Podcasts about Hay Festival

Today we are talking to Sophie Hughes as a part of our International Booker 2025 series. her translation of Vincenzo Latronico's Perfection  was short listed. Its the first book she translated from Italian into English. Sophie Hughes is a literary translator from Spanish and Italian, and is the most nominated translator in the 10-year history International Booker Prize. Her translations have been longlisted or shortlisted for the International Booker Prize five times. She is a judge for the International Booker Prize 2026. Hughes is the translator of more than 20 novels. She has been shortlisted for the Dublin Literary Award, and the Valle Inclán Prize, and in 2021 she was awarded the Queen Sofía Translation Prize. She has also worked with the Stephen Spender Trust to promote translation in schools and is the co-editor of the anthology Europa28: Writing by Women on the Future of Europe, published in 2020 in collaboration with Hay Festival. We thank International Booker for arranging this interview. Here she is talking about her Journey into translation. To buy the book - https://tinyurl.com/sophievincenzo* For your Valuable feedback on this Episode - Please click the link below.https://tinyurl.com/4zbdhrwrHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Rachel and Simon speak with the novelist Jojo Moyes, live at Hay Festival. Jojo started her career as a journalist before publishing her debut novel, "Sheltering Rain", in 2002. Jojo's subsequent books - which include "Me Before You", "After You", "Still Me", "The Giver of Stars" and "Someone Else's Shoes" - have been translated into 46 languages and sold some 60 million copies worldwide. In 2016 Jojo adapted "Me Before You" into a film that grossed more than $200 million at the global box office. We spoke to Jojo about her early career as a journalist at the Independent, moving into writing fiction and her big break with "Me Before You" in 2012, and her new novel, "We All Live Here". We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (eight are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel.A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

Danny Robins is joined by paranormal experts Ciaran O'Keeffe and Evelyn Hollow for a special episode, recorded live at the Hay Festival 2025, featuring brand new cases to chill your spine this summer. Are you Team Believer or Team Sceptic? How do we explain them?Written and presented by Danny Robins Editing and sound design: Charlie Brandon-King Music: Evelyn Sykes Theme music by Lanterns on the Lake Commissioning executive: Paula McDonnell Commissioning editor: Rhian Roberts Produced by Danny Robins and Simon BarnardA Bafflegab and Uncanny Media production for BBC Radio 4

Recorded on 24th May at the Hay Festival, join Jack Edwards and Caroline in the Welsh fields of Hay-on-Wye as they discuss writing, the power of time and Caroline's new YA novel Skipshock.SKIPSHOCK - OUT NOWHead to your local bookshop or order online: https://www.walker.co.uk/9781529507966/skipshock Hosted on Acast. See acast.com/privacy for more information.

The Arab Spring is when Egyptian Youssef Rakha first starts writing novels. Moroccan Soukaina Habiballah publishes her first poetry collection shortly after, while French Moroccan Leïla Slimani works as a journalist at the time, reporting on the protests unfolding throughout Northern Africa and the Maghreb, before turning to fiction.How have these experiences shaped their writing? All three writers explore the quest for freedom, whether on a personal or a collective level. Can we talk about a post-Arab Spring literature, or is that merely a handy label for the West?«Just like Arab Muslim lives, Arab Muslim writing is not worth the civilized world's attention,» Rakha wrote in an essay in Guernica last year.Soukaina Habiballah is the award-winning author of four poetry collections, a short story collection, a novel and a play, Nini Ya Momo.Youssef Rakha was selected among the Hay Festival's best Arabic writers under 40 in 2009. He is the author of a number of critically acclaimed novels and poetry, most recently the novel The Dissenters.Leïla Slimani is one of the most prominent literary voices in Frankophone literature today. She won the prestigious Prix Goncourt in 2016 for her novel Lullaby, and has excited critics with her trilogy of a French-Moroccan family saga.Habiballah, Rakha and Slimani was joined by journalist and critic Helene Hovden Hareide for a conversation about freedom and revolutions, about the power of literature for readers, authors and for moving the world forward. Hosted on Acast. See acast.com/privacy for more information.

 En esta entrevista Daniela Salgado, Secretaría de Cultura del Municipio, nos habla sobre la presentación del Hay Festival 2025. 

In this interview, Lamorna Ash, author of Don't Forget We're Here Forever: A New Generation's Search for Religion, and one of my favourite modern writers, talked about working at the Times Literary Supplement, netball, M. John Harrison, AI and the future of religion, why we should be suspicious of therapy, the Anatomy of Melancholy, the future of writing, what surprised her in the Bible, the Simpsons, the joy of Reddit, the new Pope, Harold Bloom, New Atheism's mistakes, reading J.S. Mill. I have already recommended her new book Don't Forget We're Here Forever, which Lamorna reads aloud from at the end. Full transcript below.Uploading videos onto Substack is too complicated for me (it affects podcast downloads somehow, and the instructions to avoid this problem are complicated, so I have stopped doing it), and to upload to YouTube I have to verify my account but they told me that after I tried to upload it and my phone is dead, so… here is the video embedded on this page. I could quote the whole thing. Here's one good section.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. TranscriptHenry: Today I am talking to Lamorna Ash. Lamorna is one of the rising stars of her generation. She has written a book about a fishing village in Cornwall. She's written columns for the New Statesman, of which I'm a great admirer. She works for a publisher and now she's written a book called, Don't Forget, We're Here Forever: A New Generation's Search for Religion. I found this book really compelling and I hope you will go and read it right now. Lamorna, welcome.Lamorna Ash: Thank you for having me.Henry: What was it like when you worked at the Times Literary Supplement?Lamorna: It was an amazing introduction to mostly contemporary fiction, but also so many other forms of writing I didn't know about. I went there, I actually wrote a letter, handwritten letter after my finals, saying that I'd really enjoyed this particular piece that somehow linked the anatomy of melancholy to infinite jest, and being deeply, deeply, deeply pretentious, those were my two favorite books. I thought, well, I'll apply for this magazine. I turned up there as an intern. They happened to have a space going.My job was Christmas in that I just spent my entire time unwrapping books and putting them out for editors to swoop by and take away. I'd take on people's corrections. I'd start to see how the editorial process worked. I started reading. I somehow had missed contemporary fiction. I hadn't read people like Rachel Kask or Nausgaard. I was reading them through going to the fiction pages. It made me very excited. Also, my other job whilst I was there, was I had the queries email. You'd get loads of incredibly random emails, including things like, you are cordially invited to go on the Joseph Conrad cycle tour of London. I'd ask the office, "Does anyone want to do this?" Obviously, no one ever said yes.I had this amazing year of doing really weird stuff, like going on Joseph Conrad cycling tour or going to a big talk at the comic book museum or the new advertising museum of London. I loved it. I really loved it.Henry: What was the Joseph Conrad cycling tour of London like? That sounds-Lamorna: Oh, it was so good. I remember at one point we stopped on maybe it was Blackfriars Bridge or perhaps it was Tower Bridge and just read a passage from the secret agent about the boats passing underneath. Then we'd go to parts of the docks where they believe that Conrad stayed for a while, but instead it would be some fancy youth hostel instead.It was run by the Polish Society of London, I believe-- the Polish Society of England, I believe. Again, each time it was like an excuse then to get into that writer and then write a little piece about it for the TLS. I guess, it was also, I was slightly cutting my teeth on how to do that kind of journalism as well.Henry: What do you like about The Anatomy of Melancholy?Lamorna: Almost everything. I think the prologue, Democritus Junior to the Reader is just so much fun and naughty. He says, "I'm writing about melancholy in order to try and avoid melancholy myself." There's six editions of it. He spent basically his entire life writing this book. When he made new additions to the book, rather than adding another chapter, he would often be making insertions within sentences themselves, so it becomes more and more bloated. There's something about the, what's the word for it, the ambition that I find so remarkable of every single possible version of melancholy they could talk about.Then, maybe my favorite bit, and I think about this as a writer a lot, is there's a bit called the digression of air, or perhaps it's digression on the air, where he just suddenly takes the reader soaring upwards to think about air and you sort of travel up like a hawk. It's this sort of breathing moment for a reader where you go in a slightly different direction. I think in my own writing, I always think about digression as this really valuable bit of nonfiction, this sense of, I'm not just taking you straight the way along. I think it'd be useful to go sideways a bit too.Henry: That was Samuel Johnson's favorite book as well. It's a good choice.Lamorna: Was it?Henry: Yes. He said that it was the only book that would get him out of bed in the morning.Lamorna: Really?Henry: Because he was obviously quite depressive. I think he found it useful as well as entertaining, as it were. Should netball be an Olympic sport?Lamorna: [laughs] Oh, it's already going to be my favorite interview. I think the reason it isn't an Olympic-- yes, I have a vested interest in netball and I play netball once a week. I'm not very good, but I am very enthusiastic because it's only played mostly in the Commonwealth. It was invented a year after basketball as a woman-friendly version because women should not run with the ball in case they get overexerted and we shouldn't get too close to contacting each other in case we touch, and that's awful.It really is only played in the Commonwealth. I think the reason it won't become an Olympic sport is because it's not worldwide enough, which I think is a reasonable reason. I'm not, of all the my big things that I want to protest about and care about right now, making that an Olympic sport is a-- it's reasonably low on my list.Henry: Okay, fair enough. You are an admirer of M. John Harrison's fiction, is that right?Lamorna: Yes.Henry: Tell us what should we read and why should we read him?Lamorna: You Should Come With Me Now, is that what it's called? I know I reviewed one of his books years ago and thought it was-- because he's part of that weird sci-fi group that I find really interesting and they've all got a bit of Samuel Delany to them as well. I just remember there was this one particular story in that collection, I think in general, he's a master at sci-fi that doesn't feel in that Dune way of just like, lists of names of places. It somehow has this, it's very literary, it's very odd, it's deeply imaginative. It is like what I wanted adult fiction to be when I was 12 or something, that there's the way the fantasy and imagination works.I remember there was one about all these men, married men who were disappearing into their attics and their wives thought they were just tinkering. What they were doing was building these sort of translucent tubes that were taking them off out of the world. I remember just thinking it was great. His conceits are brilliant and make so much sense, whilst also always being at an interesting slant from reality. Then, I haven't read his memoir, but I hear again and again this anti-memoir he's written. Have you read that?Henry: No.Lamorna: Apparently that's really brilliant too. Then he also, writes those about climbing. He's actually got this one foot in the slightly travel nature writing sports camp. I just always thought he was magic. I remember on Twitter, he was really magic as well. I spent a lot of time following him.Henry: Are you optimistic or pessimistic about the future of writing and literature and books and this whole debate that's going on?Lamorna: It's hard to. I don't want to say anything fast and snappy because it's such a complicated thing. I could just start by saying personally, I'm worried about me and writing because I'm worried about my concentration span. I am so aware that in the same way that a piano player has to be practising the pieces they're going to play all the time. I think partly that's writing and writing, I seem to be able to do even with this broken, distracted form of attention I've got. My reading, I don't feel like I'm getting enough in. I think that means that what I produce will necessarily be less good if I can't solve that.I've just bought a dumb phone on the internet and I hope that's going to help me by no longer having Instagram and things like that. I think, yes, I suppose we do read a bit less. The generation below us is reading less. That's a shame. There's so much more possibility to go out and meet people from different places. On an anthropological level, I think anthropology has had this brilliant turn of becoming more subjective. The places you go, you have to think about your own relationship to them. I think that can make really interesting writing. It's so different from early colonial anthropology.The fact that, I guess, through, although even as I'm saying this, I don't know enough to say it, but I was going to say something about the fact that people, because we can do things like substacks and people can do short form content, maybe that means that more people's voices are getting heard and then they can, if they want to, transfer over and write books as well.I still get excited by books all the time. There's still so much good contemporary stuff that's thrilling me from all over the place. I don't feel that concerned yet. If we all do stop writing books entirely for a year and just read all the extraordinary books that have been happening for the last couple of thousand, we'd be okay.Henry: I simultaneously see the same people complaining that everything's dying and literature is over and that we have an oversupply of books and that capitalism is giving us too many books and that's the problem. I'm like, "Guys, I think you should pick one."Lamorna: [laughs] You're not allowed both those arguments. My one is that I do think it's gross, the bit of publishing that the way that some of these books get so oddly inflated in terms of the sales around them. Then, someone is getting a million pounds for a debut, which is enormous pressure on them. Then, someone else is getting 2K. I feel like there should be, obviously, there should be a massive cap on how large an advance anyone should get, and then more people will actually be able to stay in the world of writing because they won't have to survive on pitiful advances. I think that would actually have a huge impact and we should not be giving, love David Beckham as much as I do, we shouldn't be giving him five million pounds for someone else to go to write his books. It's just crazy.Henry: Don't the sales of books like that subsidize those of us who are not getting such a big advance?Lamorna: I don't think they always do. I think that's the problem is that they do have this wealth of funds to give to celebrities and often those books don't sell either. I still think even if those books sell a huge amount of money, those people still shouldn't be getting ridiculous advances like that. They still should be thinking about young people who are important to the literary, who are going to produce books that are different and surprising and whose voices we need to hear. That feels much more important.Henry: What do you think about the idea that maybe Anglo fiction isn't at a peak? I don't necessarily agree with that, but maybe we can agree that these are not the days of George Eliot and Charles Dickens, but the essay nonfiction periodicals and writing online, this is huge now. Right? Actually, our pessimism is sort of because we're looking in the wrong area and there are other forms of writing that flourish, actually doing great on the internet.Lamorna: Yes, I think so too. Again, I don't think I'm internet worldly enough to know this, but I still find these extraordinary, super weird substats that feel exciting. I also get an enormous amount of pleasure in reading Reddit now, which I only just got into many, many years late, but so many fun, odd things. Like little essays that people write and the way that people respond to each other, which is quick and sharp, and I suppose it fills the gap of what Twitter was.I think nonfiction, I was talking about this morning, because I'm staying with some writers, because we're sort of Cornish, book talk thing together and how much exciting nonfiction has come out this year that we want to read from the UK that is hybrid-y nature travel. Then internationally, I still think there's-- I just read, Perfection by Vincenzo, but there's enough translated fiction that's on the international book list this year that gets me delighted as well. To me, I just don't feel worried about that kind of thing at all when there's so much exciting stuff happening.I love Reddit. I think they really understand things that other people don't on there. I think it's the relief now that when you type in something to Google, you get the AI response. It's something like, it's so nice to feel on Reddit that someone sat down and answered you. Maybe that's such a shame that that's what makes me happy now, that we're in that space. It does feel like someone will tell you not just the answer, but then give you a bit about their life. Then, the particular tool that was passed down by their grandparents. That's so nice.Henry: What do you think of the new Pope?Lamorna: I thought it was because I'd heard all the thing around fat Pope, thin Pope, and obviously, our new Pope is maybe a sort of middle Pope, or at least is closer to Francis, but maybe a bit more palatable to some people. I guess, I'm excited that he's going to do, or it seems like he's also taking time to think, but he's good on migration on supporting the rights of immigrants. I think there's value in the fact of him being American as this being this counterpoint to what's happening in America right now. If feels always feels pointless to say because they're almost the idea of a Pope.I guess, Francis said that, who am I to judge about people being gay, but I think this Pope has so far has been more outly against gay people, but he stood up against JD Vance and his stupid thoughts on theology. I'm quietly optimistic. I guess I'm also waiting for Robert Harris's prophecy to come true and we get an intersex Pope next. Because I think that was prophecy, right? What he wrote.Henry: That would be interesting.Lamorna: Yes.Henry: The religious revival that people say is happening, particularly among young people, how is AI going to make it different than previous religious revivals?Lamorna: Oh, that's so interesting. Maybe first of all, question, sorry, I choked on my coffee. I was slightly questioned the idea if there is a religious revival, it's not actually an argument that I made in the book. When I started writing the book, there wasn't this quiet revival or this Bible studies and survey that suggests that more young people are going to church hadn't come out yet. I was just more, I guess, aware that there were a few people around me who were converting and I thought it'd be interesting if there's a few, there'll be more, which I think probably happens in every single generation, right? Is that that's one way to deal with the longing for meaning we all experience and the struggles in our lives.I was speaking to a New York Times journalist who was questioning the stats that have been coming out because first it's incredibly small pool. It's quite self-selecting that possibly there are people who might have gone to church already. It's still such a small uptick because it makes it hard to say anything definitive. I guess in general, what will the relationship be between AI and religion?I guess, there are so many ways you could go with that. One is that those spaces, religious spaces, are nicely insulated from technology. Not everywhere. Obviously, in some places they aren't, but often it's a space in which you put your phone away. In my head, the desire to go to church is as against having to deal with AI or having to deal with technology being integrated to every other aspect of my life.I guess maybe people will start worshiping the idea of the singularity. Maybe we'll get the singularity and Terminator, or the Matrix is going to happen, and we'll call them our gods because they will feel like gods. That's maybe one option. I don't know how AI-- I guess I don't know enough about AI that maybe you'll have AI, or does this happen? Maybe this has happened already that you could have an AI confession and you'd have an AI priest and they tell you--Henry: Sure. It's huge for therapy, right?Lamorna: Yes.Henry: Which is that adjacent thing.Lamorna: That's a good point. It does feel something about-- I'm sure, theologically, it's not supposed to work if you haven't been ordained, but can an AI be ordained, become a priest?Henry: IndeedLamorna: Could they do communion? I don't know. It's fascinating.Henry: I can see a situation where a young person lives in a secular environment or culture and is interested in things and the AI is the, in some ways, easiest place for them to turn to say, "I need to talk about-- I have these weird semi-religious feelings, or I'm interested." The AI's not going to be like, "Oh, really? That's weird." There's the question of will we worship AI or whatever, but also will we get people's conversions being shaped by their therapy/confessors/whatever chat with their LLM?Lamorna: Oh, it's so interesting. I read a piece recently in the LRB by James Vincent. It was about AI relationships, our relationship with AI, and he looked at AI girlfriends. There was this incredible case, maybe you read about it, about a guy who tried to kill the Queen some years back. His defense was that his AI girlfriend had really encouraged him to do that. Then, you can see the transcripts of the text, and he says, "I'm thinking about killing the Queen." His AI girlfriend is like, "Go for it, baby."It's that thing there of like, at the moment, AI is still reflecting back our own desires or refracting almost like shifting how they're expressed. I'm trying to imagine that in the same case of me saying, "I feel really lonely, and I'm thinking about Christianity." My friend would speak with all of their context and background, and whatever they've got going on for them. Whereas an AI would feel my desire there and go, "That's a good idea. It says online this." It's very straight. It would definitely lead us in directions that feel less than human or other than human.Henry: I also have this thought, you used to, I think you still do, but you see it less. You used to get a Samaritan's Bible in every hotel. The Samaritans, will they start trying to install a religious chatbot in places where people--? There are lots of ways in which you could use it as a distribution mechanism.Lamorna: Which does feel so far from the point. Not to think about the gospels, but that feeling of something I talk about in the book is that, so much of it is human contact. Is that this factor of being changed in the moment, person to person. If I have any philosophy for life at the moment is this sense of desperately needing contact that we are saved by each other all the time, not by our telephones and things that aren't real. It's the surprise.I quote it in the book, but Iris Murdoch describes love is the very difficult realization that someone other than yourself is real. I think that's the thing that makes us all survive, is that reminder that if you're feeling deeply depressed, being like, there is someone else that is real, and they have a struggle that matters as much as mine. I think that's something that you are never going to get through a conversation with a chatbot, because it's like a therapeutic thing. You are not having to ask it the same questions, or you are not having to extend yourself to think about someone else in those conversations.Henry: Which Iris Murdoch novels do you like?Lamorna: I've only read The Sea, The Sea, but I really enjoyed it. Which ones do you like?Henry: I love The Sea, The Sea, and The Black Prince. I like the late books, like The Good Apprentice and The Philosopher's Pupil, as well. Some people tell you, "Don't read those. They're late works and they're no good," but I was obsessed. I was absolutely compelled, and they're still all in my head. They're insane.Lamorna: Oh, I must, because I've got a big collection of her essays. I'm thinking is so beautiful, her philosophical thought. It's that feeling, I know I'm going the wrong-- starting in the wrong place, but I do feel that she's someone I'd really love to explore next, kind of books.Henry: I think you'd like her because she's very interested in the question of, can therapy help, can philosophy help, can religion help? She's very dubious about therapy and philosophy, and she is mystic. There are queer characters and neurodivergent characters. For a novelist in the '70s, you read her now and you're like, "Well, this is all just happening now."Lamorna: Cool.Henry: Maybe we should be passing these books out. People need this right now.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. I think, in my head, it's like it should be one among many and I still question it whilst doing it.Henry: To the extent that there is a religious revival among "Gen Z," how much is it because they have phones? Because you wrote something like, in fact, I have the quote, "There's a sense of terrible tragedy. How can you hold this constant grief that we feel, whether it's the genocide in Gaza or climate collapse? Where do I put all the misery that I receive every single second through my phone? Church can then be a space where I can quietly go and light a candle." Is it that these young people are going to religion because the phone has really pushed a version of the world into their faces that was not present when I was young or people are older than me?Lamorna: I think it's one of, or that the phone is the symptom because the phone, whatever you call it, technology, the internet, is the thing that draws the world closer to us in so many different ways. One being that this sense of being aware of what's happening around in other places in the world, which maybe means that you become more tolerant of other religions because you're hearing about it more. That, on TikTok, there's loads of kids all across the world talking about their particular faiths and their background and which aspera they're in, and all that kind of thing.Then, this sense of horror being very unavoidable that you wake up and it is there and you wake up and you think, "What am I doing? What am I doing here? I feel completely useless." Perhaps then you end up in a church, but I'm not sure.I think a bigger player in my head is the fact that we are more pluralistic as societies. That you are more likely to encounter other religions in schools. I think then the question is, well then maybe that'll be valuable for me as well. I think also, not having parents pushing religion on you makes kids, the fact of the generation above the British people, your parents' generations, not saying religion is important, you go to church, then it becomes something people can become more curious about in their own right as adults. I think that plays into it.I think isolation plays into it and that's just not about technology and the phone, but that's the sense of-- and again, I'm thinking about early 20s, mid 20s, so adults who are moving from place to place, who maybe feel very isolated and alone, who are doing jobs that make them feel isolated and alone, and there are this dearth of community spaces and then thinking, well, didn't people used to go to churches, it would be so nice to know someone older than me.I don't know how this fits in, but I was thinking about, I saw this documentary, The Encampments, like two days ago, which is about the Columbia University encampments and within that, Mahmood Khalil, who's the one who's imprisoned at the moment, who was this amazing leader within the movement and is from Palestine. The phone in that, the sense about how it was used to gather and collect people and keep people aware of what's happening and mean that everyone is more conscious and there's a point when they need more people in the encampments because the police are going to come. It's like, "Everyone, use your phone, call people now." I think I can often be like, "Oh no, phones are terrible," but this sense within protest, within communal activity, how valuable they can be as well.I haven't quite gotten into that thought. I don't know, basically. I think it's so hard. I've grown up with a phone. I have no sense of how much it plays a part in everything about me, but obviously, it is a huge amount. I do think it's something that we all think about and are horrified by whilst also seeing it as like this weird extension of ourselves. That definitely plays into then culturally, the decisions we make to either try and avoid them, find spaces where you can be without them.Henry: How old do you think a child should be when they're first given a phone? A smartphone, like an iPhone type thing?Lamorna: I think, 21.Henry: Yes?Lamorna: No, I don't know. I obviously wouldn't know that about a child.Henry: I might.Lamorna: I'd love to. I would really love to because, I don't know, I have a few friends who weren't allowed to watch TV until they were 18 and they are eminently smarter than me and lots of my other friends. There's something about, I don't know, I hate the idea that as I'm getting older, I'm becoming more scaremongering like, "Oh no, when I was young--" because I think my generation was backed in loads of ways. This thing of kids spending so much less time outside and so much less time being able to imagine things, I think I am quite happy to say that feels like a terrible loss.I read a piece recently about kids in New York and I think they were quite sort of middle-class Brooklyn-y kids, but they choose to go days without their phones and they all go off into the forest together. There is this sense of saying giving kids autonomy, but at the same time, their relationship with a phone is not one of agency. It's them versus tech bros who have designed things that are so deeply addictive, that no adult can let go of it. Let alone a child who's still forming how to work out self-control, discipline and stuff. I think a good parenting thing would be to limit massively these completely non-neutral objects that they're given, that are made like crack and impossible to let go of.Henry: Do you think religious education in schools should be different or should there be more of it?Lamorna: Yes, I think it should be much better. I don't know about you, but I just remember doing loads of diagrams of different religious spaces like, "This is what a mosque looks like," and then I'd draw the diagram. I knew nothing. I barely knew the difference between the Old Testament and the New Testament. In fact, I probably didn't as a teenager.I remember actually in sixth form, having this great philosophy teacher who was talking about the idea of proto antisemitism within the gospels. I was like, "Wait, what?" Because I just didn't really understand. I didn't know that it was in Greek, that the Old Testament was in Hebrew. I just didn't know. I think all these holy texts that we've been carrying with us for thousands of years across the world have so much in them that's worth reading and knowing.If I was in charge of our R.E., I would get kids to write on all holy texts, but really think about them and try and answer moral problems. You'd put philosophy back with religion and really connect them and think, what is Nietzsche reacting against? What does Freud about how is this form of Christianity different like this? I think that my sense is that since Gove, but also I'm sure way before that as well, the sense of just not taking young people seriously, when actually they're thoughtful, intelligent and able to wrestle with these things, it's good for them to have know what they're choosing against, if they're not interested in religion.Also, at base, those texts are beautiful, all of them are, and are foundational and if you want to be able to study English or history to know things about religious texts and the practices of religion and how those rituals came about and how it's changed over thousands of years, feels important.Henry: Which religious poets do you like other than Hopkins? Because you write very nicely about Hopkins in the book.Lamorna: He's my favorite. I like John Donne a lot. I remember reading lots of his sermons and Lancelot Andrews' sermons at university and thinking they were just astonishingly beautiful. There are certain John Donne sermons and it's this feeling of when he takes just maybe a line from one of Paul's letters and then is able to extend it and extend it, and it's like he's making it grow in material or it's like it's a root where suddenly all these branches are coming off it.Who else do I like? I like George Herbert. Gosh, my brain is going in terms of who else was useful when I was thinking about. Oh it's gone.Henry: Do you like W.H. Auden?Lamorna: Oh yes. I love Auden, yes. I was rereading his poems about, oh what's it called? The one about Spain?Henry: Oh yes.Lamorna: About the idea of tomorrow.Henry: I don't have a memory either, but I know the poem you mean, yes.Lamorna: Okay. Then I'm trying to think of earlier religious poets. I suppose things like The Dream of the Rood and fun ways of getting into it and if you're looking at medieval poetry.Henry: I also think Betjeman is underrated for this.Lamorna: I've barely read any Betjeman.Henry: There's a poem called Christmas. You might like it.Lamorna: Okay.Henry: It's this famous line and is it true and is it true? He really gets into this thing of, "We're all unwrapping tinsely presents and I'm sitting here trying to work out if God became man." It's really good. It's really good. The other one is called Norfolk and again, another famous line, "When did the devil first attack?" It talks about puberty as the arrival of the awareness of sin and so forth.Lamorna: Oh, yes.Henry: It's great. Really, really good stuff. Do you personally believe in the resurrection?Lamorna: [chuckles] I keep being asked this.Henry: I know. I'm sorry.Lamorna: My best answer is sometimes. Because I do sometimes in that way that-- someone I interviewed who's absolutely brilliant in the book, Robert, and he's a Cambridge professor. He's a pragmatist and he talks about the idea of saying I'm a disciplined person means nothing unless you're enacting that discipline daily or it falls away. For him, that belief in a Kierkegaardian leap way is something that needs to be reenacted in every moment to say, I believe and mean it.I think there are moments when my church attendance is better and I'm listening to a reading that's from Acts or whatever and understanding the sense of those moments, Paul traveling around Europe and Asia Minor, only because he fully believed that this is what's happened. Those letters and as you're reading those letters, the way I read literature or biblical writing is to believe in that moment because for that person, they believe too. I think there are points at which the resurrection can feel true to me, but it does feel like I'm accessing that idea of truth in a different way than I am accessing truth about-- it's close to how I think about love as something that's very, very real, but very different from experiential feelings.I had something else I wanted to say about that and it's just gone. Oh yes. I was at Hay Festival a couple of weeks ago. Do you know the Philosopher Agnes Callard?Henry: Oh, sure.Lamorna: She gave a really great talk about Socrates and her love of Socrates, but she also came to my talk and she and her husband, who I think met through arguing about Aristotle, told me they argued for about half a day about a line I'd said, which was that during writing the book, I'd learned to believe in the belief of other people, her husband was like, "You can't believe in the belief of other people if you don't believe it too. That doesn't work. That doesn't make sense." I was like, "That's so interesting." I can so feel that if we're taking that analytically, that if I say I don't believe in the resurrection, not just that I believe you believe it, but I believe in your belief in the resurrection. At what point is that any different from saying, I believe in the resurrection. I feel like I need to spend more time with it. What the slight gap is there that I don't have that someone else does, or as I say it, do I then believe in the resurrection that moment? I'm not sure.I think also what I'm doing right now is trying to sound all clever with it, whereas for other people it's this deep ingrained truth that governs every moment of their life and that they can feel everywhere, or perhaps they can't. Perhaps there's more doubt than they suggest, which I think is the case with lots of us. Say on the deathbed, someone saying that they fully believe in the resurrection because that means there's eternal salvation, and their family believe in that too. I don't think I have that kind of certainty, but I admire it.Henry: Tell me how you got the title for this book from an episode of The Simpsons.Lamorna: It's really good app. It's from When Maggie Makes Three, which is my favorite episode. I think titles are horribly hard. I really struck my first book. I would have these sleepless nights just thinking about words related to the sea, and be like, blue something. I don't know. There was a point where my editor wanted to call it Trawler Girl. I said, "We mustn't. That's awful. That's so bad. It makes me sound like a terrible superhero. I'm not a girl, I'm a woman."With this one, I think it was my fun title for ages. Yes, it's this plaque that Homer has put-- Mr. Burns puts up this plaque to remind him that he will never get to leave the power plant, "Don't forget you're here forever."I just think it's a strong and bonkers line. I think it had this element of play or silliness that I wanted, that I didn't think about too hard. I guess that's an evangelical Christian underneath what they're actually saying is saying-- not all evangelicals, but often is this sense of no, no, no, we are here forever. You are going to live forever. That is what heaven means.That sense of then saying it in this jokey way. I think church is often very funny spaces, and funny things happen. They make good comedy series when you talk about faith.Someone's saying she don't forget we're here forever. The don't forget makes it so colloquial and silly. I just thought it was a funny line for that reason.Then also that question people always ask, "Is religion going to die out?" I thought that played into it. This feeling that, yes, I write about it. There was a point when I was going to an Extinction Rebellion protest, and everyone was marching along with that symbol of the hourglass inside a circle next to a man who had a huge sign saying, "Stop, look, hell is real, the end of the world is coming." This sense of different forms of apocalyptic thinking that are everywhere at the moment. I felt like the title worked for that as well.Henry: I like that episode of The Simpsons because it's an expression of an old idea where he's doing something boring and his life is going to slip away bit by bit. The don't forget you're here forever is supposed to make that worse, but he turns it round into the live like you're going to die tomorrow philosophy and makes his own kind of meaning out of it.Lamorna: By papering it over here with pictures of Maggie. They love wordplay, the writers of The Simpsons, and so that it reads, "Do it for her," instead. That feeling of-- I think that with faith as well of, don't forget we're here forever, think about heaven when actually so much of our life is about papering it over with humanity and being like, "Does it matter? I'm with you right now, and that's what matters." That immediacy of human contact that church is also really about, that joy in the moment. Where it doesn't really matter in that second if you're going to heaven or hell, or if that exists. You're there together, and it's euphoric, or at least it's a relief or comforting.Henry: You did a lot of Bible study and bible reading to write this book. What were the big surprises for you?Lamorna: [chuckles] This is really the ending, but revelation, I don't really think it's very well written at all. It shouldn't be in there, possibly. It's just not [unintelligible 00:39:20] It got added right in the last minute. I guess it should be in there. I just don't know. What can I say?So much of it was a surprise. I think slowly reading the Psalms was a lovely surprise for me because they contain so much uncertainty and anguish, and doubt. Imagining those being read aloud to me always felt like a very exciting thing.Henry: Did you read them aloud?Lamorna: When I go to more Anglo Catholic services, they tend to do them-- I never know how to pronounce this. Antiphonally.Henry: Oh yes.Lamorna: Back and forth between you. It's very reverential, lovely experience to do that. I really think I was surprised by almost everything I was reading. At the start of Kierkegaard's Fear and Trembling, he does this amazing thing where he does four different versions of what could be happening in the Isaac and Abraham story underneath.There's this sense of in the Bible, and I'm going to get this wrong, but in Mimesis, Auerbach talks about the way that you're not given the psychological understanding within the Bible. There's so much space for readers to think with, because you're just being told things that happened, and the story moves on quickly, moment by moment. With Isaac and Abraham, what it would mean if Isaac actually had seen the fact that his father was planning to kill him. Would he then lose his faith? All these different scenarios.I suddenly realised that the Bible was not just a fixed text, but there was space to play with it as well. In the book, I use the story of Jacob and the angel and play around with the meaning of that and what would happen after this encounter between Jacob and an angel for both of them.Bits in the Gospels, I love the story of the Gerasene Demoniac. He was a knight. He was very unwell, and no one knew what to do with him. He was ostracised from his community. He would sit in this cave and scream and lacerate himself against the cave walls. Then Jesus comes to him and speaks to him and speaks to the demons inside him. There's this thing in Mark's Gospel that Harold Bloom talks about, where only demons are actually able to perceive. Most people have to ask Christ who he really is, but demons can perceive him immediately and know he's the son of God.The demons say that they are legion. Then Jesus puts them into 1,000 pigs. Is it more? I can't remember. Then they're sent off over the cliff edge. Then the man is made whole and is able to go back to his community. I just think there's just so much in that. It's so rich and strange. I think, yes, there's something about knowing you could sit down and just read a tiny bit of the Bible and find something strange and unusual that also might speak to something you've read that's from thousands of years later.I also didn't know that in Mark's Gospel, the last part of it is addended, added on to it. Before that, it ended with the women being afraid, seeing the empty tomb, but there's no resolution. There's no sense of Christ coming back as spirit. It ended in this deep uncertainty and fear. I thought that was so fascinating because then again, it reminds you that those texts have been played around with and thought with, and meddled with, and changed over time. It takes away from the idea that it's fixed and certain, the Bible.Henry: What did you think of Harold Bloom's book The Shadow of a Great Rock?Lamorna: I really loved it. He says that he treats Shakespeare more religiously and the Bible more like literature, which I found a funny, irreverent thing to say. There's lovely stuff in there where, I think it was Ruth, he was like, maybe it was written by a woman. He takes you through the different Hebrew writers for Genesis. Which again, becoming at this as such a novice in so many ways, realising that, okay, so when it's Yahweh, it's one particular writer, there's the priestly source for particular kinds of writing. The Yahwist is more ironic, or the God you get is more playful.That was this key into thinking about how each person trying to write about God, it's still them and their sense of the world, which is particular and idiosyncratic is forming the messages that they believe they're receiving from God. I found that exciting.Yes, he's got this line. He's talking about the blessings that God gives to men in Genesis. He's trying to understand, Bloom, what the meaning of a blessing is. He describes it as more life into a time without boundaries. That's a line that I just found so beautiful, and always think about what the meaning of that is. I write it in the book.My best friend, Sammy, who's just the most game person in the world, that you tell them anything, they're like, "Cool." I told them that line. They were like, "I'm getting it tattooed on my arm next week." Then got me to write in my handwriting. I can only write in my handwriting, but write down, "More time into life without boundaries." Now they've just got it on their arm.Henry: Nice.Lamorna: I really like. They're Jewish, non-practicing. They're not that really interested in it. They were like, "That's a good line to keep somewhere."Henry: I think it's actually one of Bloom's best books. There's a lot of discussion about, is he good? Is he not good? I love that book because it really just introduces people to the Bible and to different versions of the Bible. He does all that Harold Bloom stuff where he's like, "These are the only good lines in this particular translation of this section. The rest is so much dross.He's really attentive to the differences between the translations, both theologically but also aesthetically. I think a lot of people don't know the Bible. It's a really good way to get started on a-- sitting down and reading the Bible in order. It's going to fail for a lot of people. Harold Bloom is a good introduction that actually gives you a lot of the Bible itself.Lamorna: For sure, because it's got that midrash feeling of being like someone else working around it, which then helps you get inside it. I was reading that book whilst going to these Bible studies at a conservative evangelical church called All Souls. I wasn't understanding what on earth was going on in Mark through the way that we're being told to read it, which is kids' comprehension.Maybe it was useful to think about why would the people have been afraid when Christ quelled the storms? It was doing something, but there was no sense of getting inside the text. Then, to read alongside that, Bloom saying that the Christ in Mark is the most unknowable of all the versions of Christ. Then again, just thinking, "Oh, hang on." There's an author. The author of Mark's gospel is perceiving Christ in a particular way. This is the first of the gospels writing about Christ. What does it mean? He's unknowable. Suddenly thinking of him as a character, and therefore thinking about how people are relating to him. It totally cracks the text open for you.Henry: Do you think denominational differences are still important? Do most people have actual differences in dogma, or are they just more cultural distinctions?Lamorna: They're ritual distinctions. There really is little that you could compare between a Quaker meeting and a Catholic service. That silence is the fundamental aspect of all of it. There's a sense of enlighten.My Quaker mate, Lawrence, he's an atheist, but he wouldn't go to another church service because he's so against the idea of hierarchy and someone speaking from a pulpit. He's like, honestly, the reincarnated spirit of George Fox in many ways, in lots of ways he's not.I guess it becomes more blurry because, yes, there's this big thing in the early 20th century in Britain anyway, where the line that becomes more significant is conservative liberal. It's very strange that that's how our world gets divided. There's real simplification that perhaps then, a liberal Anglican church and a liberal Catholic church have more in relationship than a conservative Catholic church and a conservative evangelical church. The line that is often thinking about sexuality and marriage.I was interested, people have suddenly was called up in my book that I talk about sex a lot. I think it's because sex comes up so much, it feels hard not to. That does seem to be more important than denominational differences in some ways. I do think there's something really interesting in this idea of-- Oh, [unintelligible 00:48:17] got stung. God, this is a bit dramatic. Sorry, I choked on coffee earlier. Now I'm going to get stung by a bee.Henry: This is good. This is what makes a podcast fun. What next?Lamorna: You don't get this in the BBC studios. Maybe you do. Oh, what was I about to say? Oh, yes. I like the idea of church shopping. People saying that often it speaks to the person they are, what they're looking for in a church. I think it's delightful to me that there's such a broad church, and there's so many different spaces that you can go into to discover the church that's right for you. Sorry. I'm really distracted by this wasp or bee. Anyway.Henry: How easy was it to get people to be honest with you?Lamorna: I don't know. I think that there's certain questions that do tunnel right through to the heart of things. Faith seems to be one of them. When you talk about faith with people, you're getting rid of quite a lot of the chaff around with the politeness or whatever niceties that you'd usually speak about.I was talking about this with another friend who's been doing this. He's doing a play about Grindr. He was talking about how strange it is that when you ask to interview someone and you have a dictaphone there, you do get a deeper instant conversation. Again, it's a bit like a therapeutic conversation where someone has said to you, "I'm just going to sit and listen." You've already agreed, and you know it's going to be in a book. "Do you mind talking about this thing?"That just allows this opportunity for people to be more honest because they're aware that the person there is actually wanting to listen. It's so hard to create spaces. I create a cordon and say, "We're going to have a serious conversation now." Often, that feels very artificial. I think yes, the beauty of getting to sit there with a dictaphone on your notebook is you are like, "I really am interested in this. It really matters to me." I guess it feels easy in that way to get honesty.Obviously, we're all constructing a version of ourselves for each other all the time. It's hard for me to know to what extent they're responding to what they're getting from me, and what they think I want to hear. If someone else interviewed them, they would probably get something quite different. I don't know. I think if you come to be with openness, and you talk a bit about your journey, then often people want to speak about it as well.I'm trying to think. I've rarely interviewed someone where I haven't felt this slightly glowy, shimmery sense of it, or what I'm learning feels new and feels very true. I felt the same with Cornish Fisherman, that there was this real honesty in these conversations. Many years ago, I remember I got really obsessed with interviewing my mom. I think I was just always wanting to practice interviewing. The same thing that if there's this object between you, it shifts the dimensions of the conversation and tends towards seriousness.Henry: How sudden are most people's conversions?Lamorna: Really depends. I was in this conversation with someone the other day. When she was 14, 15, she got caught shoplifting. She literally went, "Oh, if there's a God up there, can you help get me out of the situation?" The guy let her go, and she's been a Christian ever since. She had an instantaneous conversion. Someone I interviewed in the book, and he was a really thoughtful card-carrying atheist. He had his [unintelligible 00:51:58] in his back pocket.He hated the Christians and would always have a go at them at school because he thought it was silly, their belief. Then he had this instant conversion that feels very charismatic in form, where he was just walking down an avenue of trees at school, and he felt the entire universe smiling at him and went, "Oh s**t, I better become a Christian."Again, I wonder if it depends. I could say it depends on the person you are, whether you are capable of having an instant conversion. Perhaps if I were in a religious frame of mind, I'd say it depends on what God would want from you. Do you need an instant conversion, or do you need to very slowly have the well filling up?I really liked when a priest said to me that people often go to church and expect to be changed in a moment. He's like, "No, you have to go for 20 years before anything happens." Something about that slow incremental conversion to me is more satisfying. It's funny, I was having a conversation with someone about if they believe in ghosts, and they were like, "Well, if I saw one, then I believe in ghosts." For some people, transcendental things happen instantaneously, and it does change them ultimately instantly.I don't know, I would love to see some stats about which kinds of conversions are more popular, probably more instant ones. I love, and I use it in the book, but William James' Varieties of Religious Experience. He talks about there's some people who are sick-souled or who are also more porous bordered people for whom strange things can more easily cross the borders of their person. They're more likely to convert and more likely to see things.I really like him describing it that way because often someone who's like that, it might just be described as well, you have a mental illness. That some people are-- I don't know, they've got sharper antennae than the rest of us. I think that is an interesting thought for why some people can convert instantly.Henry: I think all conversions take a long time. At the moment, there's often a pivotal moment, but there's something a long time before or after that, that may or may not look a conversion, but which is an inevitable part of the process. I'm slightly obsessed with the idea of quests, but I think all conversions are a quest or a pilgrimage. Your book is basically a quest narrative. As you go around in your Toyota, visiting these places. I'm suspicious, I think the immediate moment is bundled up with a longer-term thing very often, but it's not easy to see it.Lamorna: I love that. I've thought about the long tail afterwards, but I hadn't thought about the lead-up, the idea of that. Of what little things are changing. That's such a lovely thought. Their conversions began from birth, maybe.Henry: The shoplifter, it doesn't look like that's where they're heading. In retrospect, you can see that there weren't that many ways out of this path that they're on. Malcolm X is like this. One way of reading his autobiography is as a coming-of-age story. Another way of reading it is, when is this guy going to convert? This is going to happen.Lamorna: I really like that. Then there's also that sense of how fixed the conversion is, as well, from moment to moment. That Adam Phillips' book on wanting to change, he talks about our desire for change often outstrips our capacity for change. That sense of how changed am I afterwards? How much does my conversion last in every moment? It goes back to the do you believe in the resurrection thing.I find that that really weird thing about writing a book is, it is partly a construction. You've got the eye in there. You're creating something that is different from your reality and fixed, and you're in charge of it. It's stable, it remains, and you come to an ending. Then your life continues to divert and deviate in loads of different ways. It's such a strange thing in that way. Every conversion narrative we have fixed in writing, be it Augustine or Paul, whatever, is so far from the reality of that person's experience.Henry: What did the new atheists get wrong?Lamorna: Arrogance. They were arrogant. Although I wonder, I guess it was such a cultural moment, and perhaps in the same way that everyone is in the media, very excitedly talking about revival now. There was something that was created around them as well, which was delight in this sense of the end of something. I wonder how much of that was them and how much of it was, they were being carried along by this cultural media movement.I suppose the thing that always gets said, and I haven't read enough Dawkins to say this with any authority, but is that the form of religion that he was attempting to denigrate was a very basic form of Christianity, a real, simplified sense. That he did that with all forms of religion. Scientific progress shows us we've progressed beyond this point, and we don't need this, and it's silly and foolish.I guess he underestimated the depth and richness of religion, and also the fact of this idea of historical progress, when the people in the past were foolish, when they were as bright and stupid as we are now.Henry: I think they believed in the secularization idea. People like Rodney Stark and others were pointing out that it's not really true that we secularized a lot more consistency. John Gray, the whole world is actually very religious. This led them away from John Stuart Mill-type thinking about theism. I think everyone should read more John Stuart Mill, but they particularly should have read the theism essays. That would have been--Lamorna: I've only just got into him because I love the LRB Close Reading podcast. It's Jonathan Rée and James Wood. They did one on John Stuart Mill's autobiography, which I've since been reading. It's an-Henry: It's a great book.Lamorna: -amazing book. His crisis is one of-- He says, "The question of religion is not something that has been a part of my life, but the sense of being so deeply learned." His dad was like, "No poetry." In his crisis moment, suddenly realizing that that's what he needed. He was missing feeling, or he was missing a way of looking at the world that had questioning and doubt within it through poetry.There was a bit in the autobiography, and he talks about when he was in this deep depression, whenever he was at 19 or something. That he was so depressed that he thought if there's a certain number of musical notes, one day there will be no more new music because every single combination will have been done. The sense of, it's so sweetly awful thinking, but without the sense-- I'm not sure what I'm trying to say here.I found his crisis so fascinating to read about and how he comes out of that through this care and attention of beautiful literature and thinking, and through his love of-- What was his wife called again?Henry: Harriet.Lamorna: Harriet. He credits her for almost all his thinking. He wouldn't have moved towards socialism without her. Suddenly, humans are deeply important to him. He feels sorry for the fact that his dad could not express love or take love from him, and that that was such a terrible deficiency in his life.Henry: Mill's interesting on religion because he looks very secular. In fact, if you read his letters, he's often going into churches.Lamorna: Oh, really?Henry: Yes, when he's in Italy, because he had tuberculosis. He had to be abroad a lot. He's always going to services at Easter and going into the churches. For a secular person, he really appreciates all these aspects of religion. His stepdaughter was-- there's a diary of hers in their archives. She was very religious, very intense. As a young woman, when she's 16, 17, intensely Catholic or Anglo-Catholic. Really, it's quite startling.I was reading this thing, and I was like, "Wait, who in the Mill household is writing this? This is insane." There are actually references in his letters where he says, "Oh, we'll have to arrive in time for Good Friday so that she can go to church." He's very attentive to it. Then he writes these theism essays, right at the end of his life. He's very open-minded and very interrogatory of the idea. He really wants to understand. He's not a new atheist at all.Lamorna: Oh, okay. I need to read the deism essays.Henry: You're going to love it. It's very aligned. What hymns do you like?Lamorna: Oh, no.Henry: You can be not a hymn person.Lamorna: No. I'm not a massive hymn person. When I'm in church, the Anglican church that I go to in London now, I always think, "Remember that. That was a really nice one." I like to be a pilgrim. I really don't have the brain that can do this off the cuff. I'm not very musically. I'm deeply unmusical.There was one that I was thinking of. I think it's an Irish one. I feel like I wrote this down at one point, because I thought I might be asked in another interview. I had to write down what I thought in case a hymn that I liked. Which sounds a bit like a politician, when they're asked a question, they're like, "I love football." I actually can't think of any. I'm sorry.Henry: No, that's fine.Lamorna: What are your best? Maybe that will spark something in me.Henry: I like Tell Out My Soul. Do you know that one?Lamorna: Oh, [sings] Tell Out My Soul. That's a good one.Henry: If you have a full church and people are really going for it, that can be amazing. I like all the classics. I don't have any unusual choices. Tell Out My Soul, it's a great one. Lamorna Ash, this has been great. Thank you very much.Lamorna: Thank you.Henry: To close, I think you're going to read us a passage from your book.Lamorna: I am.Henry: This is near the end. It's about the Bible.Lamorna: Yes. Thank you so much. This has definitely been my favourite interview.Henry: Oh, good.Lamorna: I really enjoyed it. It's really fun.Henry: Thank you.Lamorna: Yes, this is right near the end. This is when I ended up at a church, St Luke's, West Holloway. It was a very small 9:00 AM service. Whilst the priest who'd stepped in to read because the actual priest had left, was reading, I just kept thinking about all the stories that I'd heard and wondering about the Bible and how the choices behind where it ends, where it ends.I don't think I understand why the Bible ends where it does. The final lines of the book of Revelation are, "He who testifies to these things says, Yes, I am coming soon. Amen. Come, Lord Jesus, the grace of the Lord Jesus be with God's people. Amen." Which does sound like a to-be-continued. I don't mean the Bible feels incomplete because it ends with Revelation. What I mean is, if we have continued to hear God and wrestle with him and his emissaries ever since the first overtures of the Christian faith sounded.Why do we not treat these encounters with the same reverence as the works assembled in the New Testament? Why have we let our holy text grow so antique and untouchable instead of allowing them to expand like a divine Wikipedia updated in perpetuity? That way, each angelic struggle and Damascene conversion that has ever occurred or one day will, would become part of its fabric.In this Borgesian Bible, we would have the Gospel of Mary, not a fictitious biography constructed by a man a century after her death, but her true words. We would have the conversion of the Ethiopian eunuch on the road between Jerusalem and Gaza from Acts, but this time given in the first person. We would have descriptions from the Picts on Iona of the Irish Saint Columba appearing in a rowboat over the horizon.We would have the Gospels of those from the early Eastern Orthodox churches, Assyrian Gospels, Syriac Orthodox Gospels. We would have records of the crusades from the Christian soldiers sent out through Europe to Jerusalem in order to massacre those of other faiths, both Muslim and Jewish. In reading these accounts, we would be forced to confront the ways in which scripture can be interpreted

Personal Identity is at the heart of contemporary culture. Political philosophies are built around it and family history is a hobby undertaken by hundreds of thousands. Understanding where you came from is seen as central to understanding who you are. But what if the things that are uncovered are uncomfortable, upsetting or even life-changing?Matthew Sweet is joined at the Hay Festival by three writers who have hosted podcasts which raise these questions – Joe Dunthorne, whose memoir Children of Radium and BBC Radio 4 series Half Life explore his great-grandfather's work with chemical weapons; Kavita Puri, whose series Three Million told the story of the Bengal Famine, and of British culpability in it; and Jenny Kleeman, whose BBC Radio 4 podcast The Gift tells the stories of lives upended by DNA testing kits. How does the format of the podcast help them explore these complicated subjects?The Gift, Three Million and The History Podcast, Half Life are all available now on BBC Sounds Producer: Luke Mulhall

This week, a special podcast from the Hay Festival ranges from the ancient world to the 16th-century, taking in the art of criticism, the centrality of religion and eco-catastrophe. With Stephanie Merritt, Edith Hall, Toby Lichtig and a guest appearance from TLS crossword compiler Praxiteles.'Traitor's Legacy', by SJ Parris'Epic of the Earth: Reading Homer's "Iliad" in the Fight for a Dying World', by Edith HallProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Political power can take many forms, from the top-down model of the Roman Empire, to operating in the democratic politics of today, to the possibilities offered by new technologies for more horizontal power structures in the future.Matthew Sweet is joined on a stage at the Hay Festival by historian Tom Holland, whose new translation of Suetonius' Lives of the Caesars examines Roman power politics from the inside; Guto Harri, who saw the inside workings of power as Downing Street Director of Communications; Adam Greenfield, whose book Lifehouse looks at local networks of mutual aid that have emerged in response to climate crisis; and political philosopher Sophie Scott-Brown - whose book The Radical Fifties: Activist Politics in Cold War Britain is out in July.Producer: Luke Mulhall

Jane Garvey is back – bring out the bunting! She's got some thoughts on... well, a lot: Hay Festival, the Eurostar, Andy Warhol, various types of lords, boomers, and burrata. If you want to contribute to our playlist, you can do that here: Off Air with Jane & Fi: Official Playlist - https://open.spotify.com/playlist/3qIjhtS9sprg864IXC96he?si=9QZ7asvjQv2Zj4yaqP2P1Q If you want to come and see us at Fringe by the Sea, you can buy tickets here: www.fringebythesea.com/fi-jane-and-judy-murray/ And if you fancy sending us a postcard, the address is: Jane and FiTimes Radio, News UK1 London Bridge StreetLondonSE1 9GFIf you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radio The next book club pick has been announced! We'll be reading Leonard and Hungry Paul by Rónán Hession.Follow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

In a special recording at the Hay Festival, Michael Rosen talks to bilingual Welsh radio and television presenter Huw Stephens about the Welsh language. And then Huw gets Michael to try reading 'Dyn Ni yn Mynd i Hela Arth, also known as We're Going on a Bear Hunt. Produced for BBC Audio Bristol by Beth O'Dea, in partnership with the Open University. Subscribe to the Word of Mouth podcast and never miss an episode: https://www.bbc.co.uk/sounds/brand/b006qtnz

Live from the Hay Festival, Alison Steadman talks to Samira about her career, from Abigail's Party to Gavin and Stacey. Laura Bates and Gwyneth Lewis discuss Arthurian Legends and The Mabinogion. Hisham Matar champions the Egyptian Nobel Laureate Naguib Mahfouz. And transatlantic husband and wife country duo Outpost Drive perform on stage. Presenter: Samira Ahmed Producer: Oliver Jones

Wäre Jane Austen eine gute Krimi-Autorin geworden? Was macht "Emma" heute noch so besonders? Und warum gilt der Roman noch immer als Klassikerin? Diese Fragen besprechen wir mit dem Austen-Experten John Mullan. John Mullan ist Professor für Englische Literatur am University College London. Sein Buch "What Matters in Jane Austen?" geht 20 Rätseln in Jane Austens Büchern auf die Spur. Seine vielen Talks vermitteln nicht nur das Genie von Austen, sondern auch die Freude, die es bereitet, ihre Bücher zu lesen - egal ob als Leser*in oder Akademiker*in. Mehr dazu: "A Close Look at Jane Austen's Genius: A Visit with John Mullan", Austen Chat Podcast (Youtube), https://www.youtube.com/watch?v=2BbTg_cRG38 John Mullan über Austens Heldinnen, Idler Academy (Youtube), https://www.youtube.com/watch?v=ZP_yIu_d6uI&t=336s "Jane Austen vs Emily Brontë: The Queens of English Literature Debate with Dominic West", Intelligence Squared (Youtube), https://www.youtube.com/watch?v=mP8dllTkpEg&t=5598s John Mullan, "Pride and Prejudice: Character and Contradiction", Jane Austen's House (Youtube), https://www.youtube.com/watch?v=lz-2aifHZQE&t=2423s John Mullan beim Hay Festival über "Mansfield Park" (Youtube), https://www.youtube.com/watch?v=vi3lQz7d-dU&t=3306s John Mullan zu Free Indirect Style, Connell Guide (Youtube), https://www.youtube.com/watch?v=k087iZazynQ

The Guilty Feminist 437. Comedy and Freedom of SpeechDeborah Frances-White in conversation with Jen BristerRecorded 5 April 2025 at Brighton Komedia. Released 26 May.The Guilty Feminist theme composed by Mark Hodge. Get Deborah's new book with 30% off using the code SIXCONVERSATIONSPOD https://store.virago.co.uk/products/six-conversations-were-scared-to-haveMore about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://www.instagram.com/dfdubzhttps://www.virago.co.uk/titles/deborah-frances-white/six-conversations-were-scared-to-have/9780349015811https://www.virago.co.uk/titles/deborah-frances-white/the-guilty-feminist/9780349010120More about Jen Bristerhttps://www.instagram.com/jenbristercomedyhttps://www.jenbrister.co.ukFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerCome to a live showDeborah and Desiree Burch at Hay Festival https://www.hayfestival.com/p-23604-deborah-frances-white-in-conversation-with-desiree-burch.aspxGuilty Feminist book club with Laura Bates https://www.waterstones.com/events/the-guilty-feminist-x-waterstones-book-club-laura-bates/london-piccadilly16 Postcodes with Jessica Regan https://museumofcomedy.ticketsolve.com/ticketbooth/shows/873655309Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

Recorded live at Hay Festival, Adam and Alex look at whether President Trump has changed his mind about President Putin and how politician's use statistics. Plus, Newscast continues trying to work out if the goverment's change of policy on winter fuel allowance counts as a U-Turn. They are joined by Anne Applebaum, journalist, historian and author of Autocracy Inc, Professor Sir David Spiegelhalter statistician and author of The Art of Uncertainty, and comedian and broadcaster Marcus Brigstocke. If you want to come and see an episode of Newscast recorded live you can find us at Crossed Wires on the 4th July, Latitude on the 24th July, and at the Edinburgh Fringe from the 4th August!You can now listen to Newscast on a smart speaker. If you want to listen, just say "Ask BBC Sounds to play Newscast”. It works on most smart speakers. You can join our Newscast online community here: https://discord.gg/m3YPUGv9New episodes released every day. If you're in the UK, for more News and Current Affairs podcasts from the BBC, listen on BBC Sounds: https://bit.ly/3ENLcS1 Newscast brings you daily analysis of the latest political news stories from the BBC. It was presented by Adam Fleming and Alex Forsyth. It was made by Anna Harris. The assistant editor is Chris Gray. The senior news editor is Sam Bonham.Huge thanks to the BBC team at Hay, as well as Chris the festival organisers.

In front of an audience at the Hay Literary Festival Tom Sutcliffe talks to The archaeologist and presenter of the hit TV show, The Great British Dig, Chloë Duckworth, who explains how every object tells a story. She reveals how even the rubbish our ancestors threw away can offer a window on the past and forge a connection with the present day. Business journalist Saabira Chaudhuri's new book Consumed, examines how companies have harnessed single-use plastics to turbocharge their profits over the last seventy years. Consumer goods makers have poured billions of dollars into convincing us we need disposable cups, bags, bottles, sachets and plastic-packaged ultra-processed foods. Taking in marketing, commercial strategy and psychology, she explains just how we got here. The paleobiologist Sarah Gabbott is more interested in looking at how what we throw away today becomes the fossils of tomorrow. Discarded (co-authored with Jan Zalasiewicz) highlights the cutting-edge science that is emerging to reveal the far-future human footprint on Earth.Producer: Katy Hickman

Fresh from her recent BAFTA success – the award-winning actress, writer and producer - Ruth Jones is with us. Ruth's latest book of fiction is a story where the main character embarks on one last investigation for a council's Unclaimed Heirs Unit... and along the way, the character discovers the importance of holding onto friendship and community.He's the architectural alchemist who has guided us through communities around the UK, where people who turn their creative dreams into homes. The TV presenter and writer - Kevin McCloud – is with us under the canvas of this delightful Hay Festival tent. And GT Karber is the mastermind behind the phenomenon – Murdle – a series of murder mystery puzzle books. Greg is the son of a judge and a civil rights attorney who grew up in the community of Arkansas in the United States. But he's taken a break from conjuring up his puzzling and logical creations to join us in the Hay-on-Wye countryside. Plus the Inheritance Tracks of the comedian Ivo Graham. Presenters: Huw Stephens and Kiri Pritchard-McLeanProducer: Gareth Nelson-Davies

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

What links Elon Musk's business ties in South Africa to the US president's attack on Cyril Ramaphosa? Will AI hit women in the workforce hardest? And could the case of Adriana Smith - a brain-dead pregnant woman being kept alive because she's pregnant - reshape abortion laws in states like Georgia?Giles Whittell is joined by writer and journalist Marisa Bate, along with Observer reporters Stephen Armstrong and Phoebe Davis, as they battle to pitch the top story of the day.**Join us at the News Meeting Live: LIVE from Hay Festival on Thursday 29th May - with Chloe Dalton LIVE at SXSW on Wednesday 4th June - with Coco KhanLIVE from the Observer Newsroom on Tuesday 17 June - with Zing Tsjeng and NPR's Lauren Frayer LIVE from the Observer Newsroom on Tuesday 29th July - with Charlene White and Kehinde Andrews Read more of Phoebe's reporting on abortion laws in the UK here: Police could search homes and phones after pregnancy lossProsecuted, shamed and traumatised for mistake of taking abortion pills too lateFollow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Giles Whittell, deputy editor-in-chief at The ObserverProducer: Casey MagloireExecutive Producer: Rebecca MooreTo find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalistsIf you want to get in touch with us directly about a story, or tell us more about the stories you want to hear about contact hello@tortoisemedia.com Hosted on Acast. See acast.com/privacy for more information.

Alex Thompson and Jake Tapper's book, Original Sin alleges that officials working for Biden's administration tried to keep what they describe as the president's mental decline hidden. Is the media guilty of sensationalising Cassie Ventura's testimony and the trial involving Sean ‘Diddy' Combs? Why are changes to the fisheries policies between the EU and UK causing such a fuss?Giles Whittell is joined by Anu Anand, Stephen Armstrong and Patricia Clarke as they battle to pitch the top story of the day.**Join us at the News Meeting Live:LIVE from Hay Festival on Thursday 29th May - with Chloe Dalton LIVE at SXSW on Wednesday 4th June - with Coco KhanLIVE from the Observer Newsroom on Tuesday 17 June - with Zing Tsjeng and NPR's Lauren Frayer LIVE from the Observer Newsroom on Tuesday 29th July - with Charlene White and Kehinde Andrews Read more about the team's guilty pleasure news stories here:British mountaineer breaks his own record for most Everest climbs by a non-NepaliListen to more of the Observer's coverage on today's stories here: The Slow Newscast: The Clooney Intervention The Case against Sean CombsFollow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Giles Whittell, deputy editor-in-chief at The ObserverProducer: Casey MagloireExecutive Producers: Rebecca MooreTo find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalistsIf you want to get in touch with us directly about a story, or tell us more about the stories you want to hear about contact hello@tortoisemedia.com Hosted on Acast. See acast.com/privacy for more information.

Why did Bradley Wiggins seek advice from disgraced former cyclist Lance Armstrong to help him recover from cocaine addiction? What does the indictment of a US judge tell us about President Trump's plans to take on the judiciary? How is a law from the 1800s being used to criminalise women who have abortions in 2025? Jess Winch is joined by Marie Le Conte, Rowan Moore and Andrew Butler, as they battle to pitch the top story of the day.**Join us at the News Meeting Live:LIVE from Hay Festival on Thursday 29th May - with Chloe Dalton LIVE at SXSW on Wednesday 4th June - with Coco KhanLIVE from the Observer Newsroom on Tuesday 17 June - with Zing Tsjeng and NPR's Lauren Frayer LIVE from the Observer Newsroom on Tuesday 29th July - with Charlene White and Kehinde Andrews Read The Observer's exclusive - Bradley Wiggins: ‘I was a functioning cocaine addict' HERERead Marie's column on cricket: ‘It's like a summer fling, but I'm not sure cricket is for me' HERERead more about the team's guilty pleasure news stories here:Gunnersbury women's cricket club celebrate hitting historic centuryThe Cybertruck was supposed to be apocalypse-proof. Can it even survive a trip to the grocery store?How Video Game Sex Scenes Are MadeFollow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Jess Winch, managing editor at The ObserverProducer: Casey MagloireExecutive Producers: Jasper Corbett To find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalistsIf you want to get in touch with us directly about a story, or tell us more about the stories you want to hear about contact hello@tortoisemedia.com Hosted on Acast. See acast.com/privacy for more information.

Is youth mobility on the cards for Labour's post-Brexit plan with Europe? Why is it so hard to record incidents of spiking? How will Labour's immigration plan affect international students and higher education? Giles Whittell is joined by Rebecca Myers, Katie Riley and Cat Neilan, as they battle to pitch the top story of the day.**Join us at the News Meeting LiveLIVE from Hay Festival on Thursday 29th May - with Chloe Dalton LIVE at SXSW on Wednesday 4th June - with Coco KhanLIVE from the Observer Newsroom on Tuesday 17 June - with Zing Tsjeng and NPR's Lauren Frayer LIVE from the Observer Newsroom on Tuesday 29th July - with Charlene White and Kehinde Andrews Follow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Giles Whittell, deputy editor-in-chief at The ObserverProducer: Casey MagloireExecutive Producers: Rebecca MooreTo find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalistsIf you want to get in touch with us directly about a story, or tell us more about the stories you want to hear about contact hello@tortoisemedia.com Hosted on Acast. See acast.com/privacy for more information.

Daniel Saldaña París (Ciudad de México, 1984), es escritor. Autor del libro de poesía “La máquina autobiográfica” (2012), ha publicado también las novelas “En medio de extrañas víctimas” (Sexto Piso, 2013), “El nervio principal” (Sexto Piso, 2018) y “El baile y el incendio” (Finalista Premio Herralde; Anagrama, 2021), así como el libro de ensayos narrativos “Aviones sobrevolando un monstruo” (Anagrama, 2021). En 2020 ganó el Eccles Centre & Hay Festival Writers Award, concedido por la Biblioteca Británica y el Hay Festival en el Reino Unido, y en 2022 fue becario del Cullman Center for Writers and Scholars de la Biblioteca Pública de Nueva York. Actualmente es miembro del Sistema Nacional de Creadores de Arte mexicano y becario del Borchard Foundation Center for Literary Arts.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

Elvira Liceaga es escritora y locutora. Es autora del libro de relatos Carolina y Otras Despedidas (Caballo de Troya, 2018), de la novela Las Vigilantes (Lumen, 2023; Las Afueras, 2025), y co-autora del libro Rituales para la Amistad (Almadía, 2024). Ha trabajado en el guión y dirección de documentales sonoros y audiovisuales sobre violencias contra las mujeres y defensa del territorio en Latinoamérica, como La Advertencia, Mujeres de Fuego y Las Guardianas. Trabajó con Natalia Lafourcade en el podcast y libro De Todas las Flores y con Lila Downs en su memoir. Es una voz familiar en la radio mexicana, ha conducido importantes programas culturales en los que ha entrevistado a escritoras, artistas y colectivas. Es colaboradora del Hay Festival y la UNAM, entre otras instituciones. Sus proyectos han sido nominados a diferentes premios literarios y periodísticos. Vive en la Ciudad de México con su pareja y su hija.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

Desde Jericó llega una conversación con Alejandro Gaviria en el marco del Hay Festival. Este fue un espacio sin tiempo en el que las risas y los contenidos profundos no se hicieron esperar."Esto no se lo he dicho a nadie"Los invitamos para que nos sigan en nuestras redes sociales:INSTAGRAM: ⁠https://www.instagram.com/⁠⁠deparcheconlasletras/⁠FACEBOOK: ⁠https://www.facebook.com/⁠⁠deparcheconlasletras/⁠X: ⁠https://twitter.com/deparcheletras⁠¿Te gustó este episodio? Compártelodeparcheconlasletras@gmail.com

Daniella Peled, managing editor of the Institute for War and Peace Reporting, joins Georgina Godwin to discuss the week's news and culture, including protests in Turkey, Israel embracing Europe's far-right and drones on Mount Everest. Plus: Hay Festival CEO, Julie Finch, joins the programme to discuss the 2025 spring lineup. Then: journalist and friend of Monocle Radio, Juliet Linley, joins from Zürich, where Monocle's Hanami Market kicks off, selling authentic Japanese goods and treats.

Philippa Interviews Heather Salisbury, Programme Manager of The Hay Festival.To book tickets for the Hay Festival and find out information about events click here: https://www.hayfestival.com/hay-on-wye/homeHeather's 3 book recommendations:Meditation for Mortals by Oliver BurkemanThe Peanut Jones series by Rob BiddulphConfessions by Catherine Airey Hosted on Acast. See acast.com/privacy for more information.

Cristina Fuentes La Roche asegura que el Hay Festival es un espacio para todos, no solo para grandes lectores, sino para cualquier persona curiosa.

La autora de Autocracia S.A y colaboradora de The Atlantic habló con Hora20 en el marco del Hay Festival de democracia, autocracia, regímenes políticos y la coyuntura política con Donald Trump en el poder.

La autora de La izquierda no es woke habló con Hora20 en el marco del Hay Festival de la izquierda, el momento político que vive Estados Unidos y el peso de las ideas woke en la sociedad contemporánea.

Dr Chris van Tulleken shares stories from the making of his chart-topping podcast, Fed. In conversation with Leyla Kazim, at Hay Festival 2024.In Fed, Dr Chris van Tulleken, investigated the entangled web of forces that shape what ends up on our plates. And he focused his investigation around one foodstuff in particular. The most widely eaten meat on our planet, a staple of nearly every diet and a global food production phenomenon: the humble chicken, Chris dug into the history of our relationship with this extraordinary animal, to try to get to the truth of why we eat so much of it, and what that means for the birds, for us, and for the planet.In this lively conversation, recorded live at Hay festival 2024, Chris talks to Leyla Kazim about the hidden stories behind the globalised food networks of today. From industrial-scale farming, to food labelling, to ethical dilemmas, environmental quandaries, and the complexities of the world of fast food. Plus tales from the adventure that ran through the whole series: raising his own tiny flock of broiler chickens, in his back garden.

Joining Kiri this week in a literary special recorded at the Hay Festival is comedian Ignacio Lopez who heals family wounds through writing. Dr Paul Craddock explains how one of the most prestigious medical journals started as a scandal magazine, Miss Shabnam Parkar shares how poetry helps her perform surgery, and Professor Neil Frude walks Kiri through library bookshelves for mental health treatments.Best Medicine is your weekly dose of laughter, hope and incredible medicine. Award-winning comedian Kiri Pritchard-McLean is joined by a funny and fascinating panel of comedians, doctors, scientists, and historians to celebrate medicine's inspiring past, present and future. Each week Kiri challenges a panel of medical experts and a comedian to make a case for what they think is 'the best medicine', and each guest champions anything from world-changing science, an obscure invention, an everyday treatment, an uplifting worldview, an unsung hero or a futuristic cure. Whether it's origami surgical robots, life-changing pineapple UTI vaccines, Victorian scandal mags, denial, sleep, tiny beating organoid hearts, lifesaving stem cell transplants, gold poo donors or even crying - it's always something worth celebrating.Hosted by Kiri Pritchard-McLeanFeaturing: Dr Paul Craddock, Professor Neil Frude, Ignacio Lopez, Miss Shabnam Parkar Written by Edward Easton, Mel Owen, Pravanya Pillay, Kiri Pritchard-McLean, Nicky Roberts and Ben RowseProducers: Tashi Radha and Ben WorsfieldTheme tune composed by Andrew JonesA Large Time production for BBC Radio 4

From the Hay Festival, James and a panel of experts explain what we can all do to help ourselves age well.We discover what's going on in our bodies when we age, the difference between biological and chronological age, as well as getting the audience moving for a physical test.James is joined by gerontologist Sarah Harper from the University of Oxford, biomedical scientist Georgina Ellison-Hughes from King's College London, and doctor Norman Lazarus to understand how exercise, diet, and mental health all have a part to play in how we age.

Fui a un cóctel que organizaba, creo, la Fundación BBVA Bancomer, en el contexto de las actividades del segundo día del reciente Hay Festival de Arequipa.

Joining Kiri this week at the Hay Festival is comedian Zoe Lyons who tells Kiri how running helps with the stress associated with her alopecia - and how she survived getting rammed by a badger. Dr Matt Morgan explains how kangaroo vaginas held the key to developing IVF and whales' hearts inspired new heart treatments for humans, Dr Fotios Sampaziotis unveils innovative new treatments that could repair livers before a transplant is needed, and ethnobotanist James Wong unearths the benefits of horticulture and how it can benefit health and bring hope.Best Medicine is your weekly dose of laughter, hope and incredible medicine. Award-winning comedian Kiri Pritchard-McLean is joined by a funny and fascinating panel of comedians, doctors, scientists, and historians to celebrate medicine's inspiring past, present and future. Each week, Kiri challenges a panel of medical experts and a comedian to make a case for what they think is 'the best medicine', and each guest champions anything from world-changing science or an obscure invention, to an everyday treatment, an uplifting worldview, an unsung hero or a futuristic cure. Whether it's origami surgical robots, life-changing pineapple UTI vaccines, Victorian scandal mags, denial, sleep, tiny beating organoid hearts, lifesaving stem cell transplants, gold poo donors or even crying - it's always something worth celebrating. Hosted by Kiri Pritchard-McLeanFeaturing: Zoe Lyons, Dr Matt Morgan, Dr Fotios Sampaziotis and James WongWritten by Laura Claxton, Edward Easton, Charlie George, Kiri Pritchard-McLean, Nicky Roberts and Ben RowseProducers: Tashi Radha and Ben WorsfieldTheme tune composed by Andrew JonesA Large Time production for BBC Radio 4

Are your super-sociable new neighbours just a bit too much? Are you a photographer who's been booked for the wedding of the girl who bullied you in school? Does your husband's desire to expose his perineum to the sun fill you with dread? (Are you, like Marian, not even sure if you have a perineum?)Well, this is the edition of Now You're Asking for you. And even if it's not, you might learn a thing or two as pearls of comic wisdom fall from the mouths of our hosts. All this, and Marian and Tara also tackle some questions direct from the audience, gathered for this special recording in a tent at Hay Festival 2024.This is the first edition in a new series of Now You're Asking. Previous series were welcomed by listeners and critics: "Both are warm and kind enough to not only be funny but also offer genuinely thoughtful, if left-field, advice." (Miranda Sawyer, The Observer) "Keyes and Flynn are my new favourite double-act." (Jane Anderson - Radio Times) "I found their compassion endlessly soothing." (Rachel Cunliffe - The New Statesman)Marian Keyes is a multi award-winning writer, with a total of over 30 million of her books sold to date in 33 languages. Her close friend Tara Flynn is an actress, comedian and writer. Together, these two friends have been through a lot, and now want to use their considerable life experience to help solve the biggest - and smallest - of the things that keep us awake at night.We have been inundated with emails since the last series but everything gets read and we're always on the lookout for new questions, queries and conundrums to include on the show.Got a problem you want Marian and Tara to solve? Email: marianandtara@bbc.co.uk.Producer: Steve Doherty. A Giddy Goat production for BBC Radio 4 and BBC Sounds

Dr Chris van Tulleken shares stories from the making of his chart-topping podcast, Fed. In conversation with Leyla Kazim, at Hay Festival 2024.In Fed, Dr Chris van Tulleken, investigated the entangled web of forces that shape what ends up on our plates. And he focused his investigation around one foodstuff in particular. The most widely eaten meat on our planet, a staple of nearly every diet and a global food production phenomenon: the humble chicken, Chris dug into the history of our relationship with this extraordinary animal, to try to get to the truth of why we eat so much of it, and what that means for the birds, for us, and for the planet.In this lively conversation, recorded live at Hay festival 2024, Chris talks to Leyla Kazim about the hidden stories behind the globalised food networks of today. From industrial-scale farming, to food labelling, to ethical dilemmas, environmental quandaries, and the complexities of the world of fast food. Plus tales from the adventure that ran through the whole series: raising his own tiny flock of broiler chickens, in his back garden.

Abdulrazak Gurnah (premio Nobel 2021), Irene Vallejo, Luis García Montero, Agustina Bazterrica, Liliana Colanzi, Gabriela Wiener entre muchos más se dan cita en Arequipa este 6, 7, 8 y 9 de noviembre en la décima edición del Hay Festival 2024. No te pierdas este programa de Letras en el Tiempo para enterarte de todos los detalles para asistir en vivo o cómo seguir las charlas en streaming. Gracias por escucharnos.

Abdulrazak Gurnah (premio Nobel 2021), Irene Vallejo, Luis García Montero, Agustina Bazterrica, Liliana Colanzi, Gabriela Wiener entre muchos más se dan cita en Arequipa este 6, 7, 8 y 9 de noviembre en la décima edición del Hay Festival 2024. No te pierdas este programa de Letras en el Tiempo para enterarte de todos los detalles para asistir en vivo o cómo seguir las charlas en streaming. Gracias por escucharnos.

I speak to Helen Bagnall, Head of Programmes and Engagement at The Hay Festival about the special Winter Weekend later this year. For more information and to book tickets: https://www.hayfestival.com/winter-weekend/homeHelen recommends:The How by Yrsa Daley-WardPandora's Jar by Natalie Haynes Dancing In The Streets By by Barbara Ehrenreich Hosted on Acast. See acast.com/privacy for more information.

Ian McMillan presents poets in performance from the Hay Festival for The Verb's performance wing - The Adverb. This week's guests include the Poet Laureate Simon Armitage, the National Poet of Wales Hanan Issa, former Children's Poet Laureate Joseph Coelho, Professor of Creativity Owen Sheers - and Jazz Money, an Australian poet of Wiradjuri heritage. They share poetry of nail varnish, snow, rivers, labyrinths and the heart.

This week, Anna Katharina Schaffner on a top-to-tail exploration of deportment; and Toby Lichtig in conversation with novelist Hari Kunzru at the Hay Festival.'Slouch: Posture Panic in Modern America', by Beth Linker'Blue Ruin', by Hari KunzruProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Jon Ronson's second season of unexpected human stories from the culture wars focused on the divisions that erupted in the wake of the Covid lockdown. It was a number 1 hit podcast and received five star reviews. In a fun, free-flowing live discussion from the Hay Festival in Wales, Jon turns the tables on himself and asks his audience to ask him anything they like.Series Producer: Sarah Shebbeare

This week, Lily Herd on a child's-eye view of rockstar royalty; and Toby Lichtig talks to novelist Chigozie Obioma at the Hay Festival.'My Family and Other Rock Stars', by Tiffany Murray'The Road to the Country', by Chigozie ObiomaProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Are the latest ear plugs better for gigs, focus and sleep?In this special edition of Sliced Bread, recorded at the Hay Festival in South Wales, Greg Foot investigates the newer style of ear plugs. He's joined by listener Marni who's seen adverts for brands like Loop, which promise to protect your hearing at higher volumes while still allowing you to enjoy music at gigs. Other models in their range claim to give you better focus, shutting out extraneous noise but still allowing you to hear conversation. Or, in the case of their 'Quiet' model, sleep better.As ever Greg's joined by two experts to deep-dive into the science and find out if the evidence backs up the marketing claims. And with the help of a special dummy head fitted with microphones, they carry out a series of tests to hear the difference between traditional foam ear plugs and the newer models. If you have seen a wonder product that claims to make you happier, healthier or greener and want to know if it is SB or BS then please do send it over on email to sliced.bread@bbc.co.uk or drop us a message or voicenote on Whatsapp to 07543 306807PRESENTER: Greg Foot PRODUCERS: Kate Holdsworth and Simon Hoban

This week, we accompany Stephen Sawyer on a speeded-up saunter through the arrondissements; and Toby Lichtig in conversation with Rory Stewart at the Hay Festival.'Impossible City: Paris in the Twenty-First Century', by Simon Kuper'The Zone: An Alternative History of Paris', by Justinien Tribillon'Politics on the Edge', by Rory StewartProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Recorded at the Hay FestivalSHUGGIE BAIN by Douglas Stewart ON THE BLACK HILL by Bruce Chatwin AGAINST NATURE by Joris-Karl HuysmansHarriett Gilbert takes to the stage in the BBC Marquee at the Hay Festival for a special edition of the programme recorded in front of an audience. Actor and writer Doon Mackichan known for her outrageous character Cathy in the sitcom Two Doors Down chooses Shuggie Bain by Douglas Stewart as her good read. It's a touching but heartbreaking tale of a young Glaswegian boy's desperate efforts to save his mother Agnes from the alcoholism that ruins and degrades her. It won the Booker Prize in 2020. As we're in Wales Harriett's fitting choice is Bruce Chatwin's On The Black Hill an account of rural Welsh life in the mid 20th century. It's the story of two brothers' lives over 80 years and their connection to land and community. Bruce Robinson actor, director and writer of the hit film Withnail and I which has been adapted for stage chooses a book that features in the final scene of the film. The I character places two books in a suitcase at the end of the film, one of which is A Rebours - Against Nature by Joris-Karl Huysmans. Bruce confesses that he's not the book's biggest fan but the ensuing discussion provides an entertaining insight into books we might read when we're younger and how differently we feel about them in later life. It's the story of an eccentric recluse Jean des Esseintes in 19th century France who loathes people and creates a fantasy world for himself but ultimately suffers from his self-inflicted pretentious ennui. "I wish I hadn't chosen this book" proclaims Bruce Robinson as he introduces it. "I wish you hadn't chosen it" agrees Doon Mackichan. They then elicit a lot of audience laughter from their deconstruction of this seminal French novel that all three find pretentious.This is a longer version of the broadcast programme.Producer: Maggie Ayre

Recorded at the Hay Festival 2024. Mordant topical satire from the usual team with voices by Jon Culshaw, Jan Ravens, Duncan Wisbey and Jess Robinson.With writing from Tom Jamieson, Nev Fountain, Laurence Howarth, Ed Amsden & Tom Coles, Rob Darke, Edward Tew, Sophie Dixon, Sarah Campbell, Cody Dahler, Joe Topping, Rachel Thorne and Christopher Donovan.Producer: Bill Dare Exec Producer: Richard Morris Production Coordinator: Dan Marchini Sound Designer: Rich Evans

In front of an audience at the Hay Literary Festival Adam Rutherford talks to the botanist and Native American Robin Wall Kimmerer. In her book, Braiding Sweetgrass she shows the importance of bringing together indigenous wisdom and scientific knowledge, to increase understanding of the languages and worlds of plants and animals. Hugh Warwick is an expert on hedgehogs but in his latest book, Cull of the Wild, he focuses on animals less native, and beloved. From grey squirrels in Anglesey to cane toads in Australia he explores the complex history of species control, and the ethics of killing in the name of conservation.The writer Olivia Laing turns her attention to the efforts to create paradise on earth. In The Garden Against Time she retells her own attempts to restore a walled garden in Suffolk while investigating the long history of gardens – real and imagined, follies and pleasure grounds.Producer: Katy Hickman