Podcasts about Harriet Beecher Stowe

¿Qué impacto pueden llegar a tener los libros en nuestras sociedades? ¡Definitivamente la historia nos prueba que mucho! Y el libro elegido para este programa no es la excepción. «De manera que es usted la pequeña mujer que escribió el libro que provocó esta gran guerra» le dijo el presidente Lincoln a Harriet Beecher Stowe, autora de "La cabaña del tío Tom", un libro clave en el contexto del movimiento abolicionista en los Estado Unidos del siglo XIX.En este encuentro el profe Mag. Stefan Martchenko nos invita a mirar esta novela, reflexionar sobre su impacto en la historia, y preguntarnos: ¿Cuánto sabemos de la historia que nos trajo hasta aquí? ¿Cuál está siendo nuestro influencia en el contexto en el que estamos viviendo?¡Acompañanos en otro Club de Lectura!YouTube: @clubdelecturartmInstagram: @clubdelecturartmRadio Trans Mundial Uruguay (610 AM): sábados 21 h

Abraham Verghese is a physician and a best-selling author — in that order, he says. He explains the difference between curing and healing, and tells Steve why doctors should spend more time with patients and less with electronic health records. SOURCES:Abraham Verghese, professor of medicine at Stanford University and best-selling novelist. RESOURCES:The Covenant of Water, by Abraham Verghese (2023).“Abraham Verghese's Sweeping New Fable of Family and Medicine,” by Andrew Solomon (The New York Times, 2023).“Watch Oprah's Emotional Conversation with Abraham Verghese, Author of the 101st Oprah's Book Club Pick” (Oprah Daily, 2023).“How Indian Teachers Have Shaped Ethiopia's Education System,” by Mariam Jafri (The Quint, 2023).“How Tech Can Turn Doctors Into Clerical Workers,” by Abraham Verghese (The New York Times Magazine, 2018).Cutting for Stone, by Abraham Verghese (2009).“Culture Shock — Patient as Icon, Icon as Patient,” by Abraham Verghese (The New England Journal of Medicine, 2008).“The Cowpath to America,” by Abraham Verghese (The New Yorker, 1997).My Own Country: A Doctor's Story, by Abraham Verghese (1994).“Urbs in Rure: Human Immunodeficiency Virus Infection in Rural Tennessee,” by Abraham Verghese, Steven L. Berk, and Felix Sarubbi (The Journal of Infectious Diseases, 1989). EXTRAS:“Are You Suffering From Burnout?” by No Stupid Questions (2023).“Would You Rather See a Computer or a Doctor?” by Freakonomics, M.D. (2022).“How Do You Cure a Compassion Crisis?” by Freakonomics Radio (2020).The Citadel, by A. J. Cronin (1937).Uncle Tom's Cabin, by Harriet Beecher Stowe (1852).

fWotD Episode 2913: Black Slave's Cry to Heaven Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Saturday, 26 April 2025, is Black Slave's Cry to Heaven.Black Slave's Cry to Heaven (traditional Chinese: 黑奴籲天錄; simplified Chinese: 黑奴吁天录; pinyin: Hēinú Yūtiān Lù) was a 1907 stage play performed by the Spring Willow Society, a Chinese student troupe, in Tokyo, Japan. Adapted by Zeng Xiaogu from a translation of Harriet Beecher Stowe's novel Uncle Tom's Cabin, the play focused on the experiences and eventual escape of two slaves, Eliza and George.Modified to allegorically call attention to the experiences of Chinese migrants in the United States, Black Slave's Cry to Heaven was innovative in its use of spoken dialogue and realistic set designs. Performed twice at the Hongō-za Theatre, the show was well received by critics and audiences. Although its script has been lost, the play has inspired subsequent works. Due to its technical innovations and nationalist themes, Black Slave's Cry to Heaven has been canonized as the first modern, Western-style Chinese drama.This recording reflects the Wikipedia text as of 00:14 UTC on Saturday, 26 April 2025.For the full current version of the article, see Black Slave's Cry to Heaven on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Matthew.

Sitting high above the small community of Ripley, Ohio, a lantern shone in the front window of a small, red brick home at night. It was a signal to slaves just across the Ohio River. Anyone fleeing bondage could look to Reverend John Rankin’s home for hope. To the slaveholders they fled from, Rankin’s activities as a “conductor” on the Underground Railroad invoked rage. Mobs often pelted Rankin with eggs and rocks, bounties were placed on his head, and midnight assassins lurked in the darkness, waiting for the right opportunity to take out the “Father of Abolitionism.” Despite frequent threats, he remained committed to the freedom of his fellow man.Today’s guest is Caleb Franz, author of The Conductor: The Story of Rev. John Rankin, Abolitionism's Essential Founding Father, we look at the story of the man who served as a George Washington–type figure to the antislavery movement. Rankin’s leadership brought unity and clarity to the often factious abolitionists of the nineteenth century. William Lloyd Garrison, Harriet Beecher Stowe, and countless others found inspiration in his teachings. He also presented abolitionism as a moderate movement, helping to make it palpable to Southern centrists who considered most abolitionists Yankee radicals who wanted to watch America descend into a Haitian-style race war.See omnystudio.com/listener for privacy information.

Your calendar never lies about your priorities. In this thought-provoking episode, we tackle the uncomfortable truth that many of us claim God as our first priority while our daily time allocation tells a different story. Think about it—we intuitively know that spending time with someone is the clearest indicator of genuine care. Children understand this instinctively. Yet when it comes to our relationship with God, we often expect spiritual depth without investing regular, meaningful time. The results are predictably shallow.Drawing from 1 Timothy 2, we explore how prayer transforms not just those we pray for, but ourselves in the process. There's something counterintuitive yet powerful about praying for leaders we disagree with and those who've wronged us. The scripture's call to "lead tranquil and quiet lives" offers a refreshing alternative to the anxiety-producing habit of inserting ourselves into matters that don't require our attention.We also challenge the false dichotomy between scientific inquiry and Christian faith. History reveals countless scientists whose deeper exploration of our universe's complexity led them closer to, not further from, belief in a Creator. The intricate design evident in creation "bears the signature of its Creator graven in its works."The episode concludes with timeless wisdom from Harriet Beecher Stowe, written nearly a decade before the Civil War but eerily relevant today: our nation won't be saved by partisan alignment but "by repentance, justice and mercy." Take a moment today to honestly assess where your time goes. Does it align with what you claim to value most? The answer might be uncomfortable, but it's the first step toward authentic spiritual growth.Support the showThe American Soul Podcasthttps://www.buzzsprout.com/1791934/subscribe

Susanna Ashton; Recorded January 23, 2025 - In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive enslaved man in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. Author Susanna talked about her book A Plausible Man, a historical detective story of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. Recorded January 23, 2025

We are going to chart a course into the turbulent waters of American history and have a conversation as we sail through the life of John Andrew Jackson, an escaped slave whose story is as riveting as it is pivotal. Dr. Susanna Ashton, a professor at Clemson University and the author of A Plausible Man, takes us on a journey that begins with Jackson's harrowing escape from slavery in South Carolina and his unexpected encounter with Harriet Beecher Stowe, the author of 'Uncle Tom's Cabin'. With wit and insight, Dr. Ashton reveals how Jackson's narrative, filled with clever banter and sharp observations, not only inspired Stowe's famous novel Uncle Tom's Cabin, but also played an essential role in the abolitionist movement. The conversation flows exploring themes of resilience, identity, and the power of storytelling, all while shedding light on the often-overlooked characters who shaped the fight against slavery. The episode serves as a powerful reminder of the human spirit's capacity to endure and inspire change.[00:00] The Fugitive Slave Ad[00:38] Harriet Beecher Stowe's Encounter[02:04] Introduction to St. Louis in Tune[04:13] Interview with Dr. Susanna Ashton[05:50] John Andrew Jackson's Story[17:22] Jackson's Life in England and Beyond[21:50] The Impact of Uncle Tom's Cabin[30:17] Research and Writing Process[32:08] Life's Unexpected Turns[32:28] Llama Adventures During COVID[33:14] The Canadian Census Mystery[37:13] Jackson's Literacy Journey[42:02] Uncovering Family Roots[44:27] Upcoming Speaking Events[45:11] The Importance of Primary Sources[48:52] Final Thoughts and ReflectionsTakeaways: Dr. Susanna Ashton dives deep into the life of John Andrew Jackson, revealing his journey from slavery to becoming an influential figure behind Uncle Tom's Cabin. The story highlights the importance of personal narratives in understanding historical contexts, especially regarding slavery and freedom. Ashton emphasizes the role of primary sources in history, encouraging listeners to explore documents that tell the real stories of marginalized voices. We learn how Jackson's wit and charisma not only helped him escape bondage but also made him a captivating speaker and storyteller who influenced many. The episode reveals how Harriet Beecher Stowe's encounter with Jackson inspired her to write Uncle Tom's Cabin, changing the course of American literature. Ashton discusses the challenges Jackson faced in his later life, including his efforts to support his family and community after escaping slavery. Susanna Ashton, Ph.D.Susanna Ashton | Clemson University College of Arts and HumanitiesA Plausible Man | The New PressA Plausible Man - Instagram@susannaashton.bsky.social on BlueskyThis is Season 8! For more episodes, go to stlintune.com#harrietbeecherstowe #uncletomscabin #susannaashton #johnandrewjackson #slavenarrative #charlesspurgeon #americanliterature

Daily QuoteTorture and cruelty cannot take away the power of loving and praying. No! There is something in every human being, even the most degraded, that slavery cannot corrupt – the soul's instinct for freedom. (Harriet Beecher Stowe)Poem of the DayPoetryPablo NerudaBeauty of Words玫瑰色的月亮李秀鲁

The Stowe Center for Literary Activism in Hartford is rethinking how they present the complex legacy of author Harriet Beecher Stowe and her best known work, Uncle Tom’s Cabin. Today, Erika Slocumb, Director of Interpretation and Visitor Experience at the Stowe Center joins us to talk about the changes this local museum is making to better showcase literary activism of the past, and how it influences the future. We’ll also hear from Possible Futures, an independent bookstore and neighborhood bookspace in New Haven. We learn about their efforts to promote works by diverse authors, and using books to promote change. GUESTS: Erika Slocumb: Director of Interpretation and Visitor Experience at the Stowe Center for Literary Activism in Hartford Grégory Pierrot: Associate Professor at the English Department at the University of Connecticut Lauren Anderson: founder and bookseller at Possible Futures independent bookstore in New Haven Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Atlas Shrugged seems to be everywhere today. Randian villains are in the news. Rand remains influential on the right, from the Reagan era to the modern libertarian movement. Perhaps most significantly, entrepreneurs like Elon Musk and Marc Andreessen who are moving into government with DOGE, have been influenced by Rand, and, fascinatingly, Andreessen only read the novel four years ago. Hollis Robbins (@Anecdotal) and I talked about how Atlas Shrugged is in conversation with the great novels of the past, Rand's greats skills of plotting, drama, and character, and what makes Atlas Shrugged a serious novel, not just a vehicle for ideology. Love it or loathe it, Atlas Shrugged is having a moment. Everyone brings a preconception of Ayn Rand, but she has been opposed by the right and the left ever since she first published. Other than Jennifer Burns' biography, academic study has largely declined to notice Rand. But Rand deserves our serious attention, both as a novelist, and as an influence on the modern world. Here are a couple of excerpts.We talk a lot these days about, “how can I be my best self?” That's what Rand is saying. She's saying, actually, it's not about earning money, it's not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It's about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they're in the happy valley, actually, between them, they have not that much money, right?Also this.What would Ayn Rand think about the influencer economy? Oh, she'd despise it. She would despise it… all these little girls wanting to grow up to be influencers, they're caught in some algorithm, which is awful. Why would you want to spend your life influencing others? Go create something. It's a hard medicine.And.Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she's perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it's important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that's it.TranscriptHenry: Today, I am talking with Hollis Robbins, former dean of the humanities at Utah University and special advisor on the humanities and AI. We are talking about Atlas Shrugged by Ayn Rand. Hollis, hello.Hollis Robbins: Hello. I'm really glad to have this conversation with you. We've known each other for some years and follow each other's work. I was trained as a scholar of 19th-century American, Victorian, and African-American literature, mostly novels, and love having conversations with you about big, deep novels. When I suggested that we read this book, I was hoping you would be enthusiastic about it, so I'm really happy to be having this conversation. It's hard to know who's interviewing you or what conversation this is, but for you coming at this middle-aged. Not quite middle-aged, what are you?Henry: I'm middle enough. No. This is not going to be an interview as such. We are going to have a conversation about Atlas Shrugged, and we're going to, as you say, talk about it as a novel. It always gets talked about as an ideology. We are very interested in it as a novel and as two people who love the great novels of the 19th century. I've been excited to do this as well. I think that's why it's going to be good. Why don't we start with, why are we doing this?Hollis: I wanted to gesture to that. You are one of the leading public voices on the importance of reading literature and the importance of reading novels particularly, though I saw today, Matt Yglesias had a blog post about Middlemarch, which I think he just recently read. I can credit you with that, or us, or those of us who are telling people read the big novels.My life trajectory was that I read Atlas Shrugged and The Fountainhead before I read Dickens, before I read Jane Austen, before I read Harriet Beecher Stowe or Melville or the Brontës. For me, Atlas Shrugged and The Fountainhead were foundational novels as novels. I wondered what it would be like to talk to somebody whose experience was flipped.Henry: Right, I'm 38 and I'd never read this book. I was coming at it partly having read all those other books, but partly for my whole life, people have said, "Oh, that's really a bad book. That's so badly written. That book is no good." The number one thing I can say to people is this book is fun.Hollis: It's really fun. I was going to say usually what I forget to do in talking about books is give the summary. I'm going to hold up my copy, which is my dog-eared copy from high school, which is hilarious. It's got the tiniest print, which I couldn't possibly read now. No underlining, which is interesting. I read this book before I understood that you were supposed to underline when you liked passages in the book.It was interesting to me. I'd probably read it five or six times in my youth and didn't underline anything. The story is--- You can help me fill in the blanks. For readers who haven't read it, there's this young woman, Dagny Taggart, who's the heiress of the Taggart Transcontinental Railroad fortune. She's a woman. This takes place in about, I think, the '40s, '50s. Her older brother, Jim Taggart, is CEO. She's COO, so she's the operations person. It is in some ways the story of her-- It's not quite a bildungsroman. This is the way I tell the story. It's the story of her coming to the realization of how the world works. There's many ways to come at this story. She has multiple boyfriends, which is excellent. Her first boyfriend, his name is Francisco d'Anconia. He's the head of d'Anconia Copper. He too is an heir of this longstanding copper fortune. Her second is a metals magnate, Hank Rearden, who invents this great metal, Rearden metal.Really, it's also the story of the decline of America, and the ways that, in this Randian universe, these villainous group of people who run the country are always taking and extracting from producers. As she's creating and building this great railroad and doing wonderful things and using Rearden metal to do it, something is pulling all the producers out of society, and she's like, "What is going on?"It turns out there's this person, John Galt, who is saying, "I don't like the way the country is run. I don't like this extractive philosophy. I am going to take all the producers and lure them voluntarily to a--" It's a hero's lair. It's not like a James Bond villain lair. It's a hero lair in Colorado called Galt's Gulch. He is John Galt. It ends up being a battle between who is right in a wrong world. Is it the ethical person, Dagny Taggart, who continues to strive and try to be a producer and hold on to her ethics in this corrupt world, or is it somebody saying, "To hell with this. I am going on strike. You guys come with me and let the world collapse." How's that for summary?Henry: No, I think that's great. I couldn't have done a better job. One thing that we can say is that the role of reason, of being a rational person, of making reason the sole arbiter of how you make choices, be they practical, ethical, financial, whatever, that's at the heart of the book, right?Hollis: That's the philosophy. We could go there in a second. I think the plot of the book is that she demonstrates this.Henry: What she has to learn, like what is the big lesson for Dagny, is at the beginning, she hasn't fully understood that the good guys use reason and the bad guys do not, as it were.Hollis: Right. I think that's right. I like thinking about this as a bildungsroman. You said that the book is fun. Her part of the book is fun, but not really fun. The fun part of the book, and you can tell me because every time you kept texting me, "Oh my God, Jim Taggart. Oh my God, Jim Taggart. Oh my God, Jim Taggart."--Henry: These guys are so awful. [laughs]Hollis: They're so awful. The fun parts of the book, the Rand villains are the government entities and the cabals of business leaders who she calls looters and second-handers who run the country and all they do is extract value. Marc Andreessen was on a podcast recently and was all about these Rand villains and these looters. I think, again, to get back to why are we doing this and why are we doing this now, Ayn Rand and Atlas Shrugged is in the air with the second Trump administration.Henry: Yes. In a way, we're doing this because the question is, is this the novel of the future? Right? What we're seeing is it's very influential on the right. Rand's ideas have long been a libertarian inspiration. Elon Musk's read her. You mentioned Andreessen, Peter Thiel, all these people. It goes back to the Reagan days. People in the Republican Party have been quoting Ayn Rand. Then more broadly, we see all these worries about social collapse today. What happens in the plot of Atlas Shrugged is that society does slowly collapse.Dagny has to realize it's because of these people who are not using their reason and they're nationalizing things and taking resource away from proficient entrepreneurs and stuff. It's all about infrastructure, energy, people doing exploitation in the name of the common good, ineffective political leaders, people covering up lies and misdemeanors, people being accepting of what is obviously criminal behavior because it's in the cause of the greater good. We have free speech, all these topics, energy production. We're seeing this in the headlines. When I was reading this book, I was like, "Oh my God, how did she know?"Hollis: How did she know?Henry: How did she know.Hollis: I think the bildungsroman aspect of this as a novel. It's hard to read it as a novel. I think it's hard. By the way, I have to really I applaud you for not, until you got almost to the end of the book, texting me about this person or that person, or how it's political. I admire you for looking at the book and coming to the book as an expert in novels.What she comes to terms with, and it's a real slowly-- It's not even scales falling from her eyes. She doesn't sit and say, "Oh my God, the world is corrupt." She just is like, "That person's corrupt. I'm not going to deal with them. That person's corrupt. I'm not going to deal with them." She just keeps going, but she doesn't ever accept with a fatalism that she's living in this world where every single person who's in charge is going to let her down.Henry: It's also interesting to me that she doesn't complain.Hollis: No.Henry: Now, that reminded me of I wrote about Margaret Thatcher in my book. She was another big one for however hard it was, however difficult it was, why would you complain? Let's just go to work. A lot of people found her difficult for that reason. When I was reading this, I was like, "Ayn Rand clearly has the same idea. You can nationalize every last inch of the economy. I'm going to get up and go to work and try and beat you. I'm not going to sit around and complain." It's a very stern attitude in a way. She's very strict with herself. I found the book to be-- I know Rand is very atheist, but a very Protestant book.Hollis: Yes, it really is.Henry: Intensely Protestant, yes.Hollis: That's a nice way to think about it. A certain kind of Protestant, a Weberian Protestant.Henry: Sure.Hollis: Not a Southern Baptist Protestant who believes in the absence of reason. I was thinking I was teaching in Mississippi years ago. I was teaching a course on Wordsworth and had to do a unit on Voltaire because you can't really understand Wordsworth unless you understand Voltaire. There was a woman in my class. She was a version of Presbyterian who doesn't believe in reason, believes that in the fall, man lost their reason.Therefore, she asked if she could be excused from class because I was talking about Voltaire and the importance of reason. She said, "This is against my religion. If you believe that man has reason, you are actually going about it wrong, so may I be excused?" Which in all the years I've had people ask for excuses to miss class, that was a memorable one.Henry: That's unique. [laughs]Hollis: It's interesting because, again, I should get back to the novel, the opposition from Rand is as strong on the religious right as it is on the left. In fact, very strong. When Atlas Shrugged came out, William F. Buckley famously had Whittaker Chambers write the review. He hated her. He despised her. He despised the fact that she put reason first.Henry: Yes. I think that's worth emphasizing that some people listening will think, "I'm Rand. These nasty ideas, she's on the right." She's been ideologically described in that way so many times. Deirdre McCloskey in the Literary Review has just in the most recent edition written an absolutely scathing article about Rand. That's libertarian opposition to Rand.McCloskey is saying Hayek is the real thing here and Rand would have hated everything that Hayek did. She got everything wrong. I think the opposition to her, as you say, it's on both sides. One thing that's interesting about this novel is that because she created her own philosophy, which people will have different views on how well that went, but there isn't anyone else like this. All the other people like this are her followers.Hollis: Exactly.Henry: She's outside of the other systems of thought in a way.Hollis: We should talk about Rand. I'm going to quote a little bit from this book on feminist interpretation of Ayn Rand. Let's talk a little bit, if we can, about Dagny as the heroine of a novel, or a hero, because one of the really interesting things about reading Rand at this moment is that she's got one pronoun, he, him, man. She is in this era where man means man and women. That there isn't men and women, he and she, and now it's he, she, and them. She is like, "There's one pronoun." Even she talks about the rights of man or man believes. She means everybody, but she only means man too. It's interesting.I was very much part of the first pronoun wars in the 1980s when women scholars were like, "He and she." Now we're thrown out the window with that binary. Again, we don't need to talk about pronouns, but it's really important to understanding Rand and reading this novel, how much she embraces men and the male pronoun, even while she is using it both ways, and even while her story is led by this woman. She's beautiful. She's beautiful in a very specific way. She's tall, she's slender, she's got great cheekbones, she's got great shoulders, she's got long legs.Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she's perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it's important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that's it.Henry: I want to be Dagny.Hollis: I want to be Dagny. I want to have capes, right?Henry: There's a very important scene, it's not too much of a plot spoiler, where Hank Rearden has invented this new metal. It's very exciting because it's much more efficient and it's much stronger and you can build new bridges for the trains and everything. He makes a bracelet of his new metal. It's a new steel alloy, I think, and gives it to his wife. His wife basically doesn't care.She's not really interested in what it takes to earn the money, she just wants to have the money. You get the strong impression throughout the book that some of the people that Rand is most scathingly disapproving of are wives who don't work. None of those people come out well. When Dagny goes to a party at the Rearden house and she is romantically involved with Hank Rearden, she sees the bracelet.Hollis: She isn't then, right? Isn't she not then?Henry: No, but they have feelings for each otherHollis: Right. Reasonable feelings for each other.Henry: That's right, reasonable feelings, but they're not currently acting on those feelings. She sees the bracelet and she exchanges her, I think, diamonds-Hollis: Diamond bracelet.Henry: -for the Rearden metal bracelet with the wife. It's this wonderful moment where these two opposite ideals of womanhood that Rand is presenting. It's a great moment of heroism for Dagny because she is saying, "Who cares about glittering diamonds when you have a new steel alloy that can make this incredible bridge?" It sounds crazy, but this is 1957. Dagny is very much what you might call one of the new women.Hollis: Right.Henry: I think in some ways, Rand-- I don't like the phrase she's ahead of her time. I've read a lot of 1950s fiction. This is not the typical woman.Hollis: No, this is not Cheever. This is not a bored suburban housewife at a time when the way the '50s are taught, certainly in America, it's like women could work during the war, then they were suburban housewives, there was bored, there were key parties and all sorts of Cheever sorts of things. This is not that. I read this first. I was only 15 years after it was published, I think, in the '60s, early '70s reading it.This, to me, seemed perfectly normal and everything else seemed regressive and strange and whiny. There's a lot to be said for reading this novel first. I think if we can talk a little bit about these set pieces because I think for me reading it as a novel and hearing you talk about it as a novel, that novels, whether we're thinking about-- I want to see if you want to compare her to Dorothea or just to any other Victorian women novel that you can think of. That's the closest, right? Is there anybody that's closest to Dorothea from Middlemarch? Is that there are these set pieces. People think that Rand-- the idea is that she's not a great writer. She is a great writer. She started in Hollywood. Her first book, The Fountainhead, was made into a movie. She understands plotting and keeping the reader's attention. We go forward, we go backwards. There's her relationship with Francisco d'Anconia that we see her now, years after, then we have flashbacks to growing up and how they became lovers.There are big meeting set pieces where everybody's in the room, and we have all the backstories of the people in the room, what is going to happen. There are these big party scenes, as you say. For example, this big, glorious, glamorous party at the Rearden house, Francisco is there. Francisco and Hank Rearden get in a conversation, and she's like, "I want to go see what my old boyfriend is talking to the guy I like about."There are these moments where you're not supposed to come at the book that way in this serious philosophical way. Then later on when there's this wonderful scene where Francisco comes to see Dagny. This is much later. Hank and Dagny are lovers, so he has a key to her apartment. He walks in and everybody sees immediately what's going on. It's as good as any other farce moment of somebody hiding behind a curtain, right?Henry: Yes.Hollis: Everything is revealed all at once. She's very good at scenes like that.Henry: Yes, very good. She's very good at high drama. One of the phrases that kept coming back to me was that this book is a melodrama of ideas.Hollis: Yes.Henry: Right? It's not a novel of ideas as such, it's a melodrama of ideas. I think one thing that people who think she's a bad writer will say is it's melodrama, the characters are flat, the prose is not lyrical, all these different things. Whereas when I read it, I was like, "She's so good at melodrama." I feel like, in some ways, it does not feel like a 1950s novel because there's so much excitement about technology, so much feminism, just so many things that I do not associate--Maybe I'm being too English, but I don't read John Cheever, for example, and think, "Oh, he loves the train." Whereas this book is very, very exciting as a story about inventing a new kind of train that goes really fast," which sounds silly, but that's a really Dickensian theme, that's in Middlemarch. Actually, that's what Matt Yglesias was talking about in his excellent piece today. What does feel very 1950s is you've got the Hollywood influence. The dialogue, I think, is not always great, but it is often great.I often would read pages and think, "This would actually be really good in, not an A++ movie, but in a decent crime movie or something. This would be quite good dialogue." There's a comic book aesthetic to it in the way that the scenes play out. Just a lot of these '50s aesthetics actually are present in the book. I'm going to read one paragraph. It's from part one. I think we should read out loud a few bits to give people a sense.Hollis: Yes.Henry: This is when Dagny has built a new train line using grid and metal to make the bridge so that it can go over a valley. I think that's right. The train can do 100 miles an hour. It's this very, very exciting new development. It means that energy can be supplied to factories, and so it's a huge, big deal. This is when she's on the train going at 100 miles an hour and she just can't believe it's happening."Things streaked past a water tank, a tree, a shanty, a grain silo. They had a windshield wiper motion. They were rising, describing a curve, and dropping back. The telegraph wires ran a race with the train, rising and falling from pole to pole, in an even rhythm like the cardiograph record of a steady heartbeat written across the sky. She looked ahead at the haze that melted rail and distance, a haze that could rip apart at any moment to some shape of disaster.""She wondered why she felt safer than she had ever felt in a car behind the engine. Safer here where it seemed as if should an obstacle rise, her breast and the glass shield would be the first to smash against it. She smiled, grasping the answer. It was the security of being first with full sight and full knowledge of one's own course, not the blind sense of being pulled into the unknown by some unknown power ahead."That's not MFA prose or whatever, but it turns the pages. I think she's very good at relating we're on the train and it's going very fast to how Dagny is thinking through the philosophical conundrum that is basically going to drive the whole plot forwards. I was reminded again and again of what Virginia Woolf said about Walter Scott, where she compared Scott to Robert Louis Stevenson. She said that Stevenson had beautiful sentences and dapper little adjectives. It was all jeweled and carefully done. You could marvel over each sentence.She said, "Whereas Scott, it's just page after page and no sentence is beautiful," but she says, "He writes at the level of the page. He's not like Stevenson. He's not writing at the level of the sentence. You have to step into the world." You can say, 'Oh, that wasn't a very good sentence,' but my goodness, the pages keep turning and you're there in the world, right?Hollis: Exactly.Henry: I think she made a really important point there and we just undervalue that so much when we say, oh, so-and-so is not a good writer. What we mean is they're not a Robert Louis Stevenson, they're a Walter Scott. It's like, sure, but Walter Scott was great at what he did. Ayn Rand is in the Walter Scott inheritance in the sense that it's a romance, it's not strictly realistic novel. You have to step into the world. You can't spend your whole time going, "Was that a great sentence? Do I really agree with what she just--" It's like, no, you have to go into this utopian sci-fi universe and you have to keep turning the pages. You get caught up and you go, "Wow, this is this is working for me."Hollis: Let me push back on that-Henry: Yes, good.Hollis: -because I think that was a beautiful passage, one of my favorite passages in this book, which is hard to say because it's a really, really big book. It's a memorable passage because here she is in a place at this moment. She is questioning herself. Isn't she questioning why? Why do I feel safe? Then it strikes her. In this moment, all interior while all this stuff is happening. This whole Rearden metal train bridge set piece is one of the highlights of at least the first half of the book. You come away, even if we've had our entire life up to her, understanding her as a philosophical this woman. How is that different from Dorothea or from Elizabeth Bennet? Yes, Elizabeth Bennet, right?Henry: Oh, no, I agree. My point was purely about prose style, which was to say if you say, "Oh, she writes like a Walter Scott, not like a Robert Louis Stevenson," you're going to deny yourself seeing what you've just said, which is that actually, yes, she has the ability to write philosophical characters.Hollis: When I first read Pride and Prejudice, I read it through the lens of Rand. Now, clearly, these heroines had fewer choices. Dorothea marries Casaubon, I don't know how you pronounce it, because she thinks he's a Randian expert, somebody who's got this grand idea. She's like, "Whoa, I want to be part of this endeavor, the key to all mythologies." Then she's so let down. In the Randian sense, you can see why she would have wanted him.Henry: That's right. I think George Eliot would have strongly disagreed with Rand philosophically. The heroines, as you say, what they're doing in the novel is having to realize that there are social conventions I have to understand and there are things I have to learn how to do, but actually, the key to working all that out is more at the moral philosophical level. This is what happens to Dagny. I think it's on the next page from what I just read. There's another passage where it says that she's in the train and she's enjoying. It's working and she's thrilled that her train is working. She was trying not to think, but she couldn't help herself.She said, "Who made the train. Is it the brute force of muscle? Who can make all the dials and the levers? How is it possible that this thing has even been put together?" Then she starts thinking to herself, "We've got a government who's saying it's wrong to do this, you're taking resources, you're not doing it for the common good." She says, "How can they regard this as evil? How can they believe that this is ignoble to have created this incredible thing?"She says she wants to be able to toss the subject out of the window and let it get shattered somewhere along the track. She wants the thoughts to go past like the telegraph poles, but obviously, she can't. She has this moment of realization that this can't be wrong. This type of human accomplishment can't be against the common good. It can't be considered to be ignoble. I think that is like the Victorian heroines.To me, it was more like Fanny Price, which is that someone turns up into a relatively closed system of ideas and keeps their own counsel for a long time, and has to admit sometimes when they haven't got it right or whatever. Basically, in the end, they are vindicated on fairly straightforward grounds. Dagny comes to realize that, "I was right. I was using my reason. I was working hard. I was being productive. Yes, I was right about that." Fanny, it's more like a Christian insight into good behavior, but I felt the pattern was the same.Hollis: Sure. I'll also bring up Jane Eyre here, right?Henry: Yes.Hollis: Jane Eyre, her relationship, there's a lot to be said of both Mr. Darcy and Mr. Rochester with Hank Rearden because Hank Rearden has to come to his sense. He's married. He doesn't like his wife. He doesn't like this whole system that he's in. He wants to be with a woman that's a meeting of the mind, but he's got all this social convention he has to deal with. Rochester has to struggle, and of course, Bertha Mason has to die in that book. He ends up leaving his wife, but too late. If we're going to look at this novel as a novel, we can see that there are these moments that I think have some resonance. I know you don't seem to want to go to the Mr. Darcy part of it.Henry: No. I had also thought about Jane Eyre. My thought was that, obviously, other than being secular because Jane Eyre is very Christian, the difference is that Hank Rearden and Dagny basically agree that we can't conduct our relationship in a way that would be morally compromising to her. They go through this very difficult process of reasoning like, "How can we do this in a good way?"They're a little bit self-sacrificing about it because they don't want to upset the moral balance. Whereas Mr. Rochester, at least for the first part of the book, has an attitude that's more like, "Yes, but she's in the attic. Why does it matter if we get married?" He doesn't really see the problem of morally compromising Jane, and so Jane has to run away.Hollis: Right.Henry: One of the interesting things about Rand, what is different from like Austen and the Brontës and whatever, is that Dagny and Hank are not in opposition before they get together. They have actually this unusual thing in romance and literature, which is that they have a meeting of minds. What gets in the way is that the way their minds agree is contra mundum and the world has made this problem for them.Hollis: I think in a way, that's the central relationship in--Henry: Yes. That was how I read it, yes.Hollis: Yes. The fact as we think about what the complications are in reading this novel as a novel is that here is this great central romance and they've got obstacles. She's got an old boyfriend, he's married. They've got all these things that are classic obstacles to a love story. Rand understands that enough to build it, that that will keep a lot of readers' interest, but then it's like, "That's actually not the point of my book," which is how the second half or the last third of the novel just gets really wiggy." Again, spoiler alert, but Hank is blackmailed to be, as the society is collapsing, as things are collapsing--Henry: We should say that the government has taken over in a nationalizing program by this point.Hollis: Right, because as John Galt is pulling all the thought leaders and the industrialists and all the movers of the world into his lair, things are getting harder and harder and harder, things are getting nationalized. Some of these big meetings in Washington where these horrible people are deciding how to redistribute wealth, again, which is part of the reason somebody like Congressman Paul Ryan would give out copies of Atlas Shrugged to all of his staffers. He's like, "You've got to read this book because we can't go to Washington and be like this. The Trumpian idea is we've got to get rid of people who are covering up and not doing the right thing."They've blackmailed Hank Rearden into giving up Rearden Metal by saying, "We know you've been sleeping with Dagny Taggart." It's a very dramatic point. How is this going to go down?Henry: Right. I think that's interesting. What I loved about the way she handled that romance was that romance is clearly part of what she sees as important to a flourishing life. She has to constantly yoke it to this idea that reason is everything, so human passion has to be conducted on the basis that it's logically reasonable, but that it therefore becomes self-sacrificing. There is something really sad and a little bit tragic about Hank being blackmailed like that, right?Hollis: Yes. I have to say their first road trip together, it's like, "Let's just get out of here and go have a road trip and stay in hotels and have sex and it'll be awesome." That their road trip is like, "Let's go also see some abandoned factories and see what treasures we might find there." To turn this love road trip into also the plot twist that gets them closer to John Galt is a magnificent piece of plot.Henry: Yes. I loved that. I know you want to talk about the big John Galt speech later, but I'm going to quote one line because this all relates to what I think is one of the most central lines of the book. "The damned and the guiltiest among you are the men who had the capacity to know yet chose to blank out reality." A lot of the time, like in Brontë or whatever, there are characters like Rochester's like that. The center of their romance is that they will never do that to each other because that's what they believe philosophically, ethically. It's how they conduct themselves at business. It's how they expect other people to conduct themselves. They will never sacrifice that for each other.That for them is a really high form of love and it's what enables huge mutual respect. Again, it's one of those things I'm amazed-- I used to work in Westminster. I knew I was a bit of a libertarian. I knew lots of Rand adjacent or just very, very Randian people. I thought they were all insane, but that's because no one would ever say this. No one would ever say she took an idea like that and turned it into a huge romance across hundreds of pages. Who else has done that in the novel? I think that's great.Hollis: It really is hard. It really is a hard book. The thing that people say about the book, as you say, and the reason you hadn't read it up until now, is it's like, "Oh, yes, I toyed with Rand as a teenager and then I put that aside." I put away my childish things, right? That's what everybody says on the left, on the right. You have to think about it's actually really hard. My theory would be that people put it away because it's really, really hard, what she tried is hard. Whether she succeeded or not is also hard. As we were just, before we jumped on, talking about Rand's appearance on Johnny Carson, a full half hour segment of him taking her very seriously, this is a woman who clearly succeeded. I recently read Jennifer Burn's biography of her, which is great. Shout out to Jennifer.What I came away with is this is a woman who made her living as a writer, which is hard to do. That is a hard thing to do, is to make your living as a writer, as a woman in the time difference between 1942, The Fountainhead, which was huge, and 57, Atlas Shrugged. She was blogging, she had newsletters, she had a media operation that's really, really impressive. This whole package doesn't really get looked at, she as a novelist. Again, let me also say it was later on when I came to Harriet Beecher Stowe, who is another extraordinary woman novelist in America who wrote this groundbreaking book, which is filled--I particularly want to shout out to George Harris, the slave inventor who carried himself like a Rand hero as a minor character and escapes. His wife is Eliza, who famously runs across the ice flows in a brave Randian heroine escape to freedom where nobody's going to tell them what to do. These women who changed literature in many ways who have a really vexed relationship or a vexed place in academia. Certainly Stowe is studied.Some 20 years ago, I was at an event with the great Elaine Showalter, who was coming out with an anthology of American women writers. I was in the audience and I raised my hand, I said, "Where's Ayn Rand?" She was like, "Ha, ha, ha." Of course, what a question is that? There is no good reason that Ayn Rand should not be studied in academia. There is no good reason. These are influential novels that actually, as we've talked about here, can be talked about in the context of other novels.Henry: I think one relevant comparison is let's say you study English 19th-century literature on a course, a state-of-the-nation novel or the novel of ideas would be included as routine, I think very few people would say, "Oh, those novels are aesthetically excellent. We read them because they're beautifully written, and they're as fun as Dickens." No one's saying that. Some of them are good, some of them are not good. They're important because of what they are and the barrier to saying why Rand is important for what she is because, I think, people believe her ideas are evil, basically.One central idea is she thinks selfishness is good, but I think we've slightly dealt with the fact that Dagny and Hank actually aren't selfish some of the time, and that they are forced by their ethical system into not being selfish. The other thing that people say is that it's all free-market billionaire stuff, basically. I'm going to read out a passage from-- It's a speech by Francisco in the second part. It's a long speech, so I'm not going to read all eight pages. I'm going to read this speech because I think this theme that I'm about to read out, it's a motif, it's again and again and again.Hollis: Is this where he's speaking to Hank or to Dagny?Henry: I think when he's speaking to Dagny and he says this."Money will not purchase happiness for the man who has no concept of what he want. Money will not give him a code of values if he has evaded the knowledge of what to value, and it will not provide him with a purpose if he has evaded the choice of what to seek. Money will not buy intelligence for the fool, or admiration for the coward, or respect for the incompetent."The man who attempts to purchase the brains of his superiors to serve him with his money replacing his judgment ends up by becoming the victim of his inferiors. The men of intelligence desert him, but the cheats and the frauds come flocking to him, drawn by a law which he has not discovered, that no man may be smaller than his money."Hollis: That's a good--Henry: Right? It's a great paragraph. I feel like she says that in dozens of ways throughout the book, and she wants you to be very clear when you leave that this book is not a creed in the name of just make money and have free market capitalism so you can be rich. That paragraph and so many others, it's almost biblical in the way she writes it. She's really hammering the rhythms, and the tones, and the parallels. She's also, I think, trying to appropriate some of the way the Bible talks about money and turn it into her own secular pseudo-Aristotelian idea, right?Hollis: Yes.Henry: We talk a lot these days about, how can I be my best self? That's what Rand is saying. She's saying, actually, it's not about earning money, it's not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It's about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they're in the happy valley, actually, between them, they have not that much money, right?Hollis: Right.Henry: The book does not end in a rich utopia, it's important to say.Hollis: It's interesting. A couple of things. I want to get this back since we're still in the novel. Let me say when we get to Galt's great speech, which is bizarre. He says a similar thing that I'll bring in now. He says, "The mother who buys milk for her baby instead of a hat is not sacrificing because her values are feeding the baby. The woman who sacrifices the hat to feed her baby, but really wants the hat and is only feeding the baby out of duty is sacrificing." That's bad. She's saying get your values in order. Understand what it is you want and do that thing, but don't do it because somebody says you have to. She says this over and over in many ways, or the book says this.Henry: We should say, that example of the mother is incidental. The point she's always making is you must think this through for yourself, you must not do it because you've been told to do it.Hollis: Right, exactly. To get back to the love story aspects of the book because they don't sit and say they love each other, even all the great romances. It's not like, "I love you. I love you." It's straight to sex or looks and meetings of the minds. It's interesting. We should deal with the fact that from The Fountainhead and a little bit in this book, the sex is a little rapey. It's a difficult thing to talk about. It's certainly one of the reasons that feminists, women writers don't approve of her. In the book, it's consensual. Whatever one wants to think about the ways that people have sex, it is consensual in the book. Also in The Fountainhead.I'm sure I'll get hate mail for even saying that, but in her universe, that's where it is. What's interesting, Francisco as a character is so interesting. He's conflicted, he's charming, he's her first lover. He's utterly good in every way. He ends up without her. Hank is good. Hank goes through his struggles and learning curve about women prioritizing. If you don't like your wife, don't be married to your wife. It's like he goes through his own what are my values and how do I live them.I know you think that this is bizarre, but there's a lot of writing about the relationship of Hank and Francisco because they find themselves in the same room a lot. They happen to have both been Dagny's lovers or ex-lovers, and they really, really like each other. There's a way that that bonding-- Homosexuality does not exist in her novels, whatever, but that's a relationship of two people that really are hot for one another. There is a lot of writing. There are queer readings of Rand that make a lot of that relationship.Again, this isn't my particular lens of criticism, but I do see that the energy, which is why I asked you which speech you were reading because some of Francisco's best speeches are for Hank because he's trying to woo Hank to happy valley. Toward the end when they're all hanging out together in Galt's Gulch, there's clearly a relationship there.Henry: Oh, yes. No, once you pointed out to me, I was like, "That makes sense of so many passages." That's clearly there. What I don't understand is why she did that. I feel like, and this is quite an accomplishment because it's a big novel with a lot of moving parts, everything else is resolved both in terms of the plot, but also in terms of how it fits her philosophical idea. That, I think, is pretty much the only thing where you're left wondering, "Why was that in there? She hasn't made a point about it. They haven't done anything about it." This I don't understand. That's my query.Hollis: Getting ready to have this conversation, I spent a lot of time on some Reddit threads. I ran Atlas Shrugged Reddit threads where there's some fantastic conversations.Henry: Yes, there is.Hollis: One of them is about, how come Francisco didn't end up with anybody? That's just too bad. He's such a great character and he ends up alone. I would say he doesn't end up alone, he ends up with his boyfriend Hank, whatever that looks like. Two guys that believe in the same things, they can have whatever life they want. Go on.Henry: Are you saying that now that they're in the valley, they will be more free to pursue that relationship?Hollis: There's a lot of things that she has said about men's and women's bodies. She said in other places, "I don't think there'll ever be a woman president because why would a woman want to be president? What a woman really wants is a great man, and we can't have a president who's looking for a great man. She has to be a president." She's got a lot of lunacy about women. Whatever. I don't understand. Someplace I've read that she understands male homosexuality, but not female homosexuality. Again, I am not a Rand scholar. Having read and seen some of that in the ether, I see it in the book, and I can see how her novel would invite that analysis.I do want to say, let's spend a few seconds on some of the minor characters. There are some really wonderful minor characters. One of them is Cherryl Taggart, this shop girl that evil Jim Taggart meets one night in a rainstorm, and she's like, "Oh, you're so awesome," and they get married. It's like he's got all this praise for marrying the shop girl. It's a funny Eliza Doolittle situation because she is brought into this very wealthy society, which we have been told and we have been shown is corrupt, is evil, everybody's lying all the time, it's pretentious, Dagny hates it.Here's the Cherryl Taggart who's brought into this. In the beginning, she hates Dagny because she's told by everybody, "Hate Dagny, she's horrible." Then she comes to her own mini understanding of the corruption that we understand because Dagny's shown it in the novel, has shown it to us this entire time. She comes to it and she's like, "Oh my God," and she goes to Dagny. Dagny's so wonderful to her like, "Yes. You had to come to this on your own, I wasn't going to tell you, but you were 100% right." That's the end of her.Henry: Right. When she meets Taggart, there's this really interesting speech she has where she says, "I want to make something of myself and get somewhere." He's like, "What? What do you want to do?" Red flag. "What? Where?" She says, "I don't know, but people do things in this world. I've seen pictures of New York," and she's pointing at like the skyscrapers, right? Whatever. "I know that someone's built that. They didn't sit around and whine, but like the kitchen was filthy and the roof was leaking." She gets very emotional at this point. She says to him, "We were stinking poor and we didn't give a damn. I've dragged myself here, and I'm going to do something."Her story is very sad because she then gets mired in the corruption of Taggart's. He's basically bit lazy and a bit of a thief, and he will throw anyone under the bus for his own self-advancement. He is revealed to be a really sinister guy. I was absolutely hissing about him most of the time. Then, let's just do the plot spoiler and say what happens to Cherryl, right? Because it's important. When she has this realization and Taggart turns on her and reveals himself as this snake, and he's like, "Well, what did you expect, you idiot? This is the way the world is."Hollis: Oh, it's a horrible fight. It's the worst fight.Henry: Right? This is where the melodrama is so good. She goes running out into the streets, and it's the night and there are shadows. She's in the alleyway. Rand, I don't have the page marked, but it's like a noir film. She's so good at that atmosphere. Then it gets a little bit gothic as well. She's running through the street, and she's like, "I've got to go somewhere, anywhere. I'll work. I'll pick up trash. I'll work in a shop. I'll do anything. I've just got to get out of this."Hollis: Go work at the Panda Express. Henry: Yes. She's like, "I've got to get out of this system," because she's realized how morally corrupting it is. By this time, this is very late. Society is in a-- it's like Great Depression style economic collapse by this point. There really isn't a lot that she could do. She literally runs into a social worker and the social-- Rand makes this leering dramatic moment where the social worker reaches out to grab her and Cherryl thinks, "Oh, my God, I'm going to be taken prisoner in. I'm going back into the system," so she jumps off the bridge.This was the moment when I was like, I've had this lurking feeling about how Russian this novel is. At this point, I was like, "That could be a short story by Gogol," right? The way she set that up. That is very often the trap that a Gogol character or maybe a Dostoevsky character finds themselves in, right? That you suddenly see that the world is against you. Maybe you're crazy and paranoid. Maybe you're not. Depends which story we're reading. You run around trying to get out and you realize, "Oh, my God, I'm more trapped than I thought. Actually, maybe there is no way out." Cherryl does not get a lot of pages. She is, as you say, quite a minor character, but she illustrates the whole story so, so well, so dramatically.Hollis: Oh, wow.Henry: When it happens, you just, "Oh, Cherryl, oh, my goodness."Hollis: Thank you for reading that. Yes, you could tell from the very beginning that the seeds of what could have been a really good person were there. Thank you for reading that.Henry: When she died, I went back and I was like, "Oh, my God, I knew it."Hollis: How can you say Rand is a bad writer, right? That is careful, careful plotting, because she's just a shop girl in the rain. You've got this, the gun on the wall in that act. You know she's going to end up being good. Is she going to be rewarded for it? Let me just say, as an aside, I know we don't have time to talk about it here. My field, as I said, is 19th century African American novels, primarily now.This, usually, a woman, enslaved woman, the character who's like, "I can't deal with this," and jumps off a bridge and drowns herself is a fairly common and character. That is the only thing to do. One also sees Rand heroes. Stowe's Dred, for example, is very much, "I would rather live in the woods with a knife and then, be on the plantation and be a slave." When you think about, even the sort of into the 20th century, the Malcolm X figure, that, "I'm going to throw out all of this and be on my own," is very Randian, which I will also say very Byronic, too, Rand didn't invent this figure, but she put it front and center in these novels, and so when you think about how Atlas Shrugged could be brought into a curriculum in a network of other novels, how many of we've discussed so far, she's there, she's influenced by and continues to influence. Let's talk about your favorite minor character, the Wet Nurse.Henry: This is another great death scene.Hollis: Let's say who he is, so the government sends this young man to work at the Rearden Mills to keep an eye on Hank Rearden.Henry: Once they nationalize him, he's the bureaucrat reporting back, and Rearden calls him the Wet Nurse as an insult.Hollis: Right, and his job, he's the Communist Party person that's in every factory to make sure that everything is--Henry: That's right, he's the petty bureaucrat reporting back and making sure everyone's complying.Hollis: He's a young recent college graduate that, Hank, I think, early on, if it's possible even to find the Wet Nurse early scene, you could tell in the beginning, too, he's bright and sparkly right out of college, and this is, it seems like a good job for him. He's like, "Woohoo, I get to be here, and I get to be--" Yes, go ahead.Henry: What happens to him is, similarly to Cherryl, he has a conversion, but his conversion is not away from the corruption of the system he's been in, he is converted by what he sees in the Rearden plant, the hard work, the dedication, the idealism, the deep focus on making the metal, and he starts to see that if we don't make stuff, then all the other arguments downstream of that about how to appropriate, how to redistribute, whatever, are secondary, and so he becomes, he goes native, as it were. He becomes a Reardenite, and then at the end, when there's a crowd storming the place, and this crowd has been sent by the government, it's a fake thing to sort of--Hollis: Also, a very good scene, very dramatic.Henry: She's very good at mobs, very good at mobs, and they kill, they kill the Wet Nurse, they throw him over. He has a couple of speeches in dialogue with Rearden while he's dying, and he says--Hollis: You have to say, they throw him, they leave him on this pile of slag. He crawls up to the street where Rearden happens to be driving by, and car stops, and so that finding the Wet Nurse there and carrying him in his arms, yes.Henry: That's right, it's very dramatic, and then they have this dialogue, and he says, "I'd like to live, Mr. Rearden, God, how I'd like to, not because I'm dying, but because I've just discovered tonight what it means to be alive, and it's funny, do when I discovered it? In the office, when I stuck my neck out, when I told the bastards to go to hell, there's so many things I wish I'd known sooner, but it's no use crying over spilt milk," and then Rearden, he goes, "Listen, kid, said Rearden sternly, I want you to do me a favor." "Now, Mr. Rearden?" "Yes, now." "Of course, Mr. Rearden, if I can," and Rearden says, "You were willing to die to save my mills, will you try and live for me?"I think this is one of those great moments where, okay, maybe this isn't like George Eliot style dialogue, but you could put that straight in a movie, that would work really well, that would be great, right? I can hear Humphrey Bogart saying these things. It would work, wouldn't it?She knows that, and that's why she's doing that, she's got that technique. He's another minor character, and Rand is saying, the system is eating people up. We are setting people up for a spiritual destruction that then leads to physical destruction. This point, again, about it's not just about the material world. It's about your inner life and your own mind.I find it very moving.Hollis: These minor characters are fantastic. Then let's talk a little bit about Eddie Willers, because I think a lot about Eddie Willers. Eddie Willers, the childhood three, there were three young people, we keep going back to this childhood. We have Dagny, Francisco, because their parents were friends, and then Eddie Willers, who's like a neighborhood kid, right?Henry: He's down the street.Hollis: He lives down the street. He's like the neighborhood kid. I don't know about you. We had a neighborhood kid. There's always neighborhood kids, right? You end up spending time with this-- Eddie's just sort of always there. Then when they turn 15, 16, 17, and when there's clearly something going on between Dagny and Francisco, Eddie does take a step back, and he doesn't want to see.There's the class issues, the status issues aren't really-- they're present but not discussed by Rand. Here we have these two children heirs, and they don't say like, "You're not one of us, Eddie, because you're not an heir or an heiress." He's there, and he's got a pretty good position as Dagny's right-hand man in Taggart Transcontinental. We don't know where he went to college. We don't know what he does, but we know that he's super loyal, right?Then when she goes and takes a break for a bit, he steps in to be COO. James is like, "Eddie Willers, how can Eddie Willers be a COO?" She's like, "It's really going to be me, but he's going to be fine." We're not really supposed to identify with Eddie, but Eddie's there. Eddie has, all through the novel, all through the big old novel, Eddie eats lunch in the cafeteria. There's always this one guy he's having lunch with. This is, I don't know, like a Greek chorus thing, I don't quite know, but there's Eddie's conversations with this unknown person in the cafeteria give us a sense, maybe it's a narrator voice, like, "Meanwhile, this is going on in the world." We have these conversations. This guy he's having lunch with asks a lot of questions and starts asking a lot of personal questions about Dagny. Then we have to talk to-- I know we've gone for over an hour and 15 minutes, we've got to talk about Galt's Speech, right? When John Galt, toward the end, takes over the airwaves and gives this big three-hour speech, the big three-hour podcast as I tweeted the other day, Eddie is with Dagny.Henry: He's in the radio studio.Hollis: He's in the studio along with one of John Galt's former professors. We hear this voice. Rand says, or the narrator says, three people in the room recognize that voice. I don't know about you, did you guess that it was Galt before that moment that Eddie was having lunch with in the cafeteria?Henry: No, no, no, I didn't.Hollis: Okay, so you knew at that moment.Henry: That was when I was like, "Oh, Eddie was talking, right?" It took me a minute.Hollis: Okay, were you excited? Was that like a moment? Was that a big reveal?Henry: It was a reveal, but it made me-- Eddie's whole character puzzles me because, to me, he feels like a Watson.Hollis: Yes, that's nice, that's good.Henry: He's met Galt, who's been under their noses the whole time. He's been going through an almost Socratic method with Galt, right? If only he could have paid a little bit more attention, he would have realized what was going on. He doesn't, why is this guy so interested in Dagny, like all these things. Even after Galt's big speech, I don't think Eddie quite takes the lesson. He also comes to a more ambiguous but a bad end.Hollis: Eddie's been right there, the most loyal person. The Reddit threads on Eddie Willers, if anybody's interested, are really interesting.Henry: Yes, they are, they're so good.Hollis: Clearly, Eddie recognizes greatness, and he recognizes production, and he recognizes that Dagny is better than Jim. He recognizes Galt. They've been having these conversations for 12 years in the cafeteria. Every time he goes to the cafeteria, he's like, "Where's my friend, where's my friend?" When his friend disappears, but he also tells Galt a few things about Dagny that are personal and private. When everybody in the world, all the great people in the world, this is a big spoiler, go to Galt's Gulch at the end.Henry: He's not there.Hollis: He doesn't get to go. Is it because of the compromises he made along the way? Rand had the power to reward everybody. Hank's secretary gets to go, right?Henry: Yes.Hollis: She's gone throughout the whole thing.Henry: Eddie never thinks for himself. I think that's the-- He's a very, I think, maybe one of the more tragic victims of the whole thing because-- sorry. In a way, because, Cherryl and the Wet Nurse, they try and do the right thing and they end up dying. That's like a more normal tragedy in the sense that they made a mistake. At the moment of realization, they got toppled.Eddie, in a way, is more upsetting because he never makes a mistake and he never has a moment of realization. Rand is, I think this is maybe one of the cruelest parts of the book where she's almost saying, "This guy's never going to think for himself, and he hasn't got a hope." In a novel, if this was like a realistic novel, and she was saying, "Such is the cruelty of the world, what can we do for this person?" That would be one thing. In a novel that's like ending in a utopia or in a sort of utopia, it's one of the points where she's really harsh.Hollis: She's really harsh. I'd love to go and look at her notes at some point in time when I have an idle hour, which I won't, to say like, did she sit around? It's like, "What should I do with Eddie?" To have him die, probably, in the desert with a broken down Taggart transcontinental engine, screaming in terror and crying.Henry: Even at that stage, he can't think for himself and see that the system isn't worth supporting.Hollis: Right. He's just going to be a company man to the end.Henry: It's as cruel as those fables we tell children, like the grasshopper and the ants. He will freeze to death in the winter. There's nothing you can do about it. There are times when she gets really, really tough. I think is why people hate her.Hollis: We were talking about this, about Dickens and minor characters and coming to redemption and Dickens, except Jo. Jo and Jo All Alones, there are people who have redemption and die. Again, I don't know.Henry: There's Cherryl and the Wet Nurse are like Jo. They're tragic victims of the system. She's doing it to say, "Look how bad this is. Look how bad things are." To me, Eddie is more like Mr. Micawber. He's hopeless. It's a little bit comic. It's not a bad thing. Whereas Dickens, at the end, will just say, "Oh, screw the integrity of the plot and the morals. Let's just let Mr. Micawber-- let's find a way out for him." Everyone wants this guy to do well. Rand is like, "No, I'm sticking to my principles. He's dead in the desert, man. He's going to he's going to burn to death." He's like, "Wow, that's okay."Hollis: The funny thing is poor John Galt doesn't even care about him. John Galt has been a bad guy. John Galt is a complicated figure. Let's spend a bit on him.Henry: Before we do that, I actually want to do a very short segment contextualizing her in the 50s because then what you say about Galt will be against this background of what are some of the other ideas in the 50s, right?Hollis: Got it.Henry: I think sometimes the Galt stuff is held up as what's wrong with this novel. When you abstract it and just say it, maybe that's an easier case to make. I think once you understand that this is 1957, she's been writing the book for what, 12 years, I think, or 15 years, the Galt speech takes her 3 years to write, I think. This is, I think the most important label we can give the novel is it's a Cold War novel. She's Russian. What she's doing, in some ways, is saying to America, "This is what will happen to us if we adopt the system of our Cold War enemies." It's like, "This is animal farm, but in America with real people with trains and energy plants and industry, no pigs. This is real life." We've had books like that in our own time. The Mandibles by Lionel Shriver said, that book said, "If the 2008 crash had actually gone really badly wrong and society collapsed, how would it go?" I think that's what she's reacting to. The year before it was published, there was a sociology book called The Organization Man.Hollis: Oh, yes. William Whyte.Henry: A great book. Everyone should read that book. He is worrying, the whole book is basically him saying, "I've surveyed all these people in corporate America. They're losing the Protestant work ethic. They're losing the entrepreneurial spirit. They're losing their individual drive. Instead of wanting to make a name for themselves and invent something and do great things," he says, "they've all got this managerial spirit. All the young men coming from college, they're like, 'Everything's been done. We just need to manage it now.'" He's like, "America is collapsing." Yes, he thinks it's this awful. Obviously, that problem got solved.That, I think, that gives some sense of why, at that moment, is Ayn Rand writing the Galt speech? Because this is the background. We're in the Cold War, and there's this looming sense of the cold, dead hand of bureaucracy and managerialism is. Other people are saying, "Actually, this might be a serious problem."Hollis: I think that's right. Thank you for bringing up Whyte. I think there's so much in the background. There's so much that she's in conversation with. There's so much about this speech, so that when you ask somebody on the street-- Again, let me say this, make the comparison again to Uncle Tom's Cabin, people go through life feeling like they know Uncle Tom's Cabin, Simon Legree, Eliza Crossing the Ice, without having ever read it.Not to name drop a bit, but when I did my annotated Uncle Tom's Cabin, this big, huge book, and it got reviewed by John Updike in The New Yorker, and I was like, "This is freaking John Updike." He's like, "I never read it. I never read it." Henry Louis Gates and then whoever this young grad student was, Hollis Robbins, are writing this book, I guess I'll read it. It was interesting to me, when I talk about Uncle Tom's Cabin, "I've never read it," because it's a book you know about without reading. A lot of people know about Atlas Shrugged without having read it. I think Marc Andreessen said-- didn't he say on this podcast that he only recently read it?Henry: I was fascinated by this. He read it four years ago.Hollis: Right, during COVID.Henry: In the bibliography for the Techno-Optimist Manifesto, and I assumed he was one of those people, he was like you, he'd read it as a teenager, it had been informative. No, he came to it very recently. Something's happening with this book, right?Hollis: Huge things are happening, but the people who know about it, there's certain things that you know, you know it's long, you know that the sex is perhaps not what you would have wanted. You know that there's this big, really long thing called John Galt's Speech, and that it's like the whaling chapters in Moby-Dick. People read Moby-Dick, you're like, "Oh, yes, but I skipped all the chapters on cetology." That's the thing that you say, right? The thing that you say is like, "Yes, but I skipped all the John Galt's Speech." I was very interested when we were texting over the last month or so, what you would say when you got to John Galt's Speech. As on cue, one day, I get this text and it's like, "Oh, my God, this speech is really long." I'm like, "Yes, you are the perfect reader."Henry: I was like, "Hollis, this might be where I drop out of the book."Hollis: I'm like, "Yes, you and the world, okay?" This is why you're an excellent reader of this book, because it is a frigging slog. Just because I'm having eye issues these days, I had decided instead of rereading my copy, and I do have a newer copy than this tiny print thing, I decided to listen on audiobook. It was 62 hours or whatever, it was 45 hours, because I listen at 1.4. The speech is awesome listening to it. It, at 1.4, it's not quite 3 hours. It's really good. In the last few days, I was listening to it again, okay? I really wanted to understand somebody who's such a good plotter, and somebody who really understands how to keep people's interest, why are you doing this, Rand? Why are you doing this, Ms. Rand? I love the fact that she's always called Miss. Rand, because Miss., that is a term that we

Happy New Year (and Happy Reading) from The Daily Poem!Born in Amherst, Massachusetts, to academic Calvinist parents, poet, author, and Native American rights activist Helen Hunt Jackson (born Helen Maria Fiske) was orphaned as a child and raised by her aunt. Jackson was sent to private schools and formed a lasting childhood friendship with Emily Dickinson. At the age of 21, Jackson married Lieutenant Edward Bissell Hunt and together they had two sons. Jackson began writing poetry only after the early deaths of her husband and both sons.Jackson published five collections of poetry, including Verses (1870) and Easter Bells (1884), as well as children's literature and travel books, often using the pseudonyms “H.H.,” “Rip van Winkle,” or “Saxe Holm.” Frequently in poor health, she moved to Colorado on her physician's recommendation and married William Sharpless Jackson there in 1875.Moved by an 1879 speech given by Chief Standing Bear, Jackson wrote A Century of Dishonor (1881), an exposé of the rampant crimes against Native Americans, which led to the founding of the Indian Rights Association. In 1884 she published Ramona, a fictionalized account of the plight of Southern California's dispossessed Mission Indians, inspired by Harriet Beecher Stowe's Uncle Tom's Cabin.Jackson was inducted into the Colorado Women's Hall of Fame in 1985.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In December of 1850, a faculty wife in Brunswick, Maine, named Harriet Beecher Stowe hid a fugitive slave in her house. While John Andrew Jackson stayed for only one night, he made a lasting impression: drawing from this experience, Stowe began to write Uncle Tom's Cabin, one of the most influential books in American history and the novel that helped inspire the overthrow of slavery in the United States. A Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin (New Press, 2024) unfolds as a historical detective story, as Susanna Ashton combs obscure records for evidence of Jackson's remarkable flight from slavery to freedom, his quest to liberate his enslaved family, and his emergence as an international advocate for abolition. This fresh and original work takes us through the Civil War, Reconstruction, and the restoration of white supremacy—where we last glimpse Jackson losing his freedom again on a Southern chain gang. In the spirit of Tiya Miles's prizewinning All That She Carried and Erica Armstrong Dunbar's Never Caught, Susanna Ashton breathes life into a striving and nuanced American character, one unmistakably rooted in the vast sweep of nineteenth-century America. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

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The Torah portion of Va'yeshev, which covers the story of Joseph's betrayal by his brothers and his subsequent enslavement in Egypt, shares thematic parallels with the depiction of slavery in Uncle Tom's Cabin by Harriet Beecher Stowe. In Va'yeshev, Joseph is sold into slavery by his brothers, who are motivated by jealousy and resentment, leading to his suffering and displacement. Similarly, in Uncle Tom's Cabin, African slaves, like Uncle Tom, are subjected to inhumane treatment, betrayal, and exploitation by those who see them as property rather than people. Both narratives highlight the deep injustices of slavery, emphasizing the emotional and physical suffering endured by the enslaved. However, while Joseph's eventual rise to power in Egypt serves as a form of divine justice, Uncle Tom's Cabin underscores the moral degradation of slavery and calls for its abolition, reflecting a more direct critique of the system. In both texts, the individuals who suffer under slavery demonstrate resilience and faith, yet the narratives also show the profound moral and social costs of such systems. Please subscribe to 'The Avrum Rosensweig Show' and consider sponsorship by emailing: avrum.rosensweig@gmail.com . Thank you for supporting the channel and show.

The Torah portion of Va'yeshev, which covers the story of Joseph's betrayal by his brothers and his subsequent enslavement in Egypt, shares thematic parallels with the depiction of slavery in Uncle Tom's Cabin by Harriet Beecher Stowe. In Va'yeshev, Joseph is sold into slavery by his brothers, who are motivated by jealousy and resentment, leading to his suffering and displacement. Similarly, in Uncle Tom's Cabin, African slaves, like Uncle Tom, are subjected to inhumane treatment, betrayal, and exploitation by those who see them as property rather than people. Both narratives highlight the deep injustices of slavery, emphasizing the emotional and physical suffering endured by the enslaved. However, while Joseph's eventual rise to power in Egypt serves as a form of divine justice, Uncle Tom's Cabin underscores the moral degradation of slavery and calls for its abolition, reflecting a more direct critique of the system. In both texts, the individuals who suffer under slavery demonstrate resilience and faith, yet the narratives also show the profound moral and social costs of such systems. Please subscribe to 'The Avrum Rosensweig Show' and consider sponsorship by emailing: avrum.rosensweig@gmail.com . Thank you for supporting the channel and show.

Darkness Syndicate members get the ad-free version: https://weirddarkness.tiny.us/bdeeyjmeInfo on the next LIVE SCREAM event: https://weirddarkness.com/LiveScreamIN THIS EPISODE: North Carolina's Great Dismal Swamp is full of horror stories – but the worst might be the fact that the swamp appears to swallow people alive. (Swallowed Alive In Great Dismal Swamp) *** A weeping mancalled the police to tearfully apologize for murdering his victims… but that didn't stop him from continuing to kill again and again. (The Weepy Voiced Killer) *** In Hindu culture, it is believed if certain post-death rituals are not conducted on those who have passed away, the deceased's family would not prosper and there would be misfortunes aplenty. One family in Bhutan had to learn that the hard way. (The Stoning Ghost of Sombek) *** An apparent incident involving a “gigantic cigar-shaped UFO” somewhere over the Atlantic Ocean in May 1963 wasn't reported for almost 20 years, when a witness to the event finally came forward through a written letter of the incident. (The Atlantic UFO of 1963) *** In a beautiful little town in North Wales, children ran through the graveyard, searching for little men with big eyes and long ears. They were searching for strange fairy folk – the ‘brownies' of Bangor. (The Brownies of Bangor) *** Serial killer Ed Gein was caught and arrested for his crimes in November of 1957 – but that didn't mean Gein's neighbors would see the end of his influence on their lives. (Selling Ed Gein) *** Four people take a trip to France and stay at hotel that appeared too good to be true – because it was. (The Hotel Out of Time)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Show Open00:03:04.522 = The Hotel Out Of Time00:15:16.879 = Brownies of Bangor00:22:54.121 = Selling Ed Gein00:33:39.895 = The Stoning Ghost of Sombek00:40:39.922 = Atlantic UFO of 196300:49:18.170 = Swallowed Alive in Great Dismal Swamp01:02:42.145 = Weepy Voiced Killer01:10:40.356 = Show CloseSOURCES AND REFERENCES FROM THE EPISODE…“Selling Ed Gein” by Romeo Vitelli for Providentia: https://weirddarkness.tiny.us/uypuz8um“Swallowed Alive In Great Dismal Swamp” by Eric Luis for Graveyard Shift: https://weirddarkness.tiny.us/vd3sp6ywBOOK: “Dred: A Tale Of The Great Dismal Swamp” by Harriet Beecher Stowe: https://amzn.to/3cewYfe“The Weepy Voiced Killer” by Orrin Grey for The Line Up: https://weirddarkness.tiny.us/29w99jdc“The Hotel Out of Time” from Strange Company: https://weirddarkness.tiny.us/jhnzy2bc“The Atlantic UFO of 1963” by Marcus Lowth for UFO Insight: https://weirddarkness.tiny.us/z2j2zp88“The Stoning Ghost of Sombek” by Rajesh Rai for Kuensel Online: https://weirddarkness.tiny.us/d5hxz7cw“The Brownies of Bangor” by Dr. Beachcombing for Strange History: https://weirddarkness.tiny.us/3dbx7p85,https://weirddarkness.tiny.us/42a8v9nuWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: February 24, 2021CUSTOM LANDING PAGE: https://weirddarkness.com/HotelOutOfTime

In this special Thanksgiving episode, Jennifer reads the story "How We Kept Thanksgiving in Oldtown" by Harriet Beecher Stowe.

In this heartwarming conlusion the family gathers for their seventh Thanksgiving and Diane, who has become the keeper of the house for mother, announces the she has a surprise for "Uncle" Silas.  Check out www.bestof1001stories.com for all our shows and episodes.  Give our new podcast 1001 True Crime From Another Time a try!  You'll be glad you did- lots of investigations to come.

A Harriet Beecher Stowe sequel: The Sullivan Looking Glass

A young man returning home from college in new England finds his father on the verge of losing his farm and decides to quit college to help the family through.

When she wasn't working on Uncle Tom's Cabin, she also wrote some pretty good fireside tales: Harriet Beecher Stowe, The Ghost in the Chimney

Episode: 1940 In which Harriet Beecher Stowe and her sister build a model house to pay for a mansion.  Today, architectural historian Margaret Culbertson tells us about a cabin, a mansion, and a model home.

The Stowe Center welcomes Dr. Bettina Love as their 2024 Stowe Prize for Literary Activism winner, author of "Punished for Dreaming: How School Reform Harms Black Children and How We Heal" which offers a road map for repair, arguing for reparations with transformation for all children at its core.

Victoria C. Woodhull might be one of the most interesting women we've covered on the pod so far! Her story includes not one, but THREE rags-to-riches climbs, a flourishing career as a medium & clairvoyant, and she was the first woman to not only run for President of the United States, but she also the first woman to own a Wall Street Firm AND the first woman EVER to testify before Congress. As you might suspect, her story is also filled with drama and not JUST within the gossip column she published. Let's just say that Harriet Beecher Stowe called her a “vile jailbird” and “impudent witch”. What did Victoria do to earn such vile hatred from the Stowe family? You'll have to listen to find out! — A Broad is a woman who lives by her own rules. Broads You Should Know is the podcast about the Broads who helped shape our world! BroadsYouShouldKnow.com YT/IG/FB @BroadsYouShouldKnow & TW @BYSKpodcast — 3 Ways you can help support the podcast: Write a review on Apple Podcasts Share your favorite episode with a friend or on social Send us an email with a broad suggestion, question, or comment at BroadsYouShouldKnow@gmail.com — Broads You Should Know is hosted by Sara Gorsky. IG: @SaraGorsky Web master / site design: www.BroadsYouShouldKnow.com — Broads You Should Know is produced by Sara Gorsky & edited by Chloe Skye

Tess and Brock stay close to home while studying Harriet Beecher Stowe, the 19th-century author famous for writing Uncle Tom's Cabin. Susanna Aston tells the harrowing story of how Stowe harbored fugitive slave John Andrew Jackson, and how one decision can change the course of history.Mentioned:Uncle Tom's Cabin by Harriet Beecher StoweA Plausible Man: The True Story of the Escaped Slave Who Inspired Uncle Tom's Cabin by Susanna AshtonCathi BelcherStowe WritersAyaz MuratogluThe house:Harriet Beecher Stowe House in Brunswick, ME Tess Chakkalakal is the creator, executive producer and host of Dead Writers. Brock Clarke is our writer and co-host.Lisa Bartfai is the managing producer and executive editor. Our music is composed by Cedric Wilson, who also mixes the show. Ella Jones is our web editorial intern, and Mark Hoffman created our logo. A special thanks to our reader Brian Purnell.This episode was produced with the generous support of our sponsors Bath Savings and listeners like you.  

A look back at the lives of two remarkable women who changed the course of American history.

Episode: 1206 Harriet Beecher Stowe: "No talent, only genius."  Today, a woman turns slavery from theoretical wrong into personal evil.

Today, the What's Next? team takes us on a tour at the Niagara Falls Underground Railroad Heritage Center with the Director of Community Engagement Saladin Allah. Allah is the third-great grandson of underground railroad Freedom Seeker Josiah Henson whom Harriet Beecher Stowe used as the primary narrative for her famous 19th Century novel “Uncle Tom's Cabin.” He takes Thomas O'Neil-White and Jay Moran around the center and provides insight into the center and more.

Juneteenth crime! Economy over Hake's head! "Alpha" tweets wife left him! Supers: DuBois, Booker T, U-Turns, China blame, Hake "single" The Hake Report, Monday, June 17, 2024 AD HAKE TIMESTAMPS Mon 6-17-24* (0:00:00) Topics: Juneteenth shooting(s); "Alpha" broken man * (0:02:50) Hey, guys! All thoughts are lies JLP tee * (0:04:48) Juneteenth mass shootings, 2023-2024 * (0:13:41) Crime went up! * (0:17:22) JOE, AZ: Fed overnight federal funds rate * (0:21:10) JOE: Who controls economy? Recession. * (0:24:49) JOE: Haves vs Have-nots * (0:28:55) JOE: Why don't you have children? "Middle Class" * (0:34:31) WILLIAM, CA: Round Rock, Juneteenth, shooting, Tulsa * (0:41:44) WILLIAM: rent too high, "justice," spoiled, bitter * (0:46:11) ERIC, AZ: Trump tax vs Biden-Obama, DREAMers, Dem * (0:50:44) Dave's wife "left" him and autistic daughters, he posted on X * (1:04:23) DANIEL, TX: Slavery wasn't going away: Not peacefully! Fort Sumter * (1:13:56) DANIEL: Trump, Harriet Beecher Stowe, East-West * (1:15:52) JAIME, MN: 2008, deregulation, housing, irresponsible loans (Obama) * (1:20:58) JAIME: Mortgages, derivatives, evil, mama spirit * (1:24:00) JAIME: College loans * (1:25:23) Coffee: Read W.E.B. Dubois, Booker T Washington (know)  * (1:34:08) Coffee: Gascon, Silver Lake U-Turn signs * (1:37:50) Super: Charlie Church on China fentanyl blame * (1:43:27) STEVEN, MD: God, Satan, thoughts, aborsh, adoption * (1:49:27) RICK, VA: Caitlin Clark vs liberal "values" * (1:52:05) Supers: Married vs single, First slave / owner * (1:53:32) "Agnus Dei" - Psalters (feat. Sepideh Vahidi) LINKS BLOG  https://www.thehakereport.com/blog/2024/6/17/the-hake-report-mon-6-17-24 PODCAST / Substack  HAKE NEWS from JLP  https://www.thehakereport.com/jlp-news/2024/6/17/hake-news-mon-6-17-24 Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/show VIDEO  YouTube  -  Rumble*  -  Facebook  -  X  -  BitChute  -  Odysee*  PODCAST  Substack  -  Apple  -  Spotify  -  Castbox  -  Podcast Addict  *SUPER CHAT on platforms* above or  BuyMeACoffee, etc.  SHOP  Spring  -  Cameo  |  All My Links  JLP Network:  JLP  -  Church  -  TFS  -  Nick  -  Joel   Get full access to HAKE at thehakereport.substack.com/subscribe

American author of "Uncle Tom's Cabin" --- Send in a voice message: https://podcasters.spotify.com/pod/show/rocky-seale7/message

THE KING AND I  Music by Richard Rodgers | Book & Lyrics by Oscar Hammerstein II | Based on Anna and the King of Siam by Margaret Landon | Original Choreography by Jerome RobbinsWorks Consulted & Reference :The King and I (Original Libretto)Something Wonderful: Rodgers and Hammerstein's Broadway Revolution by Todd S. PurdumMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Hello, Young Lovers" from  The King and I (The 2015  Broadway Cast Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Kelli O'Hara, Ted Sperling, Orchestra"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

EPISODE DESCRIPTION – Tune in to this special episode with one of Zena's coaching clients as he debriefs and talks about what it was like going from the writing stage into directing his first short film. Insights abound! Watch this to be inspired and glean new tips that are sure to boost your writing journey as well. Dr. Joshua Damu Smith is an English Professor, a pastor, a saxophonist and a writer/director. Currently, he is conducting research for a book comparing Harriet Beecher Stowe with Quentin Tarantino and is in postproduction for his first short film titled Decaf. He is also the CEO of Zoe Center, a non-profit organization committed to mobilizing volunteers to serve the highest good. In addition to his duties as a corporate leader, he teaches at the Torrey Honors College, a classical studies program at Biola University. With all of his responsibilities, he manages to find quiet moments to read comic books and spend time with his wife, Marsee, and sons, Josué and Angelo.Hollywood Story Structure Class - Early Adopter opportunityThe Storyteller's Mission Podcast is now on YouTube. You can watch your favorite podcast as well as listen. Subscribe to our channel and never miss a new episode or announcement.Support the Show on Paypal@Missionranchfilms!Contact us for anything else!Support the Show.

Robert Smalls was the defiant slave who decided freedom was a better choice. That is when his and President Abraham Lincoln's lives would be intertwined, from the Civil War all the way through death. In this episode we discover Lydia Polite, Harriet Buss, Henry Ward Beecher, Harriet Beecher Stowe, Harriet Tubman, the Freedsman Bureau, Parris Island, Andrew Johnson, Joe Louis and the Harlem Globetrotters. 

A look back at the lives of two remarkable women who changed the course of American history.

What does our nervous heroine see in the yellow wallpaper, that no one else can?  Charlotte Perkins Gilman, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A Vintage Episode is released every Tuesday. Please help us to continue producing amazing audiobooks by going to http://classictalesaudiobooks.com, and becoming a supporter. New content is still coming your way on Fridays.  Keep an ear open for our Kickstarter for The Golden Triangle – the sixth novel in the Arsène Lupin series. We're getting ready with boxed sets, special editions, and more! We'll let you know when we're ready to pull the trigger.  And it's time for the Classic Tales Book Club to meet again! Keep an eye on your inboxes today for our monthly newsletter which will contain the zoom link. Our zoom meeting will be on Wednesday, April 10th at 4:00 Pacific time, 7:00 Eastern. We'll talk about the satirical nature of Gulliver's Travels, and the power of satire. See you then! Follow the link in the show notes to subscribe to our newsletter, and get the zoom link later today.  Charlotte Perkins Gilman was raised by her three aunts – one of which was Harriet Beecher Stowe. Apart from The Yellow Wallpaper, she is also known for writing Herland, the story of a lost civilization populated entirely by women.  And now, The Yellow Wallpaper, by Charlotte Perkins Gilman.  Follow this link to become a monthly supporter:   Follow this link to subscribe to our newsletter and chat with us on Zoom:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

Caleb Franz is the host of Profiles in Liberty and author of "The Conductor: The Story of Rev. John Rankin, Abolitionism's Essential Founding Father," and he joins us to discuss Rankin's Presbyterian upbringing in the South, his passionate opposition to slavery, and the influential letters he wrote to his brother, which sparked a broader public dissection of the institution of slavery. These writings, akin to 'The Federalist Papers' of abolitionism, played a crucial role in shaping the abolitionist movement, impacting figures like William Lloyd Garrison and Harriet Beecher Stowe. Franz also explores Rankin's challenges, including physical threats and societal opposition, underscoring his importance as a unifying figure whose efforts transcended abolitionism. The episode delves into Franz's book's origin and evolution, Rankin's legacy's impact, and the importance of acknowledging the contributions of figures lost to history. Preorder the book: The Conductor: The Story of Rev. John Rankin, Abolitionism's Essential Founding Father - https://amzn.to/4ck3dnx Do you have comments or questions about this episode? Visit it on ChrisSpangle.com and leave one! --- Join our Patreon now for commercial-free shows, bonus content, and our complete archives - https://www.patreon.com/wearelibertarians --- Join our Facebook Group to meet other listeners. - https://www.facebook.com/groups/walnutssociety --- Visit Chris-Spangle.com to see my other podcasts and projects or to add me on social. www.Chris-Spangle.com --- Looking to start a podcast? Download my podcast Podcasting and Platforms now, and check out my recommendations for buying the right equipment. Chris Spangle and Leaders and Legends, LLC edited and produced this podcast. If you want to start a podcast or take yours to the next level, please get in touch with us at LeadersAndLegends.net. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on The Learning Curve, guest co-hosts DFER-MA’s Mary Tamer and educator and noted Mark Twain scholar Dr. Jocelyn Chadwick interview Trinity College Prof. Joan Hedrick, author of Harriet Beecher Stowe: A Life. During Women's History Month, Prof. Hedrick discusses Harriet Beecher Stowe’s wide literary influence on U.S. history. From her abolitionist activism to the publication of the international bestseller Uncle Tom’s Cabin, they explore Stowe’s New England upbringing, anti-slavery convictions, and lasting impact […]

This week on The Learning Curve, guest co-hosts DFER-MA’s Mary Tamer and educator and noted Mark Twain scholar Dr. Jocelyn Chadwick interview Trinity College Prof. Joan Hedrick, author of Harriet Beecher Stowe: A Life. During Women’s History Month, Prof. Hedrick discusses Harriet Beecher Stowe’s wide literary influence on U.S. history. From her abolitionist activism to the publication of the... Source

Lots of reflecting on this one since my surgery.  Truthfully, before my surgery too.  This quote from long ago from Harriet Beecher Stowe (from 1852), "Caring for others is the highest expression of humanity."  I have seen this all throughout my life, but it became a very bright light shining in my face during my recent surgery episode, that got me thinking about this a bit deeper.  The people that helped me in the hospital, the entire staff (at least the ones that dealt with me), reminded me about this important life skill.  The friends I have connected with over my life - so many reached out to me with text messages and social media - with their well wishes, happy birthday messages and prayers.... wow.. .what a powerful difference they made. All of us can make that difference with the people in our lives and those that we meet along the way.  It's our choice.  Just know this - the world needs it now more than ever before - people caring and helping others.   Thanks for listening.  Please take a few moments to subscribe & share this with someone, also leave a 5 Star rating on Apple Podcasts and ITunes or other services where you find this show.  Find me on Facebook:  https://www.facebook.com/coachtoexpectsuccess/   on Twitter / “X”:  @coachtosuccess   and on Instagram at:  @coachjohndaly  - My YouTube Channel is at: Coach John Daly.   Email me at: CoachJohnDalyPodcast@gmail.com     You can also head on over to https://www.coachtoexpectsuccess.com/ and get in touch with me there on my homepage along with checking out my Top Book list too.  Other things there on my site are being worked on too.  Please let me know that you are reaching out to me from my podcast.  

Confidence Hack #29: trusting your intuition can lead to history-defining moments... Intuition. You've probably asked yourself, “Why didn't I follow my intuition on that?” Or, “Man, why didn't I trust my gut?” Before you say, “Oh David, intuition is a bunch of mumbo jumbo...” consider this. Several studies have shown that intuition is real. The brain uses past experiences and environmental cues to make decisions faster than we can sometimes comprehend. In today's episode, I cover the powerful example of intuition with the story of Harriet Beecher Stowe, one of American history's most incredible people. Stowe's book, ‘Uncle Tom's Cabin,' would become a catalyst for the Christian argument against the South's inhumane practice of slavery. She followed her gut, and the feeling led her to write one of the defining books of the American story. So, as you listen today, gain confidence in knowing that that gut feeling, your intuition, is telling you to pay attention, and more times than not, it's got something great to say! Hey! If you love this show, share it with family and friends! It's the best way to help get this info into the hands of people who want to grow and become the most CONFIDENT LEADERS they can be! And please throw us a 5-star review! To get these hacks and other AMAZING information straight to your inbox, go to davidnurse.com and sign up for the FREE newsletter!

Episode #118: Harriet Beecher Stowe - Author and Abolitionist (a special episode for Ben Richmond)  PLEASE GO HERE to access the Real Cool History Detectives - Exploring the Civil War miniseries! This episode is made possible by the America's Story Vol 2, written by Angela O'Dell and published by Master Books, a leader in homeschool curriculum for real life, written from a distinctly Biblical worldview perspective.   ANNOUNCING THE RELEASE OF ANGELA'S BRAND NEW BOOK: COURAGEOUS IDENTITY-TEEN EDITION! CHECK IT OUT HERE.  Have an idea for an episode topic? Use the Episode Request HERE!  Explore Angela's books here: https://angelaodell.com  Sound technology provided by Matthew Ubl 

PLEASE SHARE THIS EPISODE in your social media so others who love strange and macabre stories can listen too! https://weirddarkness.com/the-hotel-out-of-time/IN THIS EPISODE: North Carolina's Great Dismal Swamp is full of horror stories – but the worst might be the fact that the swamp appears to swallow people alive. (Swallowed Alive In Great Dismal Swamp) *** A weeping man called the police to tearfully apologize for murdering his victims… but that didn't stop him from continuing to kill again and again. (The Weepy Voiced Killer) *** In Hindu culture, it is believed if certain post-death rituals are not conducted on those who have passed away, the deceased's family would not prosper and there would be misfortunes aplenty. One family in Bhutan had to learn that the hard way. (The Stoning Ghost of Sombek) *** An apparent incident involving a “gigantic cigar-shaped UFO” somewhere over the Atlantic Ocean in May 1963 wasn't reported for almost 20 years, when a witness to the event finally came forward through a written letter of the incident. (The Atlantic UFO of 1963) *** In a beautiful little town in North Wales, children ran through the graveyard, searching for little men with big eyes and long ears. They were searching for strange fairy folk – the ‘brownies' of Bangor. (The Brownies of Bangor) *** Serial killer Ed Gein was caught and arrested for his crimes in November of 1957 – but that didn't mean Gein's neighbors would see the end of his influence on their lives. (Selling Ed Gein) *** Four people take a trip to France and stay at hotel that appeared too good to be true – because it was. (The Hotel Out of Time) *** (Originally aired February 24, 2021)SOURCES AND REFERENCES FROM THE EPISODE…“Selling Ed Gein” by Romeo Vitelli for Providentia: https://weirddarkness.tiny.us/uypuz8um“Swallowed Alive In Great Dismal Swamp” by Eric Luis for Graveyard Shift: https://weirddarkness.tiny.us/vd3sp6ywBOOK: “Dred: A Tale Of The Great Dismal Swamp” by Harriet Beecher Stowe: https://amzn.to/3cewYfe“The Weepy Voiced Killer” by Orrin Grey for The Line Up: https://weirddarkness.tiny.us/29w99jdc“The Hotel Out of Time” from Strange Company: https://weirddarkness.tiny.us/jhnzy2bc“The Atlantic UFO of 1963” by Marcus Lowth for UFO Insight: https://weirddarkness.tiny.us/z2j2zp88“The Stoning Ghost of Sombek” by Rajesh Rai for Kuensel Online: https://weirddarkness.tiny.us/d5hxz7cw“The Brownies of Bangor” by Dr. Beachcombing for Strange History: https://weirddarkness.tiny.us/3dbx7p85,https://weirddarkness.tiny.us/42a8v9nuVisit our Sponsors & Friends: https://weirddarkness.com/sponsorsJoin the Weird Darkness Syndicate: https://weirddarkness.com/syndicateAdvertise in the Weird Darkness podcast or syndicated radio show: https://weirddarkness.com/advertise= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =OTHER PODCASTS I HOST…Paranormality Magazine: https://weirddarkness.tiny.us/paranormalitymagMicro Terrors: Scary Stories for Kids: https://weirddarkness.tiny.us/microterrorsRetro Radio – Old Time Radio In The Dark: https://weirddarkness.tiny.us/retroradioChurch of the Undead: https://weirddarkness.tiny.us/churchoftheundead= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WeirdDarkness® is a registered trademark. Copyright ©2023, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =TRANSCRIPT: https://weirddarkness.com/the-hotel-out-of-timeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3655291/advertisement

Abraham Verghese is a physician and a best-selling author — in that order, he says. He explains the difference between curing and healing, and tells Steve why doctors should spend more time with patients and less with electronic health records. RESOURCES:The Covenant of Water, by Abraham Verghese (2023)."Abraham Verghese's Sweeping New Fable of Family and Medicine,” by Andrew Solomon (The New York Times, 2023).“Watch Oprah's Emotional Conversation with Abraham Verghese, Author of the 101st Oprah's Book Club Pick” (Oprah Daily, 2023)."How Indian Teachers Have Shaped Ethiopia's Education System," by Mariam Jafri (The Quint, 2023).“How Tech Can Turn Doctors Into Clerical Workers,” by Abraham Verghese (The New York Times Magazine, 2018).Cutting for Stone, by Abraham Verghese (2009)."Culture Shock — Patient as Icon, Icon as Patient," by Abraham Verghese (The New England Journal of Medicine, 2008).“The Cowpath to America,” by Abraham Verghese (The New Yorker, 1997).My Own Country: A Doctor's Story, by Abraham Verghese (1994)."Urbs in Rure: Human Immunodeficiency Virus Infection in Rural Tennessee," by Abraham Verghese, Steven L. Berk, and Felix Sarubbi (The Journal of Infectious Diseases, 1989).EXTRAS:"Are You Suffering From Burnout?" by No Stupid Questions (2023)."Would You Rather See a Computer or a Doctor?" by Freakonomics, M.D. (2022).“How Do You Cure a Compassion Crisis?” by Freakonomics Radio (2020).The Citadel, by A. J. Cronin (1937).Uncle Tom's Cabin, by Harriet Beecher Stowe (1852).