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Sharptail hunting on the prairie gave Nick plenty to think about, especially with Hazel along for her first prairie trip. In this solo episode, he recaps the hunts and shares what changed when he started choosing cover with a young setter in mind.A cut hayfield that looked too short to hide a bird turned into one of the trip's most memorable walks. There was good work from an older dog, a puppy carrying a sharptail around a hay bale, and plenty of small moments that made the next hunt even more exciting.Nick also answers a listener's question about range and staying connected with a young dog, reflects on what the wind can hide, and remembers Hartley as another season gets underway.In this episodeWhy the roadside view doesn't always tell the whole story about prairie coverGrazing, patchy grass, and choosing places where Hazel could move and stay in sightA cut hayfield, Pike's point, and Hazel's first sharptail experiencesYoung-dog range, checking in, changing directions, and GPS collarsHow wind and the path a dog takes can change a bird contactHazel's early pointing and backing, and memories of HartleyA few questions from the conversationCan sharptails hide in a cut hayfield?They did on this trip. Nick describes Pike pointing a sharptail in short alfalfa that looked too open to conceal a bird. Taking Hazel into that field gave her room to move and stay visible, and the hunt changed Nick's confidence in a cover type he hadn't spent much time hunting.What made patchy prairie cover useful for a puppy?Nick found that thinner areas let Hazel move more easily and maintain visual contact. Patches of snowberry, bowls, and other remaining cover also gave the hunt clearer places to investigate. He contrasts that with thick, tall grass that can make a young dog's first outings harder than they need to be.How does Nick stay connected with a young dog?Nick describes building that connection through repeated outings and opportunities for the pup to check back. When Hazel lost sight of him, he stopped and let her look for him. He also talks about reconnecting before a major change of direction and fitting her with a GPS collar before her first grouse hunts.Does a birdless walk mean sharptails weren't there?Nick's experiences have taught him to leave room for doubt. One bird flushed while the hunters stopped to water a dog and check the map. In another remembered hunt, Hartley passed close to birds on the wrong side of the wind, then found them when he looped around.Support the showThis episode is brought to you by Upland Gun Company, Final Rise, and Irish Setter Boots.Upland Gun CompanyFinal Rise Shirt of the MonthIrish Setter Pheasants Forever EditionJoin the Birdshot Podcast community on Patreon.Have a question or something you'd like to hear more about in a future solo episode? Email nick@birdshotpodcast.com.Listen and followSpotifyApple PodcastsYouTubeInstagramBirdshot Podcast website Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Given the choice between a job candidate with a perfect resume and one who has fought through difficulty, human resources executive Regina Hartley always gives the "Scrapper" a chance. As someone who grew up with adversity, Hartley knows that those who flourish in the darkest of spaces are empowered with the grit to persist in an ever-changing workplace. "Choose the underestimated contender, whose secret weapons are passion and purpose," she says. "Hire the Scrapper." Hosted on Acast. See acast.com/privacy for more information.
"You have stuff locked in there that's stopping you from being the full person you are meant to be in this lifetime." — Donna Hartley Raymond Aaron spent 60 years unable to touch his right collarbone. Chiropractors, psychiatrists, every kind of specialist — none of them could touch it. One past life regression session changed that permanently. Donna Hartley, former Miss Hawaii, international speaker, and author of the Fire Up series, arrived at the same work by a completely different path. She reads the Akashic Records directly — seeing the past life patterns quietly shaping your health, your relationships, and your sense of worth. She did five such readings in the 70 minutes before this conversation. The two compare their methods, swap stories, and find they've been working the same territory from different directions. Donna shares the medieval life she uncovered during open heart surgery that explained three cardiac procedures — and a surname she didn't decode until her fifties. They discuss soul clusters, the veil that lifts around age six, Hitler's karmic future, and what it looks like when someone finally decides to stop carrying a pattern forward into another lifetime. Learn more and connect: Donna Hartley — https://www.donnahartley.com Resources mentioned: Donna Hartley — past life sessions, videos, and the free Zip It, Pay Attention video — https://www.donnahartley.com; Chicken Soup for the Soul (Jack Canfield) — https://www.jackcanfield.com; Respark Your Life Podcast — https://www.resparkyourlife.com; Raymond Aaron — https://www.aaron.com --- Raymond Aaron has shared his vision and wisdom on radio and television programs for over 40 years. He is the author of over 100 books, including Branding Small Business For Dummies, Double Your Income Doing What You Love, Canadian best-seller Chicken Soup for the Canadian Soul, and he co-authored the New York Times best-seller Chicken Soup for the Parent's Soul. Raymond's latest, co-authored book is The AI Millionaire's Path: Discover How ChatGPT-Written Books Become Bestsellers and How They Can Make You a Millionaire Author! https://www.aaron.com ---
What if the challenges, relationships, and repeating patterns in your life aren't random?In this episode, Donna and I dive into past lives, karmic patterns, soul contracts, and the lessons our souls may have chosen to experience in this lifetime.We explore why certain patterns keep repeating, what our relationships may be here to teach us, and how understanding our karmic lessons can help us move forward with greater awareness and purpose.If you've ever wondered, “Why does this keep happening to me?” — this episode is for you.You will discover:How past life patterns shape who you are nowYour purpose and passions through past life connectionsDeveloping your intuitive awarenessUnderstanding your soul contractsEpisode Resources:Donna Website: https://donnahartley.com/Donna Youtube: https://www.youtube.com/@donnahartley1
Cam McEvoy holds the 50 freestyle world record at 20.88 and is the reigning Olympic and world champion in the event. In a normal 50 training block, he swims about 1.5K a week. Fresh off Commonwealth Games gold in Glasgow, the Australian sprinter joins Katie Hoff Anderson to explain the gym-first, low-volume approach he built after Tokyo, why it runs against so much of how swimming has always trained, and why he believes the sport has not even seen its ceiling for strength yet.Cam walks through the day it started. In October 2022, after more than a year out of the water, his first session back was six parachute sprints of 12 strokes, and it knocked him out for a two-hour nap even though he has never been a napper. Within eight weeks he beat his Tokyo Olympic time in the 50 free, and within nine months he was world champion. He shares the one time his confidence wavered, when he overdid it in May 2023 and his coach Tim Lane told him to stay out of the pool until the meet, and how the 20.88 in China felt like he was ripping air for the first 25 to 30 meters. He also gets into his short course detour into the 100 freestyle, which is about the relay and the fun of something new, and why protecting his 50 free title makes him wary of adding the 4x100 at LA 2028.The deeper thread is trust. Cam explains why the gains from strength and power work happen outside of conscious experience, why that scares athletes raised on threshold sets they can feel, and why he thinks that fear is holding the sport back. He traces the whole idea to a bouldering gym after Tokyo, where climbers who looked like sticks were repping out front lever holds hanging from one finger on each side, and he lays out how he would approach age group training without pushing kids into either sprinting or high volume too early. He also talks about becoming a dad to his son Hartley, and how being home on the floor playing with him 20 minutes after training has changed how he sees the sport. In his words, "I'm swimming in a hole in the ground full of water."There is plenty of fun in here too: the hot tub five meters from the pool where his group sits for 15 to 20 minutes between 25s, smelling salts before a rep, why suiting up to rip a 25 feels like being 18 and discovering the bench press with your mates, his pitch for a 25 meter competition with a live band, ideally metal, and a pre-Olympic 25 race in LA that Katie wants hosted by Unfiltered Waters. Katie, who has a five-week-old at home and is chasing an Olympic Trials cut in the 100 breaststroke, also gets some very direct pull-up advice: "Spam them into oblivion, basically."He closes with the swim that brought him the most joy, a heat in Fukuoka in 2023 that felt like floating down the pool, the messages he gets every week from people who quit swimming 20 years ago and came back to it because of what he has shared, and the one word that motivates him: potential. For coaches, swim parents and anyone curious how the fastest 50 freestyler in history thinks about training, this is the method explained by the person who built it.-----Subscribe to the show on your favorite podcast platform, and follow us on social media (linktr.ee/unfilteredwaters) for clips, bonus content, and updates throughout the week.-----FOLLOW KATIE ON:Instagram: instagram.com/kthoff7-----SUPPORT OUR SPONSORSIM8health.com/discount/unfiltered for 10% offendlesspools.com/unfiltered to unlock $1,000 offdreamrecovery.io use code UNFILTEREDTHIRTY for 30% offhttps://tempurpedic.pxf.io/3k0Xzk to learn more about Tempur-Pedic-----#UnfilteredWaters #CamMcEvoy #Swimming
The team finally has eyes on their target. The two German spies seemingly just made another transmission in broad public. Dr. Hartley and her fellow operatives might not understand how, but that will have to come later. It's time to follow them back to wherever they are operating or living out of and, as they were ordered to do, neutralize this threat... Theme song for London Calling! is "Dark Ritual" by Adrian von Ziegler. More from this amazing composer at https://adrianvonziegler.bandcamp.com/ All other scores are used with permission from Adrian von Zielger and Antti Martikainen https://anttimartikainen.com/ Intro song is "Walkin' with Michael Douglas" by A Wilhelm Scream; more here https://www.awilhelmscream.com/ Special thanks to David of the 2W12 - Die besten Spielleiter der Welt podcast! Check them out here 2w12.podigee.io and on youtube here https://www.youtube.com/@2w12podcast Please consider supporting us on Patreon at www.patreon.com/nastygram - it would mean the world to us! (And you get some pretty cool stuff including bi-weekly bonus episodes! Find us on Facebook at www.facebook.com/nastygram and our group is at https://www.facebook.com/groups/865467380821766; we are @nastygramrpg on both Instagram and Twitter and on Tik Tok at @nastygram.rpg
On this week's episode of Excelsior Journeys: The Road to Creativity, host & producer George Sirois sits down with author & e-commerce store owner Kira Hartley Klinger. After being forced to take a brand new course in life, Kira tried novel writing, but didn't find her audience until after she discovered eBay and decided to try buying and selling for profit anything that she could find. This led to Kira taking that audience and pivoting back into writing, where her success truly blossomed because she had an audience at the ready and she knew she could write for them! Excelsior Journeys: The Road to Creativity exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.Excelsior Journeys: The Road to Creativity is now a proud member of the Podmatch Podcast Network, and you can access all shows in the network by clicking HERE.
Max Hartley '29 has been at Cornell for one month—and somehow he's already everywhere.The 20-year-old sophomore transfer is studying in ILR, singing with Last Call A Cappella, running, building businesses and creating Sillage—what he calls “Letterboxd for fragrance fans.”We talk about leaving a college he loved for Cornell, finding his people as a transfer, getting the knock on his dorm-room door that changed his Cornell experience, and why he can sometimes identify a stranger's cologne just by walking past them.Plus, can you guess what our game is about? We called it "Do Tell, the Smell." Max is absolutely amazing and we loved him. Shout out to his mama, Gabby, our sorority sister whom we ADORE, for the introduction.Not sponsored by or affiliated with Cornell UniversityAnd if you are reading this from Cornell Admissions or Administration, you're welcome. What an endorsement.
As part of our 'Community' series, we're launching the Emerging Leadership Management (ELM) Network, hosted by Rob Brooker, Thorunn Helgason, and Pen Holland. This is the podcast for people who love to lead or one day might emerge as a leader. In this episode, Professor Sue Hartley OBE talks about the necessity of being challenged, listening to others in leadership, and leading with noble intent. We talk about everything from Sue's leadership journey to early lessons in letting go of control and the need for delegation, to the importance of recognising your own limitations and making space for rest.
Remembering the grocery list, coordinating with the babysitter, making food for the potluck, scheduling a get-together with the in-laws: These are some of the invisible tasks that (most) women exclusively do in their romantic relationships — and the list goes on and on. Like a modern-day Greek chorus, women from across the country wrote in to the Dear Sugars inbox echoing identical inequalities in their relationships with their husbands and boyfriends. The Sugars commiserate with this aggrieved chorus along with Gemma Hartley, the writer who set off a national conversation about emotional labor with her viral article in Harper's Bazaar, “Women Aren't Nags — We're Just Fed Up.” Broaching the subject of emotional labor with a romantic partner can be tricky, especially if he feels as if he's being blamed for the imbalance of labor. The imbalance in Ms. Hartley's marriage began righting itself when she and her husband shifted their perspective: “This is not a problem with you and it's not a problem with me. It's a cultural problem. We have to unlearn a lot of things together in order to move forward.”
Bass After Dark — inch for inch and pound for pound, the best show in fishing — is back for another lively, and LIVE, episode. Don't miss Brian the Carpenter, Epic Eric, and our mystery panelists (spoiler alert: it's a loaded panel of Charlie Hartley, Bryan New, Bryan Schmitt, Joe Raymond, Rob Jordan, and Lee Livesay) in a special episode where we ask the timely question: What is the one bait you MUST have tied on this fall?
I found Brit on YouTube through her videos about divine feminine spirituality and how patriarchy co-opted what we know as spirituality, and I loved her perspective, how historical she is, and how knowledgeable she is. She actually helps us genuinely understand these things we kind of talk about in this field but can't quite prove with facts, history, and research. In this episode we explore:
Simon Hartley is a globally respected sport psychology consultant and performance coach. For almost 30 years, Simon has worked with gold medallists, world record holders, world champions, top five world-ranked professional athletes, Olympians and championship winning teams.Since 2011, Simon has published twelve books, including Stronger Together; How Great Teams Work and Hire Great People.During the last 20 years, Simon has also applied the principles of sport psychology to business, education, healthcare, the military and the charity sector. This has included projects with some of the world's leading corporations and foremost executives. He is also an award winning international professional speaker, delivering keynotes throughout the world.Visit Simon's Website: https://be-world-class.com/
The complete audiobook is available for purchase at Audible.com: https://n9.cl/alc3c0 201 Poems by the Coleridge Family By Samuel Taylor Coleridge and family Narrated by Marie and Evan Blackmore This wide-ranging collection gathers together the major poems of Samuel Taylor Coleridge, his children Hartley, Derwent, and Sara, his nephew Henry Nelson, his grandchildren Christabel Rose and Ernest Hartley, and his great-great-niece Mary—in all, 201 poems (plus one by the family friend Wordsworth). Alongside famous classics such as The Ancient Mariner, Kubla Khan, and Christabel, the collection reflects recent trends in Coleridge studies and includes dozens of fascinating pieces never previously recorded. Marie Blackmore's readings highlight the sheer musicality notable in many of these poems.
Share your Field Stories!Laura and Nic interview Dr. Troy Hartley, executive director of the Renewable Energy Wildlife Institute, to explore how collaboration and science can advance renewable energy while protecting wildlife and ecosystems. From building genuine professional relationships to navigating a dynamic career across sectors, this episode highlights the power of curiosity, connection, and creative problem-solving.Welcome back to Environmental Professionals Radio, Connecting the Environmental Professionals Community Through Conversation, with your hosts Laura Thorne and Nic Frederick! Please be sure to ✔️subscribe, ⭐rate and ✍review. This podcast is produced by the National Association of Environmental Professions (NAEP). Check out all the NAEP has to offer at NAEP.org.Connect with Troy Hartley at twhartley@rewi.org. Guest Bio:Troy Hartley is the Executive Director of the Renewable Energy Wildlife Institute (REWI), with over 25 years of experience in collaborative research, stakeholder and community engagement, science-to-management processes, and innovation on a wide range of natural resources and environmental issues. Prior to joining REWI in 2025, he was the director of Virginia Sea Grant, a national federal-state, university-based partnership program funding and conducting collaborative research, extension, and workforce development activities. He has a PhD in environmental and natural resource policy from the University of Michigan, a master's in environmental policy from George Mason University, and a BS in zoology from the University of Vermont.Music CreditsIntro: Givin Me Eyes by Grace MesaOutro: Never Ending Soul Groove by Mattijs MullerSupport the showThanks for listening! A new episode drops every Friday. Like, share, subscribe, and/or sponsor to help support the continuation of the show. You can find us on Facebook, Instagram, LinkedIn, YouTube, and all your favorite podcast players.
The SOE team with Dr. Hartley's assistance is beginning to connect the dots of this German spy ring. They might not have a clear scientific explanation for it all but if they can narrow down the possibilities, maybe they can catch them in the act... Theme song for London Calling! is "Dark Ritual" by Adrian von Ziegler. More from this amazing composer at https://adrianvonziegler.bandcamp.com/ All other scores are used with permission from Adrian von Zielger and Antti Martikainen https://anttimartikainen.com/ Intro song is "Walkin' with Michael Douglas" by A Wilhelm Scream; more here https://www.awilhelmscream.com/ Special thanks to David of the 2W12 - Die besten Spielleiter der Welt podcast! Check them out here 2w12.podigee.io and on youtube here https://www.youtube.com/@2w12podcast Please consider supporting us on Patreon at www.patreon.com/nastygram - it would mean the world to us! (And you get some pretty cool stuff including bi-weekly bonus episodes! Find us on Facebook at www.facebook.com/nastygram and our group is at https://www.facebook.com/groups/865467380821766; we are @nastygramrpg on both Instagram and Twitter and on Tik Tok at @nastygram.rpg
Your body knows if a room is safe before your brain even understands why. If you don't know what to do with that signal, it doesn't just disappear, it gets handed to the people who love you most. In this episode, Stephen sits down with Sara Hartley, ADHD and nervous system regulation coach and children's book author, to unpack the hidden physical sequence that happens in your body in the seconds before you snap, and the exact tool she built to interrupt it in under 60 seconds. It's the Lion and Lamb methodology in real time: the strength to lead and perform at a high level, paired with the humility to stop, name what's happening in your body, and choose a response instead of a reaction. What you'll learn in this episode: Why the people you love most usually get the worst of your dysregulation, and it's not because you don't love them The physical "sword and shield" sensation Stephen felt every time he was triggered, before he had a name for it The difference between fight, flight, freeze and fawn, and why some people fully disassociate and don't remember what happened The ALIGN method: the 5-step, under-60-second tool for shifting from reaction to response Why high-capacity leaders are so good at hiding dysfunction, and what it's actually costing them Why "you're not set in your ways, you're choosing to stay in your way" Episode Highlights: 0:00 Trailer 1:09 Welcome & meet Sara Hartley 4:36 Understanding triggers & dysregulation 22:20 The ALIGN Method: reaction to response in 60 seconds 28:01 Breaking patterns you've carried for decades 36:37 Sara's story: ADHD, burnout & Lyme disease 46:14 Why leaders hide dysfunction 58:22 Reframing ADHD as a superpower 1:01:40 Parenting & regulating at home 1:12:43 Sara's free tools, quiz & where to find her 1:16:37 Rapid fire round Connect with Sara Hartley: Website (free ALIGN resources, quiz & children's books): saralouishartley.com Instagram: @saralouishartley Connect with Stephen Scoggins: Website: stephenscoggins.com Instagram: instagram.com/stephen_scoggins TikTok: tiktok.com/@stephen_scoggins Facebook: facebook.com/stephenscoggins LinkedIn: linkedin.com/in/stephenscoggins If this episode resonated with you, the best way to support the show is to follow One Part Lion, One Part Lamb wherever you're listening and leave a quick rating and review, it's what helps this conversation reach more high-capacity leaders who need to hear it!
Philip Hensher and I discussed the history of the novel in Britain from Defoe to Hollinghurst. Philip is remarkably well-read and happy to share his real opinions. He can go from Swift to Fitzgerald on the turn of a pin, isn't shy about holding his ground, and has some very firm views. People who read novels are protected against becoming violent. Ideas are not important in most novels. Walter Scott isn't very good. Arnold Bennett is a top 20 novelist. Rachel Cusk has the best chance of being read in 100 years. That sort of thing. Here's one exchange where we disagreed about what a novel is.HENSHER: Oh, Henry, Henry, how can you kill a book like that? How can you—OLIVER: Look, you can't have Jane Austen without the Enlightenment, and you can't have George Eliot without the secularization of Jesus, and you can't have Tolstoy without all the slightly incredible things that he believed.HENSHER: No, let's not talk about Tolstoy.OLIVER: No, but the list goes on, right? Henry James even, who is often called a man of no ideas, he's an incredibly good liberal. He might be the best novelist about the liberal idea that one person should not be allowed to dominate over another, in private conditions rather than just government. These ideas are, in a way, they're the thing that distinguish those writers. Jane Austen knows how to observe and how to present because she's thinking about what it means underneath.HENSHER: I don't know. I don't know about that.OLIVER: I don't even think you can have Middlemarch without John Stuart Mill's political economy, in a way.HENSHER: Yes, that's probably true. But George Eliot's an unusual sort of novelist.Jane Austen, I mean, how do we know what did she—what did Jane Austen think about slavery in the boldest and most extreme form? I think we can deduce that she thought that people involved in the slave trade or who came near it, like Mrs. Elton, were not at all the sort of people that she would altogether like to hang out with. I think the same is true of Sir Thomas Bertram, and the weakness of his imagination is somehow tied in with the fact that he has a plantation where he doesn't really think about the people that it affects.But already we're into speculation. I don't know what we can really deduce about Jane Austen's idea, because she's such a polyphonic novelist that we don't find an idea being put forward without being able to find a character who's saying the exact opposite. And sometimes one side of the argument is eventually dismissed, but not always, I think.I said this at the conference we had a discussion with. I think that when you boil a novel down to its absolute irreducible essentials, I think what you have is not a proposal or a view of society or anything like that. It's Charles Pooter painting his bath red, or the moment in Ivy Compton-Burnett's Mother and Son when the son irrevocably falls out with his mother by telling her that he doesn't want to have sugar in his tea anymore.From the very beginning, novelists have said, “What I'm writing about, I'm writing about nothing, and this is the virtue of what I'm doing. I'm writing about the utter triviality of everyday life.” And that, for me, is the enchantment.OLIVER: Well, some novelists have said that.HENSHER: A lot.OLIVER: Samuel Richardson didn't say that. Samuel Richardson's quite an important exception.HENSHER: No, but people said it about Richardson.OLIVER: I don't think we—yes, but we can't believe it.HENSHER: People definitely said—no, I think we can.OLIVER: Pamela is a novel of ideas.HENSHER: Well, it's a novel that contains some ideas.OLIVER: Yes.TranscriptHENRY OLIVER: Today I am talking to Philip Hensher. Philip is a British novelist. He's written books like The Northern Clemency, King of the Badgers, The Emperor Waltz, and now he's got a new book, A History of the Novel in Britain, and you can see it there. It looks very pretty with Alice in Wonderland on the front.Philip, hello.PHILIP HENSHER: Hello, Henry.Novels Are for EveryoneOLIVER: Now, to begin with, tell me about your grandmothers.HENSHER: Oh, okay. Yes, well, I finished the book because—I kept my story out of it, largely. I thought that I should go back to a time when everybody read novels. It wasn't a specialist interest as it seems to be turning into. And I thought I would talk about my two grandmothers, both of whom left school when they were 14. They worked in very ordinary and hard jobs in factories all their lives, and they were passionate readers of novels.My paternal grandmother loved Dickens. She had a complete set of Dickens, which, I've discovered after some research, was issued as an offer by the Daily Express sometime in the 1930s. I've still got it, actually. I'm going to go and get a sample volume. It's terribly cheaply produced.OLIVER: Oh, I've got that set. That's great, yes.HENSHER: Yes. The publisher is otherwise only noted as a printer. The typeface is absolutely tiny.OLIVER: It's painful.HENSHER: It's painful to read. But she had it. She loved Dickens.My maternal grandmother, I don't have any of her books, I'm afraid. I would say that she loved stories of family lives, of people interacting with each other. She loved Catherine Cookson, a now slightly forgotten popular novelist of the 1950s, 1960s, 1970s. But she read an enormous amount. I mean, she must have read one or two novels a week, every week of her life.I think that the thing that has disappeared since my grandmothers' generation is the idea that everybody can read novels. They speak to everybody. They explore every part of life, potentially.What seems to be happening now, and I greatly regret it, is that it's passing into the property of expensively educated people, people who have gone to private schools, perhaps, have certainly gone to university. And the sort of reader like my grandmother, who read Bleak House with a lot of pleasure, seems to be disappearing.So that was one of the reasons why I wanted to write the book, to make the case for how wonderfully enjoyable novels are. They're not a duty, or they shouldn't be a duty. They should just be founded in pleasure, however complex that pleasure might be. And I wanted to finish the book by citing my two grandmothers, who were such great readers.OLIVER: And as well as inheriting that reading culture from them, you got a lot of that at your school, didn't you?HENSHER: Yes, I suppose I did. I think that it's hard for me to say because I was in at the beginning of a sort of curriculum change, where there was an idea that we ought to give the kids things that are relevant or are going to appeal to their social concerns. So, I mean, this is going back to the very early 1980s. My set novel for A-level was The Grapes of Wrath, a classic tale of victimhood, really. Classic approved message.And the thing was, I think what started me off as a passionate reader of novels was a sort of rebellious turn away from that sort of thing. I read Jane Austen off my own bat. I read a lot of Dickens before I left school—things that we weren't taught at all. And that's always been the sort of reader that I am, saying, “Oh, we're not supposed to be reading this,” you know? “It's not on the curriculum.”Parliament and ThatcherOLIVER: What was it like working in the House of Commons?HENSHER: It was fine. [laughter] It was a very unusual experience. I don't think it was a job that most people would've known existed. When people said to me, “Well, what do you actually do?” I used to say, “Well, you know the guys with wigs who sit in front of the Speaker? They're my bosses.” And it was a strange, ritualistic experience, and you were physically in the middle of all these political dramas.When I started work, I started work in the House of Commons the beginning of September—this is September 1990. And six weeks later, there was all the drama of Mrs. Thatcher being thrown out, which I saw physically very close up. I didn't have anything to do with it. You weren't aware of what really was going on, but you were there. And Mrs. Thatcher swept past you at crisis moments.And that's a very seductive place to be as a baby novelist, because novels are very often told by people occupying minor positions about the lives of the great. There's a mid-20th-century novelist called Alfred Duggan who made a career out of writing historical novels of the lives of Roman emperors as told by their servants.And I think that, actually, the novel that I eventually wrote about the fall of Mrs. Thatcher, Kitchen Venom, which has just been rereleased 30 years later by an American publisher, McNally Editions, as a neglected classic—I think that was very much one of those books. Somebody who saw these vast and world-changing events physically close up without really being an insider at all.OLIVER: Do you think you're more conservative than most other novelists today? Small c conservative. Or big c.HENSHER: No, I don't—I think that I've never been someone who fits in with the on dit, as it were. I don't think that I'm particularly bothered about what people think of what I might think. One of the least effective arguments to change somebody's mind, it always seems to me, is to say, “But most people think . . .” Most people are wrong about things.So yes, I do think that actually having a close connection with political figures—after Mrs Thatcher, I did get to know some cabinet ministers, mostly, for one historical reason or another, Conservative cabinet ministers. And then coming out from spending the day with them and going to some book launch in the '90s and having to listen to some member of the lumpen intelligentsia say, “Oh, these people are so evil.” I'm just going, you know, “Save the word for someone else.”So yes, I think that I have a kind of interest in some things that most literary people just aren't interested in at all. And I think I've come to conclusions of my own about some burning contemporary issues. I don't think of myself as conservative. I think of myself as a 19th-century liberal. But then again, I also think of Mrs. Thatcher as a 19th-century liberal.OLIVER: I was going to say.HENSHER: [laughs] I don't know where that leaves you.OLIVER: I was very struck in, I think it's something you wrote or an interview you gave, where you said that you were at a comprehensive school in Sheffield. And contrary to what we think was going on at the time, actually you had teachers who were quite pleased about Mrs. Thatcher getting elected. And in the age of bell-bottoms, people were going to Mahler concerts all the time. On that front, you have a different view of the way England was, as it were.HENSHER: Yes. It's partly true that those people have been flattened out of history. Eight years before the miners' strike, for instance, when Mrs. Thatcher did come to lead the Conservative Party, it wasn't actually apparent to most people that she was the embodiment of all evil. And I think that people realized that something must be done.There's a lot of retrospective reimagining of these things. I think the absolutely classic example is Mrs. Thatcher taking free milk away from, I think, seven to elevens. And this is always presented as a gesture of sheer evil. But I can tell you, as one of the children who drank the official milk, it was absolutely disgusting. It was delivered at 7:00 a.m., and then it sat there in the sun for four hours in the summer, and it was absolutely undrinkable. Nobody drank it. Absolutely nobody drank it. It was a complete waste of money.There might have been some point in giving people free milk in the 1940s when there was rationing, but by the 1970s, what was the point in the government buying you milk? It was frankly the job of your parents to buy milk. But we're returning to that position. And people seem to be assuming it's the job of the government to buy your children breakfast these days, but what do I know?Things changed later on, I would say. The mood in the North certainly altered when people saw that the economic basis of subsidy was going to be taken away and that the coal mines would close down, the steel industry would close down, and it would take a long time for these things to turn round. And I understand why people feel that, but it's completely wrong to project that backwards into the 1970s.The 18th-Century BattlegroundOLIVER: Now, you did your PhD about the 18th century. Why do you think that century is so much less popular than the 19th century, which seems to get all the attention? But in fact, the 18th century is in a way a much richer, more diverse period, aesthetically.HENSHER: Well, I don't really know, actually, because I got to the end of my PhD and I got my PhD, and after that, I have to say it took me a while to get back to it. It is interesting because it is the battleground between what people used to think literature ought to be, which was firmly rooted in the classics, and a sort of vernacular, raucous, popular form that's based in shocking things like the lives of criminals, pornography even. Rather extraordinary books explaining how people ought to behave to get on in society, how they should write letters.So it's a battleground between Alexander Pope, who I must say I do love, but a very kind of classical, perfect, absolutely glass-like surface; and then, people like Defoe, whose sentences just run on in a kind of chaotic way. It can't have been very obvious which of them was going to triumph, really. Whether it was going to be the epic poem in rhyming couplets, after Virgil, or whether it was going to be a 300-page scandalous narrative about a prostitute in London today. Or rather, the answer would've been obvious, but it would've been obvious and wrong. So, there you go.So yes, it is interesting. It is interesting. I think for me, the 19th century is more interesting simply because of the sheer abundance of material. There are plenty of books in the 18th century, but not the kind of colossal tidal wave of thousands and thousands of novels coming out, sometimes nearly a thousand novels in a single year as the tide rolls on. And that, as anyone who reads my book will appreciate, is actually the thing that I really love: a lot of books turning up.OLIVER: Did you study with John Mullan for that PhD?HENSHER: No. I knew him a little bit. He was a fellow in the college where I did it, and I used to pass the time of day with him in the courtyard. But no, I had a succession of supervisors, but not him.Judging the BookerOLIVER: I see. Now, you also judged the Booker Prize. How did that change your understanding of the way the literary world really works, as it were?HENSHER: Well, I quite enjoyed judging the Booker Prize. It's a very unusual experience because it's the only experience you're ever going to have of reading a lot of novels that are published at the same time. Even as books are being published, all sorts of filtering mechanisms are usually taking place.With that, I think I read 140, 150 novels, all of which were published in 2001. And when you do that, you see all sorts of tendencies that you hadn't really suspected. I remember that year, the thing that was extraordinarily common, to the point of being maybe a third or even 40 percent of the books submitted, were novels with a dual time scheme, where in the present day a woman is working in a library and she finds a box, and it's the love letters of Mary, Queen of Scots, and then back to Mary, Queen of Scots. I'm making it up. I can't remember.And I think the novels that kicked that off are certainly some very good novels. Ruth Prawer Jhabvala's Heat and Dust in the 1970s, or later on, Alan Hollinghurst's The Swimming-Pool Library and Antonia Byatt's Possession. But the sheer number that were imitating that structure was really extraordinary.The later insight that I had into a predominant obsession was when I judged the Giller Prize in Canada, and again, it was about 120, 130 novels. And this was about 10 years ago now. And it was predominantly tales by second-generation immigrants of historical stories of their parents' country of origin. There were a lot of those, and I think that's an admirable thing, so long as it doesn't overrun the rights of Bangladeshis, say, still living in Bangladesh to write their own stories which will be heard.It's an interesting thing, judging a big literary prize. I was very skeptical about the value of them. But that year, judging the Booker, I think we did a much better job than a lot of juries have done. We not only shortlisted Ian McEwan for his best novel, Peter Carey for his best novel, but Andrew Miller, excellent novel, Ali Smith's first novel, and who were the other two? Oh, David Mitchell's second novel, and Rachel Seiffert, a very talented novelist with a brilliant novel.Novels vs. SportOLIVER: How many novels do you read in an ordinary week?HENSHER: Oh, no idea. Three, four, five, something like that.OLIVER: So you're spending an awful lot of your time reading novels.HENSHER: Well, I don't know about that. [laughter] I'd say I'm probably reading a novel three or four hours a day, something like that. I am a pathologically fast reader. I don't want to go into it too much because it does sound insane.Remember that I've often wondered why someone like me manages to read so many books by most people's standards. And I've come to the conclusion it's because I have absolutely no interest in sport whatsoever. And it's surprising the number of people who—I mean, if you watch a football match, even if you watch it at home without the trouble of getting on a train and going there, a football match is 90 minutes, but there's half an hour in the middle; two hours.There's an hour of disquisition before; that's three hours. And there's an hour afterwards; that's four hours. Well, in four hours I can read a novel by Graham Greene. That's not a challenge. And I think that if you completely remove that from your life then, yes, you can get through a lot of novels, particularly if, like me, you absolutely love novels. It's never been anything but a sheer pleasure.Well, actually, I won't say never because there were one or two months, writing this book, when I knew I was going to have to get over a personal distaste and read a very prolific novelist in bulk who I knew I couldn't stand. I'm not going to say who they were; it's not fair. But I think you might be able to guess a couple of them.OLIVER: Did you know V.S. Naipaul?HENSHER: A little, yes.OLIVER: What was he like?HENSHER: If you said the right thing to him, he would respond intelligently and interestingly. If you weren't scared of him, that was better. I would guess that when he first met you, if he knew who you are by repute, as he happened to do with me because I was a book reviewer, he would say something borderline insulting. And if you absolutely didn't react to that, if you just kind of carried on talking to him in a respectful and interested way, then things were fine. Things were absolutely fine.Also, I think he was just a deeply interesting human being who had the knack, when he was bored, of saying something that would kick up a bit of a fuss. And I associate with that. I would say that many of my best friends are very much like that, just saying things to kick up a fuss. I wasn't any more than someone who just met him a handful of times. But I had the utmost respect for him, and I still do.OLIVER: Yes, he's one of the great writers in English, I think.HENSHER: Yes, I agree.Dominance of the NovelOLIVER: Why is the novel so dominant as a literary form?HENSHER: What, now? Is it?OLIVER: Well, there is no longer the same kind of reach or popularity for—there's no Addison, there's no poet, there's no . . . To me it seems like, for the common reader, as it were, it's all novels with a few other things. Whereas in the 18th century, it was lots of everything.HENSHER: Well, I don't know. I don't want to talk down my beloved form. It does seem to me that memoirs are very largely where it's at. Novels, to a very marked degree, get noticed much more if people can spin them as in some way memoiristic. And that's not a criticism at all.I was just thinking about this reading Rachel Cusk's new novel, Life of M. And I think Rachel is one of the authors with the best chance of being read in 50 or 100 years' time. I do think she's an absolutely marvelous novelist. But there's no question that there's more of a buzz around her when you can say, “Oh, well, this novel is based on her friendship with Emma Thompson,” or whoever the actress was—I've already forgotten—or “She's written a book about this and this. It's all based in her real life.”Those things have a tendency of fading away, but I think that it only seems to get through to people when we're talking about, “Is this real?” Like that guy that killed himself last week, is his memoir—I mean, if he'd written a novel to be published by Simon & Schuster, would we be talking about it to the same degree? It's not in the situation as the sonnet cycle. People are still reading novels, but I don't know that it's as dominant as all that.If it was, “Why was it dominant? Why was the novel form dominant?” I think actually it's to do with the omniscient voice. I think, from the beginning, the novel could go anywhere. It could take the reader by the hand, could lead them into places that they would never in a million years go. And from the invention of the railways—people commented about this a lot at the time—people were no longer limited to seeing their own class. They would be waiting on a railway station, and every class of society, it seemed, would be waiting there.But the challenges of a simple reader in finding out about the upper classes that they'd glimpse in these situations, or indeed a curious upper-class reader in finding out about the lives of the very poor carrying a chicken to market in a third-class carriage, in real life, that would be pretty limited. The novel could take you anywhere it wanted to go, and that, I think, is really never going to go away.I can see, even now, publishers are sharpening their claws, and they want to leap on any really talented novelist of, say, transgender lives now. They probably weren't very interested in that or hadn't thought about it until 20 years ago. Now it seems like a very current thing, and they're interested. They've been very interested for some time in Black British authors as well. They're not people who are trying to find a voice for those communities, necessarily, but probably just as powerfully finding an audience who wants to find out about the community without having to say, “Well, this is going to be our documentary discovery.” You can just imagine what it's like, and that's good enough.But who knows why things come into fashion, why they dominate, and why they disappear? The epic poem was the dominant form of the 17th century, and no one's really written one for about 300 years now.On Rachel CuskOLIVER: Who are the other best living British novelists?HENSHER: Oh, no, don't tempt me.OLIVER: No, you're not, no?HENSHER: No, I'm not going to be tempted.OLIVER: Can you give your argument for Rachel Cusk? Because I think she's dreadful.HENSHER: Do you?OLIVER: Yes, I think it's very boring. I find the Outline trilogy quite unreadable, actually.HENSHER: Oh, okay.OLIVER: On the first page, I thought, “Wow, this is so exciting. She's doing something really new.” And by halfway through the first book, I thought, “Well, it's over. She's done everything it can do. I can't take it anymore.”HENSHER: I think that what will keep her going is the unfailing beauty of her sentences. I think she has cadences like no other writer. That keeps people going. And what I really love about some of her books is that they are literally about nothing. I think The Country Life is an absolutely superb book, but what's it about, really? A girl goes to the country and falls out with her family. It's absolutely great.Yes, what is it? What are they about? I mean, but that's the thing. I don't think that you really find what's wonderful about novels by saying, “What are they about?” I thought the trilogy was just a wonderful bit of thread-spinning. And maybe it's just me, but those novels that consist of the gathering of one story after another, sometimes never coming to a conclusion, they work such a spell.And that's true about, not a novel, but One Thousand and One Nights; The Canterbury Tales; Calvino, If on a Winter's Night a Traveler; or in the same category, Elmore Leonard's Get Shorty, which I think is the great American novel of the last 50 years. And it's exactly that. It's a series of stories being told as one person tries to pitch a movie to another. It's absolutely glorious. And I think that the Cusk trilogy is very much like that.Long before Rachel's trilogy, I did have this plan to write a novel of storytelling, and it was going to be called Tales from the Pit. And actually, I signed a contract for it, and it was going to be stories told from one orchestral musician to another during the interminable performances of some long-running opera or other. But the thing that stopped me from writing it was that I discovered that Berlioz, the great composer and great writer, had written a book very similar, called Les soirées de l'orchestre. And I thought, “No, I'm not going to outdo Berlioz.”On Literary CriticsOLIVER: Who are the critics from whom you have learnt the most?HENSHER: Peter Garside, the great Regency critic. J. M. S. Tompkins, who wrote a superb book about 100 years ago about the popular novel after 1770 to about 1820. That's a superb book. John Sutherland I think is really good. I love his books solving problems in novels. George Saintsbury, end-of-the-19th-century critic who had the principle, “Read everything.” And I think that his books about the novel in particular are really—they can't be improved on. He was just so well read.OLIVER: Yes. What about more modern critics? That sort of ends a long time ago.HENSHER: I don't know. I don't know. I don't know that there are any critics writing—I mean, I don't describe myself as a critic. I'm just a book reviewer.OLIVER: Leavis, Carey, Hermione Lee?HENSHER: Oh, yes. I think Hermione is really a great biographer, and her life of Virginia Woolf was very good. Her life of Penelope Fitzgerald was better, and her life of Anita Brookner is exemplary. It really is.OLIVER: But the Fitzgerald book has no religion.HENSHER: Yes. I probably didn't notice that.OLIVER: Penelope Fitzgerald, she never talks about it, but it's all about God. And the book is quite secular and feminist in a way that I felt was perhaps more Hermione Lee than Penelope Fitzgerald, you know?HENSHER: Yes, that's a very good point. It's not something that I really pay attention to. You could make the case that there are all sorts of private parts of people's lives that are just closed to the investigator. Very few literary biographers talk seriously about sexual relations or about money, for instance. I don't really see why religion shouldn't be different. I don't know. I haven't really thought about that.Critics—I can't stand Leavis. I think he's wrong about everything. I do think he's wrong about everything, and I don't know what he means when he says, “This is life-enhancing.” I was like, “What does that mean,” you know? What does it mean? And people in Cambridge were always saying, “What does that sentence mean?” Who knows? Boy. And I think they must have said it to Leavis about five times a day. Who else? Suggest some names to me.OLIVER: I thought John Carey, The Intellectuals and the Masses.HENSHER: Yes, John Carey. Yes, that is a proper—OLIVER: It's a great book.HENSHER: That's a proper game changer, actually. And I don't see how you could disprove it. He's wrong—OLIVER: And the Dickens book, The Violent Effigy.HENSHER: Yes, that's brilliant. He's occasionally just wrong, but he's wrong in interesting ways. The Thackeray book writes off some great novels, in my view. The Intellectuals and the Masses, he's just wrong about George Moore. But on the whole, yes, he's a very good thing.Of course, John Carey was the last generation of critics to have a proper training in textual bibliography. So his editions of Milton, and especially the brilliant edition of the James Hogg Private Memoirs and Confessions of a Justified Sinner, they are a very good preparation for going through a work of literature and talking about every word of that work of literature.Two Thousand NovelsOLIVER: You read 2,000 novels in order to write your history of the novel.HENSHER: Oh, a lot more than that.OLIVER: Okay.HENSHER: A lot more than that. There's 2,000 novels that are talked about.OLIVER: In the bibliography.HENSHER: There are a lot more novels that I just didn't put in.OLIVER: Where did you get them all? You must have had trouble finding some of them.HENSHER: It's much easier now than it used to be. There's Gutenberg, of course. There's this wonderful publisher—I want to get to the bottom of it—an online publisher that will sell you the collected—what's it called? I don't know—will sell you the collected works of some very minor novelists for like 1.99. A couple weeks ago, I just bought all the novels of Rhoda Broughton for 1.99. So that was very useful.And there are various other online sources. There's the London Library, of course, for physical copies, which they still have a surprising number of things. They had a copy, for instance, of the very last three-volume novel to be published, which is a novel by George Gissing's brother, Algernon. I can't tell you how bad it is. Oh, god, it's absolutely atrocious. Anyway, they had a copy. So, yes, you sort of gather them here and there.I knew that a novel was seriously obscure when neither Gutenberg nor the HathiTrust websites or anybody else could come up with a copy. There's a novel from the 1790s that crops up in a lot of bibliographies and general surveys of 1790s novels by Charlotte Palmer. She's a woman called Charlotte Palmer. I don't know anything about her at all. And it's called It Is and It Is Not a Novel. It sounds fascinating, but I did notice that it's suddenly referred to for the first time in a study of 2013, and every single reference since then more or less repeats what that first commentator has said.I couldn't find a copy of it myself in any of the sources, and I did wonder. Jane Austen was a very keen reader of women writers of that period, and I did think, “Jane Austen couldn't possibly have heard of this writer and her book, because there's a character in Jane Austen called Charlotte Palmer.” She wouldn't have done that if she'd made that connection. It would be like giving a character the name Fanny Burney. So I'm sure that it does exist somewhere, but I couldn't track it down.OLIVER: And you excluded Ulysses.HENSHER: Yes. That was a really difficult one. I tormented myself over Ulysses, and I could justify including Joyce. Firstly, he always had a British passport. He never had an Irish passport or anything else, so you could base it on that.On the other hand, it was published in Paris. I do talk a little bit about Portrait of the Artist, which was published in London. It was published in Paris, and he never lived in Britain after leaving Ireland when it was still part of Britain. So, I mean, I couldn't not mention it at all.But I thought in the end, just from a literary politics sort of standpoint, I thought if I put Ulysses in, describing it as an example of the novel in Britain, that would kick off a fuss that I didn't feel passionate about defending. Oddly enough, I would've been more tempted to include Finnegans Wake, which I'm passionately fond of and which was, of course, published by Faber and Faber in 1939. But it made no sense to leave Ulysses out and include Finnegans Wake.Where the borders were drawn, who to include and who to leave out, it wasn't an easy decision. And on the whole, I did include people rather than exclude them. But Joyce is such a national figure in Ireland that I did think there would be a bit of a row if I started claiming him as a British novelist.On Penelope FitzgeraldOLIVER: You have a very nice suggestion in the back of the book for a Library of Britain, which would be a bit like the Library of America, but obviously we have a lot more to publish here.HENSHER: Yes, it would obviously be a lot better. [laughter]OLIVER: But I think you left Penelope Fitzgerald off your list of the people who should be first in line.HENSHER: Oh, did I? Oh, that wasn't deliberate. What a disaster.OLIVER: I wondered. I thought this must be—HENSHER: Oh, no, that was a cock-up.OLIVER: So you do want her in.HENSHER: Oh, yes. Yes, definitely. And the biographies as well.OLIVER: Because I think she's a great genius. Oh, the biographies are amazing, yes.HENSHER: Yes. Penelope was the last person in my life who I've been scared of. I'm not scared of many people, and probably in my adult life on the fingers of one hand, really. But Penelope, I was scared of, and I do not know why. I do not know why, because she was always unfailingly polite and civil. She just had a sort of level stare as though she was kind of assessing you, and she might at any point say something that you would carry with yourself for the rest of your life shuddering.And she never did. She never did. She was extremely nice, but I don't know. There was something very odd about Penelope. It was as if—do you know that description of the Greek Alexandrian poet Cavafy, that he was a gentleman that stood at right angles to the universe? She was like that. You met her at a party, and she'd stand there. She looked very much like the White Queen in Alice. She always had a kind of Sainsbury's plastic bag by the side of her, and she just seemed kind of detached from the party and from everyone.I think she liked solitude. I don't think the impression that she didn't quite want to be there was at all false. She was a one-off, Penelope, I think. And I know that people who worked with her—we shared an editor at one point, and she was one of those authors that inspired huge amounts of loyalty. I think the biographies are, in a way, even stranger than—The Knox Brothers, and the Charlotte Mew biography is incredible.OLIVER: It's crazy.HENSHER: It's incredible. It's absolutely incredible. I wish she'd—there were a couple of biographies that she wanted to write and didn't. She was going to write a biography of L. P. Hartley and gave it up because she discovered too much about L. P. Hartley's sex life, and Leslie Hartley's sister was still alive. She dropped that.And I think there was talk of a biography of M. R. James. The very last thing that Penelope published, almost, I have a responsibility for because Penguin Classics—Penguin Modern Classics, probably—were going to bring out a selection of M. R. James's short stories. And they asked me to write the introduction to them, and I said, “I will write the introduction to them, but only if Penelope refuses to.” So they went to Penelope, and she said yes. And I'm very proud of that.OLIVER: Yes, that's a great piece of writing as well. Right, I'm going to read out a quote from your book.HENSHER: Oh, Lord.Novel-Reading and MoralityOLIVER: Here we go. Quote: “If you had read more than one novel with attention, it would be impossible to bring a machete down upon the face of another human being without guessing what it would be like to be behind that face as the blade fell upon it. You would not do it.” End quote. Now, we just know that that's not true, isn't it? A lot of awful people have read novels and continued to do their thing.HENSHER: Well, I think those people are celebrities in the world of psychology. Isn't it interesting that concentration camp guards read Hölderlin's poems? They're extreme cases. Overwhelmingly, there is not much overlap between habitual readers of novels and the sort of people who carry machetes in the streets of London. That's definitely the case. I think that's beyond arguing.It might be the case that it's not 100 percent cure. You can't guarantee that if somebody has read Great Expectations with attention and love, that they won't go out afterwards and say, “All right, I've done that. He gets off with Estelle”—or alternatively, “He doesn't get off with Estelle,” according to which ending you read—“Now I'm going to go and chop some bugger's head off with my machete.” Well, it's conceivable, I suppose, but it's very, very unlikely.And I don't know what better protection we have against the idea that the next generation is going to be more prone to violence. If we could persuade everybody to read and engage with novels, then that would be a very, very good protection against the spread of violence. I'm sure that's right.OLIVER: So you do think that the novel is causing the moral improvement somehow? It's not just that civilized people, as it were, enjoy novels. There is some mechanism of change there?HENSHER: Yes, and by moral improvement, I mean the simple act of imagining what it's like to be somebody else. Not necessarily to pass judgment on those people, but to imagine what it's like to live another life. And that's the beginning of the human imagination, I think.Effects of Patronage on the NovelOLIVER: One of the main arguments of the book is that patrons, as you call them, had too much control over the novel, how it was priced, what form it took, whether it could talk about naughty things, et cetera. But the thing I actually enjoyed most about your book was, you were very good at showing how diverse and innovative the form has been, and how quickly and how cleverly novelists have responded to every new set of conditions, set of constraints.Isn't the truth somewhere between these two, that the patrons are also responding to real-world conditions, what the public will and won't stick? The mothers have never wanted the daughters to read books, so the books have to get around that somehow. Isn't everyone reacting to the real world, as it were? And the cold, dead hand of the patron isn't gripping quite as tightly as that, maybe.HENSHER: Well, I think that the argument is not that patrons exert too much power, but where they do exert too much power, it has, on the whole, a bad influence on the contents of the book. And patrons always assume that the readership is a uniform thing, that because they and their—Mudie in the 19th century, his 30,000 subscribers—because they wanted to read heartwarming tales in which nobody ever committed adultery, that nobody did.Now, clearly that was completely wrong because when George Moore in the 1880s wrote a marvelous novel called A Mummer's Wife, about a woman who runs off with her lover and becomes an alcoholic among a lot of actors—glorious, and they priced it at sixpence—Mudie's turned it down flat, of course, because “No one's going to read this book. Oh, our people don't want to read it.”Well, he was completely wrong. It went into six editions in two years priced at sixpence. And that actually has gone on. In the 1950s, Kingsley Amis was persuaded by his editor to take a word—I don't know what it was, maybe it was the word bugger—out of a novel because they said, “The Boots Lending Library won't buy it.”Now, I suspect that 10 years later, Kingsley Amis would have said, “Well, stuff Boots Lending Library; I'm going to sell to people who do want to read it.” Because only five years after he was told that, Penguin published Lady Chatterley's Lover after a very useful—useful from the point of view of publicity—obscenity trial. I have no idea whether Boots Library took Lady Chatterley's Lover. I rather suspect not. But it sold hundreds of thousands within days, and quite right too.The thing is that there may be a readership that likes one sort of novel, but there's also a sort of readership that likes another sort of novel, and patrons never want to admit that.Your second point, about the way that novels reach out to new areas, it's absolutely true. And it's quite striking, the sort of novels that very effectively reach out to explore unfamiliar bits of society. For instance, the working-class novels of the 1890s, which are often horrifically violent—Arthur Morrison's A Child of the Jago, I think one of the great 19th-century novels, but there's no doubt there's bits in it that have to be read with great revulsion. That was against everything that people thought the novel ought to be doing.Even if something was a bit less specific, if it was about a new or unfamiliar minority, then it could go against the patron's power. There's a very good example of a novel by the Jewish novelist Julia Frankau called Dr. Phillips. And it was one of the most enjoyable discoveries of my reading. It's a story of murder and adultery in the upper-class Maida Vale Jewish Victorian life. I absolutely adored it. And the patrons wouldn't have touched it. They thought, “Oh, no one's going to read this.”But the novel is always going to give opportunities to people from communities that haven't had their voices heard. Women, from the start, could write and publish novels when they couldn't become doctors or lawyers or politicians. And people from ethnic minorities are heard surprisingly early in the history, and it's because readers wanted to hear about something new.And I think that's an absolutely thrilling development. And it's nothing to do with patrons either. It's invariably publishers who just think, “Well, let's try this thing out. Let's see whether we can find readership for what it's like to live on a remote farm in Africa.” Or going back to the 1880s, “Let's see if our readers want to find out what it's like to be a new immigrant off this boat called the Windrush.” One of the great novels of the 20th century emerged, Sam Selvon's The Lonely Londoners.It's always out of some sort of commercial desire just to try something out and see if there are readers there. It's a very effective mechanism for broadening participation in society, I think.The Role of IdeasOLIVER: What about the role of ideas? Isn't there an essential place for philosophy, theology, economics, all these other disciplines? The development of the novel is inseparable from these things. Not just people like George Eliot and Jane Austen, but there are ideas in every book, aren't there?HENSHER: Well, I think there are assumptions in every book. It depends what you mean by an idea, really. If you mean a philosophical proposition, then I would say no. There's also the problem that an idea, the justifiable quality of an idea, whether it's a good idea or whether it's a truthful idea, whether that has an impact on the quality of a novel. And it's quite hard to see that a novel that we agree with is necessarily going to be a better novel than a novel that's talking total nonsense from the ideas point of view.I think that there is a place for the proper Cambridge idea of a novel, a Cambridge idea of an idea in a novel. But I don't think it's essential. I've been thinking about this since we had this discussion at that conference. And I think that my main feeling about it is that we ought to admire novels for doing well what only the novel can do well. Those things are to sketch out lives, individual lives, however eccentric or idiosyncratic, to create the illusion of human beings, to listen to and convey the speech of individuals, and not necessarily to do what other forms of writing can do much better, which is to set out a case for one idea or another.Now, of course, that's oversimplifying the whole thing. But I must say that I can think of novels that I absolutely love, that no doubt have some kind of idea or assumption running through them. But I don't know that's really what I or anybody else reads a novel for. I mean, what are the ideas—I'm just looking at the shelf in front of me. What are the ideas in The Diary of a Nobody? Without a doubt, one of the greatest novels in British literature. What is the idea of The Diary of a Nobody?OLIVER: I think that novel is premised on a very clear and simple set of ideas about the British class system, and about what is acceptable to mock and what is acceptable to be the butt of satire. That novel now, in a way, isn't funny anymore because it's too mean. It's too cruel.HENSHER: Are you kidding me? Seriously?OLIVER: I find the first half funny, and by the end of it, I just think, “There's nothing actually wrong with this guy. Gosh.”HENSHER: No, there's nothing wrong with him at all.OLIVER: It's unbearable how mean they're being to him.HENSHER: It's absolutely adorable. Come on, Charles Pooter painting his bath red. [laughter] His son deciding that he's going to call himself Lupin.OLIVER: Yes, but it's not purely observational. It is what gives it its coherence and its organization. I mean, that is a very condensed novel. It's a remarkable achievement technically, to do so much in so little space. And that is because it is organized around a certain set of ideas about the British class system, which are largely no longer real.HENSHER: Oh, Henry, Henry, how can you kill a book like that? How can you—OLIVER: Look, you can't have Jane Austen without the Enlightenment, and you can't have George Eliot without the secularization of Jesus, and you can't have Tolstoy without all the slightly incredible things that he believed.HENSHER: No, let's not talk about Tolstoy.OLIVER: No, but the list goes on, right? Henry James even, who is often called a man of no ideas, he's an incredibly good liberal. He might be the best novelist about the liberal idea that one person should not be allowed to dominate over another, in private conditions rather than just government. These ideas are, in a way, they're the thing that distinguish those writers. Jane Austen knows how to observe and how to present because she's thinking about what it means underneath.HENSHER: I don't know. I don't know about that.OLIVER: I don't even think you can have Middlemarch without John Stuart Mill's political economy, in a way.HENSHER: Yes, that's probably true. But George Eliot's an unusual sort of novelist.Jane Austen, I mean, how do we know what did she—what did Jane Austen think about slavery in the boldest and most extreme form? I think we can deduce that she thought that people involved in the slave trade or who came near it, like Mrs. Elton, were not at all the sort of people that she would altogether like to hang out with. I think the same is true of Sir Thomas Bertram, and the weakness of his imagination is somehow tied in with the fact that he has a plantation where he doesn't really think about the people that it affects.But already we're into speculation. I don't know what we can really deduce about Jane Austen's idea, because she's such a polyphonic novelist that we don't find an idea being put forward without being able to find a character who's saying the exact opposite. And sometimes one side of the argument is eventually dismissed, but not always, I think.I said this at the conference we had a discussion with. I think that when you boil a novel down to its absolute irreducible essentials, I think what you have is not a proposal or a view of society or anything like that. It's Charles Pooter painting his bath red, or the moment in Ivy Compton-Burnett's Mother and Son when the son irrevocably falls out with his mother by telling her that he doesn't want to have sugar in his tea anymore.From the very beginning, novelists have said, “What I'm writing about, I'm writing about nothing, and this is the virtue of what I'm doing. I'm writing about the utter triviality of everyday life.” And that, for me, is the enchantment.OLIVER: Well, some novelists have said that.HENSHER: A lot.OLIVER: Samuel Richardson didn't say that. Samuel Richardson's quite an important exception.HENSHER: No, but people said it about Richardson.OLIVER: I don't think we—yes, but we can't believe it.HENSHER: People definitely said—no, I think we can.OLIVER: Pamela is a novel of ideas.HENSHER: Well, it's a novel that contains some ideas.OLIVER: Yes.HENSHER: Henry, I don't think we're going to agree on this. [laughter] I don't think we're going to agree on this. But if I want to read a book that sets out ideas, I do—I'm not a complete empty-headed flibbertigibbet. The other day I was reading one of my favorite books of ideas, which is The Presentation of Self in Everyday Life.And I do think that books of ideas have their place. And it's tempting to think, “Oh, I could transfer the insights of Erving Goffman into a fictional drama.” But you couldn't. You absolutely couldn't. It would rely much more on peculiar objects and observations that aren't laden with propositions.The Best English Novels for BeginnersOLIVER: One of the questions I get asked most often is from people who have not been bookish people. They're more on the science or practical side. They haven't read great novels since they were at school, and they want a list of five great English novels to get started. What's your list?HENSHER: Vanity Fair never failed. The Old Wives' Tale never failed. An Evelyn Waugh. Which Evelyn Waugh? I think Put Out More Flags, actually, because it's such a brilliantly funny novel. It's a very strange novel. But it's about a particular historical situation, which is often a kind of temptation.What else? I'm only recommending novels by men because I think it's men who have this problem, and I think that asking them straight off to read a particular feminine take on the world, sometimes you do hit just a blank wall. But I do think that they will get round to Mansfield Park or Daniel Deronda, my favorite Eliot.I think I would also suggest The Lonely Londoners, the Sam Selvon. I do think it's the most enchanting exercise in voice. And, how many is that? Is that four or five?OLIVER: I think that's four.HENSHER: Oh, what am I going to do, then? Oh, you've got to have a Dickens. Bleak House. I think actually there's a fallacy in people recommending novels to reluctant readers, which is, they always suggest something kind of easily digestible. But I think the way forward is to give something at its most intense and concentrated and just see if that counts. “This is what the novel really is like.”Oh, I know the other one. I mentioned it earlier, the James Hogg, Private Memoirs and Confessions of a Justified Sinner. Oh my god, that's a fantastic novel. I really do think that's good. Yes.OLIVER: And can you do the same for children's books?HENSHER: No.OLIVER: Fair enough.HENSHER: No, I'm 61 years old. “Would you like to read this book, little—?” No, no, no, thank you.Quick-Fire QuestionsOLIVER: Let's do a quick-fire round. I say the name of a novelist, and you give us your opinion. Short form.HENSHER: Oh, gosh. Oh, terrifying.OLIVER: That's all right. You'll do very well. Arnold Bennett.HENSHER: Underrated. Marvelous.OLIVER: Where should we start? And how good—HENSHER: The Old Wives' Tale. No, or The Card. The Card is a glorious novel. It's absolutely ludicrous; it's fantastic. The Old Wives' Tale is, I think, the greatest French novel in English. It's magnificent.OLIVER: When you say underrated, how good is he?HENSHER: Oh, top 20. Top 20 writers in English.OLIVER: Iris Murdoch.HENSHER: She's out of fashion at the moment, very much out of fashion at the moment, I think for reasons that were out of her control. It's impossible to tell at this point what is going to happen to a novelist like that. Is she going to carry on declining and drift out of our interest in the way that the novels of William De Morgan did? Or is she going to reach a bottom and then slide upwards?I must say that I loved Iris's novels to an incredible degree when I was 17. I could read them all day long. I think I must have read every single one of Iris Murdoch's novels between the ages of 17 and 20. And the moment when I came to London and saw Iris at a literary party was one of the most overwhelming of my life.What happened—weirdly, it was at a party in a secondhand bookshop in Clapham Old Town. Doesn't exist anymore. And she was just standing there looking around with great empty eyes. And then Woodrow Wyatt tottered in in a very noisy way and said, “Iris, Iris, what are we doing here? What is this place? What are we doing?” It was very strange.OLIVER: Walter Scott.HENSHER: The creation is immense. The achievement is overwhelming. And towards the end of the 19th century, a reaction set in, which was so powerful that it defined many of Scott's most characteristic stylistic features as the embodiment of bad writing. It's not his fault. I myself, I admit to sharing in that reaction. And he comes to me in flashes of sublimity. I think the first chapter of The Heart of Midlothian is one of the most impressive pieces of writing of the century.He did so much good for literature that it's hard to be dismissive about him altogether, and I wouldn't want to be. On the other hand, stylistically, he's so out of tune with what we regard as good writing that I thought in the end it would just ring a completely false note if I pretended that I didn't have problems with the style. So, you know, he's in a particular historical position. We're in a particular historical position. Who knows what that tells you about either of us, really?OLIVER: Alan Hollinghurst.HENSHER: Oh, who is my best friend, so yes, of course he's marvelous.OLIVER: Which one do you recommend?HENSHER: I absolutely love The Stranger's Child. I think that's such an innovative novel, and it's so clever and funny. But they're all simply marvelous. He's a marvelous novelist.OLIVER: That's the one I'm always pushing on people. It's heartbreaking. It's beautiful.HENSHER: Yes.OLIVER: It's clever. It's really wonderful.HENSHER: So clever. You're not going to trap me into saying rude things about darling Alan.Various ElizabethsOLIVER: No, no traps. No traps. Elizabeth Taylor.HENSHER: Great novelist. Great novelist. And central to her time in a way that I don't think anyone really appreciated until some time after she died. After she died, some organization or other gave her a posthumous award for a lifetime's achievement, and her husband, John, went to collect it. And he said in his acceptance speech, “What a shame you couldn't have said this while she was alive.” And it was absolutely right.As a handler of technical material, I don't think there's a novelist in the 20th century to surpass her. Just the way in which characters are introduced and interact, how the plot proceeds, the evocation of place, it is just the most extravagantly perfect technical handling.She's the novelist who, more than anything, I show to my students in Bath Spa. And it is astonishing how if you give them a page of Elizabeth Taylor, almost chosen at random, you can go through it inch by inch, word by word, and just emerge at the end absolutely astonished by the expertise of the handling. I think she's an absolutely marvelous novelist.OLIVER: Elizabeth Bowen.HENSHER: I think she went off. But those novels from To the North certainly to The Death of the Heart, and maybe even The Heat of the Day, are absolutely thrilling. Psychologically, she's an absolute whiz at seeing people, seeing into people's minds. She's better at children than almost anybody, and there are a lot of people writing about childhood in the 1930s.The Death of the Heart, I think, is her best novel, though The House in Paris runs it pretty close. The middle section, where the young heroine goes to the seaside to stay with a family that she doesn't really know and is followed by her cad of a boyfriend, is an absolutely stunning survey of uncertain behavior. And it's rarer than you think, actually, novelists writing about people behaving uncertainly for reasons that they don't quite understand.The Heat of the Day, it has superb things in it, but I would say that it falls slight victim to the tendency of the time to think that novelists ought to write about serious subjects of contemporary concern. Novels of ideas, Henry, I'm sorry to say. And she just wasn't that sort of novelist. When she's doing two people lying on the grass just talking about nothing much, it's marvelous. But when you creak it up into this plot about someone's a spy and—oh, Elizabeth, don't do it to me. Anyway, but that's just me. A lot of people absolutely love The Heat of the Day.OLIVER: Elizabeth Jenkins, Bowen's great friend.HENSHER: My knowledge of Elizabeth Jenkins that I can produce at short notice is The Tortoise and the Hare. And I think a lot of the same things that I said about Elizabeth Taylor are the same. It's a lovely classical style.I've often given people to look at the first page of The Tortoise and the Hare. I think it slightly suffers from the title, which makes the narrative seem a bit predetermined, but that's a minor sin. I would love to read some more Elizabeth Jenkins, actually. I know I read another one or two some time ago, but I've completely forgotten what they were called, so don't test me.OLIVER: The best ones are Dr. Gully, Honey, and Brightness, after The Tortoise and the Hare.HENSHER: Okay. Oh, that's interesting. Okay. I've got a bit of an allergy—you're going to disprove this immediately. I've got a bit of an allergy to novels, like Twitter profiles, which include the word doctor. [laughter]OLIVER: It's only called that because it's a historical novel.HENSHER: Yes, they are putting me off.OLIVER: Fair enough. Fair enough. Fair enough.HENSHER: I love Trollope, but I must say that when I reach out for Doctor Thorne, my hand—OLIVER: It's not the best.HENSHER: I don't know why. Why is it?OLIVER: Because relative to what actually happens, it's too long, and so you have to get through a lot of stuff that doesn't really do anything for the novel.HENSHER: No, I mean why is it the title that includes the word doctor is so off-putting?OLIVER: Oh, that I can't help you with.HENSHER: No, I can't help. Yes, I'm going to investigate to see if I can think of a novel with doctor in it.OLIVER: Jenkins is another one who's a superb biographer.HENSHER: Oh, yes.OLIVER: Her Jane Austen biography is amazing, really beautiful. Really incredible.HENSHER: Okay. All right. Okay.More NovelistsOLIVER: Martin Amis.HENSHER: Yes, I think he is great. I do think he was wonderful. There are some later novels where he slightly fell down because he wanted to say something solemn about a major political situation. But he went on being a very good novelist a lot longer than people assume. I remember when The Pregnant Widow came out, and I think The Pregnant Widow is an absolutely enchanting novel. It's just full of regret and grown-up thoughts, and, oh, I absolutely loved it.Oh, my Lord, you should have seen the reviews that it got. I think word just got round among young people that Martin was no good anymore. He's got the thing that his father had, of a brilliant ear for dialogue, and much more than his father, but sharing some of the same qualities. He had the air of being able to write a sentence that readers would remember. I'm sure that most people who like Martin Amis, if you said to them, “Give us a sentence from Martin Amis,” they'd be able to come up with one.OLIVER: And lastly, Jilly Cooper.HENSHER: Oh, yes. Do you know, people always roll their eyes when I say I don't see why Jilly Cooper shouldn't be the novelist from our time that survives in posterity. She's got a lot of the qualities that actually make for a good prospect of survival. Her characters sound distinct. You always know who's speaking. It's got a good social range. It's not about two retired actors sitting in a bedsit in Kentish Town. They're funny, which is always good. People love them.The first of the series of her long books—not the 1970s romances, though those are very enjoyable too—the earliest of them, Riders, published in 1986, never gone out of print. Now, there's not many novels from 1986 that are still going strong with large readership. They had large readerships even before the television drama. That's not the only reason. So I think, yes, I'd put my money on Jilly Cooper still to be read in 100 years' time, ahead of Julian Barnes.Final ThoughtsOLIVER: Last two questions. How do you think AI will change the novel?HENSHER: No idea. Absolutely no idea. I think that novel has found ways to take advantage of technology and change in society before. It will do so again. I'm a novelist myself, but my practice has been long formed. I don't think that I'm the person to ask this about.What you want to do is ask somebody like the brilliant student that I was just talking to, who's 22 years old, a student of mine who has been thinking about AI since he started his undergraduate degree. Those people, they will have it in their bones, and they will master it, I'm convinced. But my answer is worth less than nothing.OLIVER: What will you do next?HENSHER: Oh, I've retired. That's it. That's it. Glorious. I'm very happy.OLIVER: You're not going to set up the Library of Britain?HENSHER: No, no, I couldn't run that. Someone else can do that. No. I mean, it'd be nice if anyone took it seriously.OLIVER: I think it's a great idea.HENSHER: Yes, I think it's a great idea. I wouldn't have put it—but no, I'm going to retire now. I've spent 30 years publishing novels, and there's 12 novels, 2 volumes of short stories, and finishing with a history of my art form. I think that sounds like a nice, shapely career.I don't want to be writing novels about my idea of what the kids are like when I'm 75. I think that's absolutely a fatal idea. [laughter] Of course, I'm just saying that, and you never know when something's going to tempt. But at the moment, I think I'm going to retire.OLIVER: Very good. Philip Hensher, thank you very much.HENSHER: Pleasure. Thank you, Henry. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk
The remarkable stories of seven exception entrepreneurs who founded huge business empires and became world leaders in their fields despite continual setbacks and adversity. In this programme author Peter Lupson reads the chapter on William Hartley from his published book "IN GOD's COMPANY - Christian Giants of Business".
Max Ortmann, their best possible lead to the German spy network, is dead. The team will have to do their best investigative work with the help of Dr. Hartley to discover their hidden enemies as they continue to pass information to aid the air attacks. And some targets might be closer than they realize... Theme song for London Calling! is "Dark Ritual" by Adrian von Ziegler. More from this amazing composer at https://adrianvonziegler.bandcamp.com/ All other scores are used with permission from Adrian von Zielger and Antti Martikainen https://anttimartikainen.com/ Intro song is "Walkin' with Michael Douglas" by A Wilhelm Scream; more here https://www.awilhelmscream.com/ Special thanks to David of the 2W12 - Die besten Spielleiter der Welt podcast! Check them out here 2w12.podigee.io and on youtube here https://www.youtube.com/@2w12podcast Please consider supporting us on Patreon at www.patreon.com/nastygram - it would mean the world to us! (And you get some pretty cool stuff including bi-weekly bonus episodes! Find us on Facebook at www.facebook.com/nastygram and our group is at https://www.facebook.com/groups/865467380821766; we are @nastygramrpg on both Instagram and Twitter and on Tik Tok at @nastygram.rpg
ANGELA'S SYMPOSIUM 📖 Academic Study on Witchcraft, Paganism, esotericism, magick and the Occult
What happens to spirituality when belief in traditional religion falls away? Can ritual, mysticism, awe, contemplation, divination, sacred stories and experiences of transcendence still have value without requiring supernatural explanations?Britt Hartley is a religious deconstruction educator, author, and atheist spiritual director who helps people rebuild meaning, identity, and family culture after faith. She is the author of No Nonsense Spirituality and a doctoral student whose work explores existential crisis, secular spirituality, and life beyond traditional religion.In this livestream, we will explore Britt's concept of secular spirituality and her attempt to navigate a fascinating middle ground between organised religion, atheistic scepticism and contemporary alternative spirituality. We will discuss religious deconstruction, nihilism, meaning-making, mysticism, ritual and the psychology of spiritual experience, as well as the question of whether practices traditionally associated with religion and the occult can remain meaningful when their supernatural interpretations are suspended.We will also venture into some particularly interesting territory for Angela's Symposium: astrology, Tarot, psychedelics, intuition, altered states of consciousness, the Divine Feminine, cognitive bias, the relationship between mystical experience and metaphysical claims, and Britt's distinction between useful spiritual tools and what she describes as “woo”.GET THE BOOKUS https://amzn.to/4c8e3i2UK https://link.amazon/B02qi3ynVMY COURSES
Sidste fredag holdt minister for natur og dyrevelfærd, Christian Rabjerg Madsen, et spektakulært pressemøde iført outdoorbukser, med en død ulv liggende for sine fødder. Forud var gået et kortere forløb med kornede private optagelser, lokale bekymringer, betegnelsen "problemulv" og en jagt med termiske droner. Forløbet er et eksempel på en medielogik, hvor dramatiske begivenheder hurtigt udvikler sig til panik, hvad enten det gælder ulve, AI, sociale medier, migration eller skovbrande. Medierne går fra "breaking-" til panikmode, politikerne vil vise handlekraft, og snart afløses ét drama af det næste. Udsyn spørger Jannie Møller Hartley, professor i kommunikation og journalistik på RUC, hvad der sker med medierne og med os? Hvorfor synes vi at leve i konstant paniske tider? Vært: Kaspar Colling Nielsen.
In Episode 232, Sarah is joined by returning guest Anderson McKean of Page & Palette Bookstore for the 2026 edition of Micro Genres! Each year, this series gives us a chance to niche down even further into the kinds of books we love — spotlighting those very specific sub-sub-genres that capture a particular reading taste. This year, Sarah and Anderson have 10 all-new Micro Genres to share, along with standout books for each. With more than 80 books mentioned, you're bound to find a few new additions to your TBR — and maybe recognize a Micro Genre or two of your own. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Politically-Adjacent Stories (Sarah) The Hopefuls by Jennifer Close (2016) | Amazon | Bookshop.org [3:00] Charlotte Walsh Like to Win by Jo Piazza (2018) | Amazon | Bookshop.org [3:11] American Wife by Curtis Sittenfeld (2008) | Amazon | Bookshop.org [3:36] Rodham by Curtis Sittenfeld (2020) | Amazon | Bookshop.org [3:38] Vantage Point by Sara Sligar (2025) | Amazon | Bookshop.org [3:47] The Emperor of Ocean Park (Elm Harbor, 1) by Stephen L. Carter (2002) | Amazon | Bookshop.org [4:48] Palace Council (Elm Harbor, 3) by Stephen L. Carter (2008) | Amazon | Bookshop.org [4:49] The Boomerang by Robert Bailey (2025) | Amazon | Bookshop.org [5:23] State of Terror by Louise Penny and Hillary Clinton (2021) | Amazon | Bookshop.org [6:14] The Situation Room by George Stephanopoulos (2024) | Amazon | Bookshop.org [6:55] Becoming by Michelle Obama (2018) | Amazon | Bookshop.org [8:18] From the Corner of the Oval by Beck Dorey-Stein (2018) | Amazon | Bookshop.org [8:53] Retellings that Are NOT Mythological (Anderson) Lady Tremaine by Rachel Hochhauser (2026) | Amazon | Bookshop.org [10:41] The Beheading Game by Rebecca Lehmann (2026) | Amazon | Bookshop.org [10:58] Beautiful Little Fools by Jillian Cantor (2022) | Amazon | Bookshop.org [11:55] Hester by Laurie Lico Albanese (2022) | Amazon | Bookshop.org [12:23] Honeysuckle by Bar Fridman-Tell (2026) | Amazon | Bookshop.org [12:55] Eligible by Curtis Sittenfeld (2016) | Amazon | Bookshop.org [14:03] Anna K (Anna K, 1) by Jenny Lee (2020) | Amazon | Bookshop.org [14:08] Demon Copperhead by Barbara Kingsolver (2022) | Amazon | Bookshop.org [14:20] The Kind Worth Killing by Peter Swanson (2015) | Amazon | Bookshop.org [14:36] The Favorites by Layne Fargo (2025) | Amazon | Bookshop.org [14:48] Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org [14:57] Wasp's Nest by Kat Stoddard (2026) | Amazon | Bookshop.org [15:26] A Thousand Acres by Jane Smiley (1991) | Amazon | Bookshop.org [15:39] Other Books Mentioned The Scarlet Letter by Nathaniel Hawthorne (1850) [12:32] James by Percival Everett (2024) [12:36] Pride and Prejudice by Jane Austen (1813) [14:07] Anna Karenina by Leo Tolstoy (1878) [14:11] David Copperfield by Charles Dickens (1850) [14:24] Strangers on a Train by Patricia Highsmith (1950) [14:41] Wuthering Heights by Emily Brontë (1847) [14:55] The Go-Between by L. P. Hartley (1953) [15:03] The Philadelphia Story by Philip Barry (1939) [15:32] King Lear by William Shakespeare (1608) [15:45] Ministers Behaving Badly (Sarah) Dominion by Addie E. Citchens (2025) | Amazon | Bookshop.org [16:36] Awake by Jen Hatmaker (2025) | Amazon | Bookshop.org [16:45] God Spare the Girls by Kelsey McKinney (2021) | Amazon | Bookshop.org [17:19] The True Confessions of First Lady Freeman by Deesha Philyaw (Sep 29, 2026) | Amazon | Bookshop.org [17:36] The Dearly Beloved by Cara Wall (2019) | Amazon | Bookshop.org [17:51] The Poisonwood Bible by Barbara Kingsolver (1998) | Amazon | Bookshop.org [18:16] Dear Reader / Love Letters to Books (Anderson) This Book Made Me Think of You by Libby Page (2026) | Amazon | Bookshop.org [19:14] The Starless Sea by Erin Morgenstern (2019) | Amazon | Bookshop.org [19:53] The Borrower by Rebecca Makkai (2011) | Amazon | Bookshop.org [20:22] Dear Fahrenheit 451 by Anne Spence (2017) | Amazon | Bookshop.org [22:24] Mr. Penumbra's 24-Hour Bookstore by Robin Sloan (2012) | Amazon | Bookshop.org [22:37] The Storied Life of A. J. Fikry by Gabrielle Zevin (2014) | Amazon | Bookshop.org [22:56] Other Books Mentioned I Have Some Questions for You by Rebecca Makkai (2023) [20:29] The Great Believers by Rebecca Makkai (2018) [20:31] Yellowface by R. F. Kuang (2023) [22:15] Dark Humor (Sarah) Rabbit Cake by Annie Hartnett (2017) | Amazon | Bookshop.org [23:52] Unlikely Animals by Annie Hartnett (2022) | Amazon | Bookshop.org [23:53] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org [23:55] Goodbye, Vitamin by Rachel Khong (2017) | Amazon | Bookshop.org [24:41] Cleo Dang Would Rather Be Dead by Mai Nguyen (2026) | Amazon | Bookshop.org [25:42] Lost Lambs by Madeline Cash (2026) | Amazon | Bookshop.org [25:51] The Heart's Invisible Furies by John Boyne (2017) | Amazon | Bookshop.org [26:00] Here One Moment by Liane Moriarty (2024) | Amazon | Bookshop.org [26:47] Other Books Mentioned Real Americans by Rachel Khong (2024) [24:44] Fantasy Even Sarah Might Like / Fantasy-Lite (Anderson) Conform (Conform Series, 1) by Ariel Sullivan (2025) | Amazon | Bookshop.org [28:54] The Night Circus by Erin Morgenstern (2011) | Amazon | Bookshop.org [30:13] The Familiar by Leigh Bardugo (2024) | Amazon | Bookshop.org [30:39] The Atlas Six (The Atlas Trilogy, 1) by Olivie Blake (2022)* | Amazon | Bookshop.org [30:53] A Darker Shade of Magic (Shades of Magic, 1) by V. E. Schwab (2015) | Amazon| Bookshop.org [31:57] Bury Our Bones in the Midnight Soil by V. E. Schwab (2025) | Amazon | Bookshop.org [32:02] The Midnight Train (The Midnight World, 2) by Matt Haig (2026) | Amazon | Bookshop.org [32:04] The Midnight Library (The Midnight World, 1) by Matt Haig (2020) | Amazon | Bookshop.org [32:05] The Measure by Nikki Erlick (2022) | Amazon | Bookshop.org [32:20] The Dream Hotel by Laila Lalami (2025) | Amazon | Bookshop.org [32:25] The Other Valley by Scott Alexander Howard (2024) | Amazon | Bookshop.org [32:28] Other Books Mentioned The Hunger Games (The Hunger Games, 1) by Suzanne Collins (2008) [29:03] The Handmaid's Tale (The Handmaid's Tale, 1) by Margaret Atwood (1985) [29:04] Like Friday Night Lights, But Book Form (Sarah) a.k.a. Sports Books That Are About Far More Than Sports The Art of Fielding by Chad Harbach (2011) | Amazon | Bookshop.org [35:06] The Slip by Lucas Schaefer (2025) | Amazon | Bookshop.org [35:15] The World According to Garp by John Irving (1978) | Amazon | Bookshop.org [35:51] In One Person by John Irving (2012) | Amazon | Bookshop.org [35:53] Carrie Soto Is Back by Taylor Jenkins Reid (2022) | Amazon | Bookshop.org [36:12] The Flock by Ellen Bar (Apr 27, 2027) | Amazon | Bookshop.org [36:41] The Last Days of Vic & Coco by Taylor Jenkins Reid (Mar 2, 2027) | Amazon | Bookshop.org [38:31] Other Books Mentioned The Amateur by Chris Bohjalian (2026) [37:29] The Double Bind by Chris Bohjalian (2007) [37:48] Women Rule the World (Anderson) The Romanov Empress by C. W. Gortner (2018) | Amazon | Bookshop.org [40:16] Mademoiselle Chanel by C. W. Gortner (2015) | Amazon | Bookshop.org [40:41] Marlene by C. W. Gortner (2016) | Amazon | Bookshop.org [40:43] The Woman with the Cure by Lynn Cullen (2023) | Amazon | Bookshop.org [41:07] Mrs. Poe by Lynn Cullen (2013) | Amazon | Bookshop.org [41:28] Twain's End by Lynn Cullen (2015) | Amazon | Bookshop.org [41:31] Lady Clementine by Marie Benedict (2020) | Amazon | Bookshop.org [41:36] The Other Einstein by Marie Benedict (2016) | Amazon | Bookshop.org [41:53] The Only Woman in the Room by Marie Benedict (2019) | Amazon | Bookshop.org [41:47] Daughter of a Daughter of a Queen by Sarah Bird (2018) | Amazon | Bookshop.org [42:03] Other Books Mentioned Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler (2013) [43:13] Isola by Allegra Goodman (2025) [43:32] Royals (Sarah) The Royal We (The Royal We, 1) by Heather Cocks and Jessica Morgan (2015) | Amazon | Bookshop.org [45:04] Red, White & Royal Blue (Red, White & Royal Blue, 1) by Casey McQuiston(2019) | Amazon | Bookshop.org [45:06] American Royals (American Royals, 1) by Katharine McGee (2019) | Amazon | Bookshop.org [45:09] Spare by Prince Harry (2023) | Amazon | Bookshop.org [45:19] The Force of Such Beauty by Barbara Bourland (2022) | Amazon | Bookshop.org [45:29] The Heir Apparent by Rebecca Armitage (2025) | Amazon | Bookshop.org [45:48] The Windsor Affair by Melanie Benjamin (2026) | Amazon | Bookshop.org [46:03] This Land is Your Land (Anderson) Land by Maggie O'Farrell (2026) | Amazon | Bookshop.org [46:34] Damnation Spring by Ash Davidson (2021) | Amazon | Bookshop.org [47:33] I Will Send Rain by Rae Meadows (2016) | Amazon | Bookshop.org [47:52] The Well and the Mine by Gin Phillips (2007) | Amazon | Bookshop.org [48:07] Greenwood by Michael Christie (US Release 2020) | Amazon | Bookshop.org [49:03] The Islanders by Lewis Robinson (2024) | Amazon | Bookshop.org [49:32] The Shark House by Sara Ackerman (2026) | Amazon | Bookshop.org [49:40] *Publication year reflects the later traditionally published edition for a book originally self-published.
For this week's craft chat, I spoke with agent sibling, friend, and an all-around incredible author, Taylor Hartley.Taylor is the author of Song of the Hell Witch, which has one of my favorite audiobooks of all time. The sequel, Dance of the Dark Mother, is due out October 16th.Learn more about Taylor and all their upcoming projects on their website or follow them on IG @tmhartleywrites PS - With All My Haunted Heart comes out in 3 weeks! You can preorder here.***If you're ready to enjoy writing again, meet deadlines without burnout, and build the confidence to handle every plot twist publishing throws your way, I can help.Click here to learn more about private coaching for authors and schedule a free consultation.Looking for even more author advice? Sign up for my twice-monthly newsletter, Real Talk for Writers, by clicking here.
Edinburgh Fringe Festival 2026 series Elaine chats with performer and writer Emmeline Hartley. WE HAD FUN Old Lab at Summerhall 6–31 August (not 18 or 25 18:00 WE HAD FUN “It could have been a rom-com… Where did it all go wrong? Well, it depends who you ask” Close friends Oscar and Ela attempt to navigate the fallout of a drunken sexual encounter, as their conflicting versions of events are replayed, rewound and re-written against the sensory chaos of a wild night out. We Had Fun is a sharp, dark anti-romcom exploring the murkiest areas of modern dating in the age of #MeToo, cancel culture and the so-called “post-truth” era. As Oscar and Ela piece together their hazy, conflicting memories of what really happened (re-hashing the night's events through innovative physical theatre), the audience is forced to confront their own biases and assumptions about who to believe and why. Directed by Olivier and Tony Award-nominated Carrie-Anne Ingrouille (SIX the Musical), the play has been described as a “fascinating exploration” (Daniel Finkelstein, The Times) of consent and sexual politics. Written and performed by Emmeline Hartley and Jack Mullings, both neurodivergent artists, the play takes an unflinching look at the nuances around communication and accountability. Their lived experience of ADHD, and autism in Hartley's case, informs the characters' dynamic and dialogue, pushing complex issues into further shades of grey. TICKET LINK - OUR WEBSITE - www.persistentandnasty.co.uk IPA GUIDES: HIPA GUIDES Equity Toolkit: Link Stellar Quines: Link Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE
Today on Honoring the Journey, Leslie welcomes back Britt Hartley from No-nonsense Spirituality for a wide-ranging conversation about navigating relationships with family members who are still religious after leaving the faith. The two cover the emotional dynamics of deconstruction, including the desperate need for validation, the defensive reactions of loved ones, and why leading with vulnerability rather than debate tends to be far more effective for maintaining connection. They explore how differing core values (truth-seeking vs. loyalty) can explain why people have such vastly different experiences within the same religion, discuss the ethics of sharing one's evolving worldview publicly without destabilizing others, and reflect on what it means to follow Jesus outside of institutional religion. The conversation also touches on existential crisis, the psychological benefits of releasing the need for ultimate truth, and the meaningful distinction between religious deconstruction coaching and spiritual direction — all woven together with warmth, humor, and a shared sense that human-to-human connection ultimately transcends theological differences. Find Britt online! Her Website Instagram TikTok Honoring the Journey is hosted, produced and edited by Leslie Nease.Pick up Leslie's book, Honoring the Journey: The Deconstruction of Sister Christian here.Interested in working with Leslie as your Life/Faith Transitions Coach? Check out her website and learn more about what she offers! https://www.leslieneasecoaching.comIf you'd like to be a part of the Honoring the Journey Team on Substack, click here! You can find her work and also support her financially if you desire.Would you like to leave a voicemail for Leslie? Click here!If you are looking for community as you deconstruct or just a place to go and enjoy the company of people who are seekers, learners and who are looking to connect with the Divine without religious baggage, please join the Private Facebook Community! Leslie is very passionate about connection and community, so if that sounds like you, please come join us! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
It's the second time Jenny Hartley has joined us on the Tea & Trails Podcast, and she's had quite the adventure since her last visit. The Invictus Games and Gladiators athlete has been busy up on the Pennine Way, setting off from Edale with one big goal in mind, to complete the Summer Spine Race.She made it all the way to Kirk Yetholm, kissed the famous wall, and did so before any other woman that week.The 268‑mile journey is packed with twists, turns, highs, lows, and all the chaos the Spine is known for, and Jenny shares every bit of it with us.HARRIER - Use code TATP10 for 10% off - https://harrierrunfree.avln.me/c/qXhnTgIdEMeaXMILES UK - Listeners receive 10% of their order value back as store credit via the link - https://xmiles.avln.me/c/RiwxnARvfHeRFENIX LIGHT LTD - Use code T&T5 for 5% - https://www.fenixlight.co.uk/PRECISION FUEL & HYDRATION - Use code TEA2026 for 15% off your first orderPRECISION FUEL & HYDRATION PLANNER - https://visit.pfandh.com/3RuP25zSTRAVA - Use code TEA for 20% off an annual membership - #StravaPartner #Adhttps://www.strava.com/subscribe/checkout?code=TEASUNGOD - Use code TEA15 for 15% off your order - https://www.sungod.co/en-gbBEARHUG - Click the link to receive 15% off your order.https://getabearhug.avln.me/c/PAmERmkwPealContent contains affiliate links which help support this channel at no cost to you.Brew with the Coaches - CLICK HEREHardmoors - https://www.hardmoors110.org.uk/Trail Outlaws - https://www.trailoutlaws.com/13 Valleys Ultra - https://www.13valleysultra.com/Beyond Trails - https://www.beyondtrails.co.uk/Hellfire Events - https://www.hellfireevents.com/Dales Runner - https://dalesrunner.co.uk/Run The Wild - https://runthewild.co.uk/Hannah Walsh - https://www.hannahwalsh.co.uk/Punk Panther - https://www.punkpanther.co.uk/Pen Llyn Ultra - https://penllyn.niftyentries.com/Yellow Belly Ultra - https://yellowbellyultras.co.uk/Raw Adventures - https://www.raw-adventures.co.uk/XNRG - https://www.xnrg.co.uk/
Joining Pat this week is Dr Caoimhe Hartley, GP and clinical lead of women's medicine at BlackRock Health's women's health centre. Dr Hartley is an expert in women's health.
Political strategist and pollster Lee Hartley Carter recently joined us at the Christopher Lochhead: Follow Your Different podcast to share her sharp insights on the current American political landscape. As the founder of Carter Intelligence Group and author of “Persuasion: Convincing Others When Facts Don’t Seem to Matter,” Lee Hartley Carter brings a rare combination of research expertise and communications mastery to some of the most pressing questions facing voters and candidates today. From the rise of democratic socialism to the upcoming midterms, Lee Hartley Carter unpacks why anti-establishment energy is reshaping both parties and what it means for the future of American politics. You're listening to Christopher Lochhead: Follow Your Different. We are the real dialogue podcast for people with a different mind. So get your mind in a different place, and hey ho, let's go. The Anti-Establishment Wave Is Rewriting the Rules Lee Hartley Carter argues that the single most defining force in American politics right now is a deep distrust of institutions. Voters no longer trust big companies, big government, or career politicians to deliver on their promises. This sentiment fueled Donald Trump’s rise on the right, and it is now driving a new generation of progressive candidates on the left. She points to Zohran Mamdani’s stunning victory in New York City as a prime example. A candidate in his early thirties with no executive experience captured the city’s attention by speaking directly to people’s frustrations about rent and affordability. According to her, candidates who name real problems and offer simple, emotionally resonant solutions are winning, while those who run on credentials and qualifications are losing. Lee Hartley Carter on Why Feelings Trump Facts in Modern Political Communication One of the most powerful observations Lee Hartley Carter makes is that feelings consistently override facts in political decision-making. Christopher Lochhead challenges the old saying that facts do not care about your feelings, flipping it to argue that feelings do not care about your facts. Lee Hartley Carter wholeheartedly agrees with this framing. This dynamic explains why candidates who connect emotionally with voters consistently outperform those who lead with policy credentials and experience. Telling voters they are wrong or uninformed only pushes them further away. She emphasizes that the candidates winning today are the ones validating what people already feel, then offering a focused, believable path forward rather than a long list of policy positions. Lee Hartley Carter on What to Expect From the Midterms and Beyond Lee Hartley Carter predicts that the upcoming midterms will not be the clear blue wave that conventional wisdom might suggest. Despite an unpopular war, high gas prices, and a president with approval ratings hovering around 38 percent, Democrats hold only a razor-thin lead in generic ballot polling. She believes the race remains wide open for both parties. Her advice for Republicans is to stop reacting to socialist messaging and start setting their own clear narrative, much like Trump did in 2016 with Make America Great Again. For Democrats, she sees affordability as the singular issue that could carry them to victory, provided the moderate and progressive wings of the party stop undermining each other. Lee Hartley Carter believes the candidates who define the conversation rather than respond to it will ultimately win. To hear more from Lee Hartley Carter and her thoughts on the current political scenarios, download and listen to this episode. Bio Lee Hartley Carteris a communications strategist and public opinion expert. She’s the founder and CEO of Carter Intelligence Group and author of “Persuasion: Convincing Others When Facts Don’t Seem to Matter” As a television news personality and researcher, she doesn't rely on traditional polling for her unique insights into U.S. politics; rather, she analyzes voters' emotional responses to help understand and empathize with them on a more visceral level. The reaction matters, but the “why” behind it matters more. It was this approach that allowed her to accurately predict the results of the 2016 presidential election and primaries. Links Follow Lee Hartley Carter! Fox News | X (Formerly Twitter) | Facebook We hope you enjoyed this episode of Christopher Lochhead: Follow Your Different™! Christopher loves hearing from his listeners. Feel free to email him, connect on Facebook, X (formerly Twitter), Instagram, and subscribe on Apple Podcast / Spotify!
Let us know what you think of the latest episode of Distinct Nostalgia by clicking here and sending us a messageAshley Byrne talks to Nigel Plaskitt (voice of Hartley Hare from Pipkins) about his memories of his colleague, collaborator, friend and fellow puppeteer Ronnie Le Drew who has died at the age of 78 after a short illness..You can hear a full interview about Zippy and George and Ronnie's life on Rainbow as well as the rest of his career in a podcast episode re-released recently. Just scroll down the feed. It's easy...go look. Zippy and George make an appearance several times.RIP Ronnie Le Drew. A lovely man who will be missed by everyone at Distinct Nostalgia and Made in Manchester Productions.A Made in Manchester ProductionSupport the show
Meet the SBA's 2026 Small Business Person of the Year, Thomas Hartley, owner of Hartley Transportation. He talks about growing his business and some of the unusual items his company has moved. For more information for Hartley Transportation, click here.
People are always selling their old stuff. Maybe someone in the family died, maybe it's spring cleaning, maybe the kids are off to college. You probably knew that you can get things for cheap this way, but did you know that you can make it a full time business? Buy what's valuable low, sell it high. That's what Kira does. She's also an author, because apparently spending a thousand hours a week on Etsy isn't enough to keep her occupied. Me, I'll be taking a nap.If you're looking for some of Kira's stuff, why not start with fabric? You can find it at https://www.etsy.com/shop/DodOddityThis guest was booked using PodMatch! Interested in being a guest on the show? Reach out to us at https://www.podmatch.com/member/tombarnardpodcast.
Charlie Hartley returns to BTL to talk about the joys of fishing for smallmouth bass on the Great Lakes.
"The world is one big giant oyster, and there's so many different ways to make a dollar, and if you're motivated, it can be made out of just about anything." — Kira Hartley Klinger Kira Hartley Klinger was 40 years old, newly divorced, with a teenager at home, no college degree, and a patchwork of side hustles behind her: cleaning houses, writing resumes, running a paper route with her boys. What she did have was five years of experience selling on eBay, a willingness to buy what nobody else wanted, and an instinct for finding treasure in the boxes at the back of auction lots. She fell into vintage fabric entirely by accident — buying it cheap because it was there, then discovering customers in Japan and Australia who kept coming back for more. She taught herself to date a piece of fabric by its width and fiber content. She opened an Etsy shop. She started writing little essays on her listing pages about the characters she met at auctions, and customers began writing back: you need to write the book. So she did. Twice. And those books led to speaking at quilting guilds, podcast guesting, and a California TV producer who signed her because she believed in the story. At 55, Kira became debt-free for the first time in her adult life. Raymond Aaron talks with her about the wiggly path — the one you can only see clearly by looking backward — and what it means to follow what the world is quietly offering you. Learn more and connect: Kira Hartley Klinger on Etsy: https://www.etsy.com (search "Fabric Wars" or Kira Hartley Klinger) Fabric Wars on Amazon: https://www.amazon.com (search "Fabric Wars Kira Hartley Klinger") Resources mentioned: Fabric Wars by Kira Hartley Klinger — https://www.amazon.com (search title) Fabric Wars and More by Kira Hartley Klinger — https://www.amazon.com (search title) eBay — https://www.ebay.com Etsy — https://www.etsy.com Respark Your Life Podcast — https://www.resparkyourlife.com Raymond Aaron has shared his vision and wisdom on radio and television programs for over 40 years. He is the author of over 100 books, including Branding Small Business For Dummies, Double Your Income Doing What You Love, Canadian best-seller Chicken Soup for the Canadian Soul, and he co-authored the New York Times best-seller Chicken Soup for the Parent's Soul. Raymond's latest, co-authored book is The AI Millionaire's Path: Discover How ChatGPT-Written Books Become Bestsellers and How They Can Make You a Millionaire Author! https://www.aaron.com
“We've lost the village”: Housing expert Lucinda Hartley on the loneliness crisis hiding in plain sight.Australia is facing a loneliness epidemic and according to housing expert and urbanist Lucinda Hartley, the problem isn't just our busy lives or screen addiction. It's the way our cities have been designed. From long commutes and car dependence to apartment buildings that prioritise privacy over connection, modern Australian life is making it easier than ever to move through entire days without meaningful human interaction. As rates of loneliness soar, particularly among young Australians, Lucinda says we need to stop treating loneliness as a personal failing and start recognising it as a housing and city design issue. Author of Finding Home, Lucinda can discuss why the “village” that once sustained communities has quietly disappeared and simple changes individuals, developers and governments can make to rebuild connection into everyday life.Deborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkBuzzsprout: https://www.buzzsprout.com/1365850
This week I'm joined by Joey Hartley as we dive into the world of decoy dogging and the story behind his dog, Rip. Joey shares how his approach to calling coyotes has evolved over the years, from focusing on crop fields to finding success in timber, on logging roads, and in standing corn, while adapting to whatever each stand has to offer. We also discuss getting his wife Kylie and son Brick involved in filming and hunting, the lessons they've learned along the way, and how those experiences have become a meaningful part of what they do together. Joey breaks down his philosophy on developing a decoy dog, why giving the dog time to work is important, and what he's learned through Rip's more than 100 coyote engagements. We wrap up with aggressive calling tactics, reading coyote behavior, handling the unexpected on stand, and Joey's advice for anyone looking to get started with a decoy dog. Whether you're new to decoy dogging or have years of experience, this episode is packed with practical insight and honest conversation that every predator hunter can appreciate. Diligent Defense: bit.ly/DiligentDefense-Eastmans FoxPro: bit.ly/gofoxpro Horizon Firearms: bit.ly/HorizonFirearms-Eastmans Hornady: bit.ly/Hornady-Eastmans onX hunt: bit.ly/onXHunt-Eastmans SigSauer: bit.ly/SIGSAUER-Eastmans
On this week's Spectator Out Loud: Max Jeffery explains the truth about how the British Empire is taught in schools; Gavin Mortimer asks why Giorgia Meloni is courting Emmanuel Macron; James Delingpole reviews the World Cup; after 25 years, Aidan Hartley bows out as the Spectator's Wild life columnist; and finally, the Spectator's new restaurant critic Angus Colwell ponders how much discount you should get, if your father almost chokes to death on a lamb kleftiko. Produced and presented by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.
On this week's Spectator Out Loud: Max Jeffery explains the truth about how the British Empire is taught in schools; Gavin Mortimer asks why Giorgia Meloni is courting Emmanuel Macron; James Delingpole reviews the World Cup; after 25 years, Aidan Hartley bows out as the Spectator's Wild life columnist; and finally, the Spectator's new restaurant critic Angus Colwell ponders how much discount you should get, if your father almost chokes to death on a lamb kleftiko. Produced and presented by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.
The Stuph File Program Featuring Alan R. Warren, author of Cults – The Interviews: Volume 9; entrepreneur & internet reseller, Kira Hartley Klinger; & Marc Hartzman, curator of WeirdHistorian.com Download Alan R. Warren is a bestselling true crime author. His latest book is called Cults – The Interviews: Volume 9.(A 30 second teaser YouTube short is available) Kira Hartley Klinger is an entrepreneur, internet reseller and the author of two books called Fabric Wars: Tales of the Hunt for Vintage Fabric with Etsy’s DodOddity & Fabric Wars & MORE!: The Insanity of Online Resale Continues with Etsy’s DodOddity. Marc Hartzman, from WeirdHistorian.com, is the author of American Sideshow: An Encyclopedia Of History’s Most Wondrous And Curiously Strange Performers & We Are Not Alone: The Extraordinary History of UFOs And Aliens Invading Our Hopes, Fears, And Fantasies. He’s back with the weird story for June. This one deals with a two headed man.(A 30 second teaser YouTube short is available) This week's opening slate is presented by Christina Marie Jeffers, Executive Director for Access Humboldt, which includes a station that The Stuph File Program is heard on weekly. It's Eureka, California's KZZH 96.7FM. Click below to order directly from Amazon.com Part of the success of this show depends on the generosity of its listeners worldwide. If you enjoy the program please feel free to make a donation in any amount, no matter how small, in any denomination of $1, $5, $10, $20 or more. Just click on the donate button to the left. It will be greatly appreciated. This website is powered by PubNIX a boutique Internet service provider with great personalized service that was instrumental in helping to structure the look of this very site! The computer used for this site was built by InfoMontreal.ca, serving individuals, commercial & industrial companies in Quebec with computers, software and networks. Your needs are unique and InfoMontreal.ca believes the solutions should be too.
Kevin Hartley is the Co-Founder and CEO of Cambio Roasters. The company is trying to divert some of the demand for disposable coffee pods into recyclable aluminum pods with compostable internal filters and grounds. Previously, Kevin worked with a smaller company called Green Mountain.* You may recognize the name as the innovators behind the original coffee pod, which through concept development, acquisition, and the widespread adoption by consumers of the Keurig coffee maker has become an industry behemoth.Find Cambio Roaster pods online: https://cambioroasters.com/ and this fall in Publix grocery stores nationwide. You can also order their newest offering a half-caff on Amazon: https://www.amazon.com/Cambio-Roasters-Half-Caff-Medium-Dark-Coffee/dp/B0GWNG3RS5*Thru several transactions Green Mountain is now Keurig Dr Pepper, Inc.For context subscribe to the Coffee People podcast newsletter at: https://www.coffeepeoplepodcast.com/BUY: The reliable coffee brewer that sits on our counter from Simply Good Coffee. (Affiliate Link).https://partners.simplygoodcoffee.com/roastMERCH: https://www.coffeepeoplearesexy.com/Coffee People is presented by Roastar, Inc., the premier coffee packaging company utilizing digital printing. Roastar enables small-to-gigantic coffee businesses tell a big story. Learn more at www.roastar.com and get 10% off with the code: COFFEEPEOPLE10Thanks for watching the Coffee People Podcast. Like all small businesses and entrepreneurs, we're still learning, modifying, and continuing to improve—at least trying to! Coffee People is one of the premier** coffee and entrepreneurship podcasts, featuring interviews with professionals in the coffee (and adjacent) industry, coffee education, and sometimes, just fun chats with strangers over a cup of coffee. Host Ryan Woldt interviews roastery founders, head roasters, coffee shop owners, scientists, artists, baristas, farmers, green coffee brokers, and more.This show is also supported by Marea Coffee, Joe at Vournas Coffee, Sivetz Roasting Machines, Relative Coffee Company, Coffee Cycle Roasting, Acento Coffee Roasters, Prismatic Coffee, and Hacea Coffee Source.Register to become an organ donor at: https://registerme.org/.*Clicking these links to purchase will also support Roast! West Coast through their affiliate marketing programs.**I mean...if not premier, one of the longer running ones, at least.
“I will restore to you the years the swarming locust has eaten…” -Joel 2:25 Welcome to The Adoption & Foster Care Journey—a podcast to encourage, educate and equip you as you care for children in crisis through adoption, foster care and kinship care. On this episode host Sandra Flach talks with Lainie Hartley. Lainie is an author, speaker, foster and adoptive mom, and former foster youth whose voice carries the weight of lived experience and the hope of redemption. Through raw and deeply personal storytelling, she speaks about childhood neglect, trauma, grief, survival, and the God who still restores what was never supposed to be broken. Listen to Lainie's powerful story of healing and redemption on Episode 537 wherever you get your podcasts. Please be sure to subscribe to the podcast, leave a review, and share it on your social media. Links mentioned in this episode: LainieHartley.com https://www.instagram.com/authorlainiehartley/ Lanie Hartley on Facebook See Available Trainings The Adoption & Foster Care Journey AFCJ on YouTube justicefororphansny.org justicefororphansny.org/hope-community Email: sandraflach@justicefororphansny.org sandraflach.com Soul Care Saturday—52 Devotions for Foster and Adoptive Moms Orphans No More—A Journey Back to the Father book on Amazon
Drama on a ThursdayFirst, a look at the events of the day.Then, Encore Theater, originally broadcast June 18, 1946, 80 years ago, Yellowjack starring Ronald Coleman. The story of how Dr. Reed discovered the cause of Yellow Fever. Followed by Boston Blackie starring Dick Kollmar, originally broadcast June 18, 1946, 80 years ago, The Hooded Gang Protection Racket. A masked society of extortioners has been formed, which Blackie tries to break up. Then, Calling All Cars, originally broadcast June 18, 1935, 91 years ago, The Chinese Puzzle. A Chinese merchant has been found hatchet murdered in his San Diego store. Followed by I Was a Communist For the FBI starring Dana Andrews, originally broadcast June 18, 1952, 74 years ago, Tight Wire. The FBI assigns Cvetic the job of bugging a Communist Party meeting hall.Finally, Claudia, originally broadcast June 18, 1948, 78 years ago, The Crossroads of the World. David's brother Hartley comes for a country visit. Kathryn Bard and Paul Crabtree star. Thanks to Debbie B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day
Just checking in… How are you doing? No like, really. On a scale of 1-10 (10 = on the brink), are you feeling a bit frazzled, stressed, or overworked? Answer honestly, friend. How are you feeling these days? My all-star special guest today is Michelle Hartley and she's simplifying how to squash burnout at work. You see, this insidious little thing called burnout can sneak up on you while you're not looking. And if you've been pounding away the triple iced coffees and burning the candle at both ends, you might not have noticed how it's wearing down your body, mind, and spirit. But the good news is… you can do something about it. *NOTE: This episode originally aired on June 18, 2024. Here's how. My all-star special guest today is Michelle Hartley and she's simplifying how to squash burnout at work. We tackle and simplify all aspects of it, including: What the tell-tale signs are that you're about to hit burnout soon. The biggest misconception people have about burnout recovery and how to squash it in a different, more simpler way. What the three phases to burnout recovery are and how to take good care of yourself in each phase. How to ask your manager and/or HR team for support before/during/after you experience burnout and how to overcome the fear of speaking up. Also, if you're a people leader who notices someone is struggling on your team, she shares what you can do to proactively support them through it and help them get back to thriving. …and ultimately, the truth is that many people who suffer from burnout do it again and again… Michelle shares how you can begin to see the warning signs sooner in order to stop the cycle, or at least slow it down. Q: Are you ready to learn how to squash burnout at work? If yes, this one is for you. It's time to #DoTheThing! ---- Show notes available with all links mentioned here: https://www.thesimplifiers.com/posts/424-how-to-squash-burnout-at-work---with-michelle-hartley-all-star
The Capitalism and Freedom in the Twenty-First Century Podcast
Pete Klenow has spent his career tackling some of economics' biggest questions: Why do some countries grow rich while others remain poor? What drives long-run prosperity? And how can policy foster innovation and productivity? In this episode of Capitalism and Freedom in the 21st Century, Jon Hartley sits down with the Stanford economist to discuss Klenow's influential research on sticky prices, development accounting, economic growth, and the allocation of resources across firms and industries. The conversation explores how economists measure the sources of growth, why misallocation can hold back entire economies, and what Klenow's research reveals about productivity differences across countries such as China, India, and the United States. Hartley and Klenow also examine the evolution of macroeconomics, the role of monetary policy, and the potential impact of artificial intelligence on innovation, productivity, and future economic growth. Recorded on June 2, 2026. ABOUT THE SERIES Each episode of Capitalism and Freedom in the 21st Century, a video podcast series and the official podcast of the Hoover Economic Policy Working Group, focuses on getting into the weeds of economics, finance, and public policy on important current topics through one-on-one interviews. Host Jon Hartley asks guests about their main ideas and contributions to academic research and policy. The podcast is titled after Milton Friedman‘s famous 1962 bestselling book Capitalism and Freedom, which after 60 years, remains prescient from its focus on various topics which are now at the forefront of economic debates, such as monetary policy and inflation, fiscal policy, occupational licensing, education vouchers, income share agreements, the distribution of income, and negative income taxes, among many other topics. For more information about the podcast, or subscribe for the next episode, click here.
Cameron is joined by Jenny Hartley, owner of the first accredited MedSpa through QUAD A, and they discuss the significance of accreditation in the medical aesthetics industry, focusing on patient safety, compliance, and the operational challenges that come with achieving accreditation. Jenny shares her journey, the importance of establishing standards, and how accreditation can serve as a competitive advantage for practices. They also touch on the evolving nature of aesthetics towards a healthcare model, the cultural shift within practices post-accreditation, and the importance of sharing knowledge to elevate industry standards.Listen In!Thank you for listening to this episode of Medical Millionaire!Takeaways:Accreditation is a significant step for MedSpas.Patient safety tracking is crucial for the industry.There is a need for more regulation in aesthetics.Accreditation can enhance patient trust and safety.The aesthetics industry is evolving towards healthcare.Medical compliance is essential for practice owners.Team involvement is key to successful accreditation.Sharing resources can help elevate industry standards.Time is a valuable asset for practice owners.Practices should start by reviewing accreditation standards.Medical Millionaire: The Blueprint for Scaling a World-Class Medical Aesthetics PracticeWelcome to Medical Millionaire, the go-to podcast for forward-thinking Medspa owners, Medical Aesthetics leaders, Plastic Surgery & Dermatology practices, Concierge Wellness clinics, and Elective Healthcare entrepreneurs who are ready to scale with intention and operate like a true, high-performing business.If you're building, growing, optimizing, or preparing to exit your aesthetics or wellness practice, this show is your competitive advantage.Hosted by Cameron Hemphill Your Guide to Sustainable, Scalable Growth Your host, Cameron Hemphill, is one of the most trusted growth strategists in Medical Aesthetics and Elective Wellness.With over 10 years in the industry, Cameron has helped scale 1,000+ practices and more than 2,300 providers, working alongside the most recognized KOLs, national brands, EMRs, tech companies, and private equity groups, shaping the future of aesthetics. From marketing to operations, from finance to leadership, Cameron brings a real-world, data-driven perspective on what it takes to turn a practice into a powerful business engine.What This Podcast Is All About: Each episode takes you behind the scenes of the fastest-growing practices in the country, revealing the systems, strategies, and mindset required to win in today's Medical Aesthetics landscape.Expect tactical insights, step-by-step frameworks, and conversations with:Industry thought leadersTop injectors & medical directorsEMR & tech innovatorsOperations expertsMarketing strategistsPrivate equity & M&A advisorsWellness and longevity pioneersThis is where aesthetics, business, technology, and wellness converge. What You'll Learn on Medical Millionaire Every week, you'll access expert guidance to help you scale profitably and predictably, including:Marketing & Brand PositioningCRM + Lead Management SystemsPatient Acquisition & ConversionEMR Optimization & Tech Stack ArchitectureSales Psychology & Consultation MasteryFinance, KPIs, and Practice EconomicsOperational Workflows & AutomationIndustry Trends Backed by Real Benchmark DataPatient Retention & Lifetime Value ExpansionMindset, Leadership & Team DevelopmentWhether you're opening your first location or running a multi-million-dollar enterprise, you'll gain the clarity and direction to grow with confidence. A Show Designed for Every Stage of Practice Growth Medical Millionaire breaks down the journey into four essential stages, showing you exactly how to move from one to the next:Startup – Build the foundation and attract your first wave of patientsGrowth – Scale revenue, expand services, and strengthen operationsOptimize – Increase efficiency, margins, and customer experienceExit – Prepare your practice for maximum valuation and acquisitionIf You're Ready to Grow, This Is Where You Start. Tune in weekly for actionable insights, expert interviews, and the exact playbooks high-performing practices use to dominate their markets. This is the podcast for Medspa owners who want more than a job; they want a scalable, profitable, industry-leading business. Welcome to Medical Millionaire.Let's build your practice into the empire it deserves to be.
Libertarian Nat'l Recap Part 1 w/Cat Hartley Follow Cat at: instagram: @qveen.cat youtube: @peacefulsea tiktok: free.girl.theory Learn more about your ad choices. Visit megaphone.fm/adchoices
Hartley, Economist and Policy Fellow at the Hoover Institution, joined to talk about why President Trump brought so many businessmen with him on his China trip. See omnystudio.com/listener for privacy information.
Can you actually "give" an orgasm to someone or "make them cum"? Join us on this episode of Shameless Sex as we dive into the world of self-love, partnered play, and the pursuit of ultimate pleasure with the legendary Nina Hartley. As we celebrate Masturbation May, Nina shares her insights on the importance of self-exploration and how it can transform your relationships and overall satisfaction. Here's what you can expect to learn from this juicy conversation: * The surprising truth behind the phrase "giving someone an orgasm" and why Nina prefers "trading" orgasms instead * How to shift your focus from the destination to the journey, and stay present in the moment * Nina's top tips for helping both penis and pussy owners reach new heights of pleasure * The importance of individual agency in sex and what Nina means by "the individual is the smallest unit of sex" * What's new and exciting in Nina's world, including her latest venture, nina.live/nina.com, and how you can work with her As a sex education icon with over four decades of experience, Nina brings a unique blend of clinical expertise, real-world experience, and plainspoken clarity to the conversation. With a background in nursing and a career spanning adult media, education, and advocacy, Nina is dedicated to promoting sex-positive feminism, free speech, and harm reduction. Tune in for a conversation that's equal parts informative, entertaining, and inspiring. You'll leave feeling empowered, educated, and maybe even a little bit more shameless. And as a teaser, get ready to rethink your approach to pleasure and intimacy - and maybe even discover a new appreciation for the power of solo play. More about Nina Hartley: Nina Hartley® is an American sex educator, author, speaker, activist, and performer whose career spans more than four decades. Trained as a registered nurse, she combines clinical knowledge with lived experience to discuss sexuality, consent, pleasure, communication, and harm reduction. Her work emphasizes education, personal agency, and the belief that sexuality is an important part of overall health and well-being. After earning a nursing degree from San Francisco State University, Hartley transitioned into media and education while continuing to draw on her medical background. In addition to her adult media career, she has lectured at universities, spoken on public panels, and advocated for honest, shame-free sex education focused on communication, consent, emotional literacy, and respect for boundaries. Hartley is the author of Nina Hartley's Guide to Total Sex and creator of the Nina Hartley® Guides video series. She also appeared in Boogie Nights and has frequently participated in documentaries and public discussions about sexuality and ethics. A longtime advocate for sex-positive feminism, free speech, and performer rights, Hartley continues to write and speak about intimacy, aging, relationships, and sexual ethics. Her work is grounded in the belief that informed, consensual sexuality is fundamental to human dignity and personal autonomy. To learn more about the fabulous Nina: X: @ninaland IG: @miss_nina_hartley http://nina.live (sfw) http://nina.com (nsfw) Come to our October 2026 Couple's retreats! Learn more and reserve your spot here: https://www.shamelesssex.com/retreat Join us on the Killing Kittens cruise in the Mediterranean in June 2026: https://kkcruise.com Do you love us? Do you REALLY love us? Then order our book now! Go to shamelesssex.com to snag your copy Support Shameless Sex by sending us gifts via our Amazon Wish List Follow us on IG @shamelesssexpodcast Other links: Spice up your sex and relationships with the FREE Attuned App, and use code SHAMELESS for 20% off a premium subscription at https://www.getattuned.app If you're looking to reignite the spark and break out of routine, explore MARIEMUR luxury lingerie and leather accessories with 15% off using code SHAMELESS at https://tinyurl.com/48xm2uw2 Get 10% off + free shipping with code SHAMELESS on Uberlube AKA our favorite lubricant at http://uberlube.com Get 15% off April's favorite vibrator - the Magic Wand Waterproof (and other sexy items) with code SHAMELESSSEX at http://purepleasureshop.com
Steve, Dana, and Julia convene once more for a rousing Gabfest. First up, it's Mother Mary. David Lowery's strange psychodrama centers on a pop star, played by Anne Hathaway, reuniting with her estranged friend and costume designer, played by Michaela Coel, and the menacing piece of red chiffon that haunts them both. Next, they turn to another pair of mothers in Margo's Got Money Troubles. The new series stars Elle Fanning as a new single mom— and Michelle Pfeiffer as her mom— who turns to OnlyFans to make ends meet. Finally they welcome back Gabfest favorite Caity Weaver to dish on her epic quest to find the best free restaurant bread in America— as chronicled in her hilarious and insightful piece in The Atlantic.In an exclusive bonus episode for Slate Plus subscribers, Julia shares a behind-the-scenes peek into the founding of her new local media startup L.A. Material. EndorsementsDana: The completely unscripted shows of The Improvised Shakespeare Company—on tour now.Caity: The live album Sam Cooke at the Copa, especially the song "The Best Things in Life Are Free"—the best bread certainly is.Julia: The sitcom The Fall and Rise of Reggie Dinkins which really hits its stride after a few episodes.Steve: The novel The Go-Between by L.P. Hartley as well as Paul Buchanan, of the band The Blue Nile, covering David Bowie's "Ashes to Ashes."--Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.
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