16-20, 2025) Convivium for Teaching Men at The Heights School (November 13-15, 2025)

Tonight, we'll read the opening to “Middlemarch, A Study of Provincial Life” written by English author George Eliot, and originally published in 1871. George Eliot is the pen name of Mary Ann Evans. The novel is set in a fictional English Midlands town in the early 1800s, following many separate characters whose lives intersect at times. Issues include the status of women, the nature of marriage, idealism, self-interest, religion, hypocrisy, political reform, and education. Initial reviews were mixed, but it is now seen widely as her best work and one of the great English novels. — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Tony Brueski digs into one of London's most hauntingly beautiful—and paranormally charged—cemeteries: Highgate. Established in 1839, this sprawling Victorian burial ground became a resting place for some of history's greatest minds, including Karl Marx and George Eliot. But beneath its towering tombstones and weathered statues lies a far darker legend—one filled with ghostly figures, chilling whispers, and even tales of a vampire said to stalk its pathways.   Join Tony as he uncovers the strange history of Highgate Cemetery, from its days as a grand garden burial ground to its descent into ruin and rebirth as a paranormal hotspot. With firsthand accounts, historical records, and expert theories, this episode digs into whether Highgate's hauntings are the product of environmental triggers, psychological suggestion—or something far more sinister.

On this episode, Tony Brueski digs into one of London's most hauntingly beautiful—and paranormally charged—cemeteries: Highgate. Established in 1839, this sprawling Victorian burial ground became a resting place for some of history's greatest minds, including Karl Marx and George Eliot. But beneath its towering tombstones and weathered statues lies a far darker legend—one filled with ghostly figures, chilling whispers, and even tales of a vampire said to stalk its pathways.   Join Tony as he uncovers the strange history of Highgate Cemetery, from its days as a grand garden burial ground to its descent into ruin and rebirth as a paranormal hotspot. With firsthand accounts, historical records, and expert theories, this episode digs into whether Highgate's hauntings are the product of environmental triggers, psychological suggestion—or something far more sinister.