Podcasts about In Cold Blood

In "Capote", Philip Seymour Hoffman channeled the man who wrote "In Cold Blood". In "Green Street Hooligans", Elijah Wood tried to be a tough guy and Charlie Hunnam tried to be Jason Statham. Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Sometime after 10 p.m. on April 21, 2006, 21-year-old college student Nina Ingram was brutally murdered inside her apartment in Fayetteville, Arkansas. It became big news, at the time it was one of only two unsolved murder cases in Fayetteville since the 1970s. Police interviewed Nina’s neighbors, her boyfriend, her friends and family but failed to identify a single suspect. Her case went cold. Until six years later in 2012 when a 26-year-old man named Rico Tavarous Cohn was arrested and charged with Nina’s murder. If you have a case you’d like the Hell and Gone team to look into, you can reach out to us at our Hell and Gone Murder Line at 678-744-6145. See omnystudio.com/listener for privacy information.

This week Stacey tells us about the shocking 1959 murders of the Clutter family in Kansas, a brutal crime that inspired Truman Capote's In Cold Blood.Sources:https://en.wikipedia.org/wiki/Clutter_family_murdershttps://www.amazon.com/Mindhunter-Inside-FBIs-Elite-Crime/dp/1501191969https://timesmachine.nytimes.com/timesmachine/1961/05/06/issue.htmlhttps://www.newyorker.com/magazine/1965/09/25/in-cold-blood-the-last-to-see-them-alivehttps://www.npr.org/2013/01/20/169889029/in-cold-blood-the-enduring-legacy-of-a-true-crime-masterpiecehttps://www.amazon.com/Cold-Blood-Truman-Capote/dp/0679745580Support the show

Clare Carlisle's biography of George Eliot, The Marriage Question, is one of my favourite modern biographies, so I was really pleased to interview Clare. We talked about George Eliot as a feminist, the imperfections of her “marriage” to George Henry Lewes, what she learned from Spinoza, having sympathy for Casaubon, contradictions in Eliot's narrative method, her use of negatives, psychoanalysis, Middlemarch, and more. We also talked about biographies of philosophers, Kierkegaard, and Somerset Maugham. I was especially pleased by Clare's answer about the reported decline in student attention spans. Overall I thought this was a great discussion. Many thanks to Clare! Full transcript below. Here is an extract from our discussion about Eliot's narrative ideas.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.TranscriptHenry: Today I am talking to Clare Carlisle, a philosopher at King's College London and a biographer. I am a big fan of George Eliot's Double Life: The Marriage Question. I've said the title backwards, but I'm sure you'll find the book either way. Clare, welcome.Clare Carlisle: Hi, Henry. Nice to be here.Henry: Is George Eliot a disappointing feminist?Clare: Obviously disappointment is relative to expectations, isn't it? It depends on what we expect of feminism, and in particular, a 19th-century woman. I personally don't find her a disappointing feminist. Other readers have done, and I can understand why that's the case for all sorts of reasons. She took on a male identity in order to be an artist, be a philosopher in a way that she thought was to her advantage, and she's sometimes been criticized for creating heroines who have quite a conventional sort of fulfillment. Not all of them, but Dorothea in Middlemarch, for example, at the end of the novel, we look back on her life as a wife and a mother with some sort of poignancy.Yes, she's been criticized for, in a way, giving her heroines and therefore offering other women a more conventional feminine ideal than the life she managed to create and carve out for herself as obviously a very remarkable thinker and artist. I also think you can read in the novels a really bracing critique of patriarchy, actually, and a very nuanced exploration of power dynamics between men and women, which isn't simplistic. Eliot is aware that women can oppress men, just as men can oppress women. Particularly in Middlemarch, actually, there's an exploration of marital violence that overcomes the more gendered portrayal of it, perhaps in Eliot's own earlier works where, in a couple of her earlier stories, she portrayed abused wives who were victims of their husband's betrayal, violence, and so on.Whereas in Middlemarch, it's interestingly, the women are as controlling, not necessarily in a nasty way, but just that that's the way human beings navigate their relations with each other. It seems to be part of what she's exploring in Middlemarch. No, I don't find her a disappointing feminist. We should be careful about the kind of expectations we, in the 21st century project onto Eliot.Henry: Was George Henry Lewes too controlling?Clare: I think one of the claims of this book is that there was more darkness in that relationship than has been acknowledged by other biographers, let's put it that way. When I set out to write the book, I'd read two or three other biographies of Eliot by this point. One thing that's really striking is this very wonderfully supportive husbands that, in the form of Lewes, George Eliot has, and a very cheerful account of that relationship and how marvelous he was. A real celebration of this relationship where the husband is, in many ways, putting his wife's career before his own, supporting her.Lewes acted as her agent, as her editor informally. He opened her mail for her. He really put himself at the service of her work in ways that are undoubtedly admirable. Actually, when I embarked on writing this book, I just accepted that narrative myself and was interested in this very positive portrayal of the relationship, found it attractive, as other writers have obviously done. Then, as I wrote the book, I was obviously reading more of the primary sources, the letters Eliot was writing and diary entries. I started to just have a bit of a feeling about this relationship, that it was light and dark, it wasn't just light.The ambiguity there was what really interested me, of, how do you draw the line between a husband or a wife who's protective, even sheltering the spouse from things that might upset them and supportive of their career and helpful in practical ways. How do you draw the line between that and someone who's being controlling? I think there were points where Lewes crossed that line. In a way, what's more interesting is, how do you draw that line. How do partners draw that line together? Not only how would we draw the line as spectators on that relationship, obviously only seeing glimpses of the inner life between the two people, but how do the partners themselves both draw those lines and then navigate them?Yes, I do suggest in the book that Lewes could be controlling and in ways that I think Eliot herself felt ambivalent about. I think she partly enjoyed that feeling of being protected. Actually, there was something about the conventional gendered roles of that, that made her feel more feminine and wifely and submissive, In a way, to some extent, I think she bought into that ideal, but also she felt its difficulties and its tensions. I also think for Lewes, this is a man who is himself conditioned by patriarchal norms with the expectation that the husband should be the successful one, the husband should be the provider, the one who's earning the money.He had to navigate a situation. That was the situation when they first got together. When they first got together, he was more successful writer. He was the man of the world who was supporting Eliot, who was more at the beginning of her career to some extent and helping her make connections. He had that role at the beginning. Then, within a few years, it had shifted and suddenly he had this celebrated best-selling novelist on his hands, which was, even though he supported her success, partly for his own financial interests, it wasn't necessarily what he'd bargained for when he got into the relationship.I think we can also see Lewes navigating the difficulties of that role, of being, to some extent, maybe even disempowered in that relationship and possibly reacting to that vulnerability with some controlling behavior. It's maybe something we also see in the Dorothea-Casaubon relationship where they get together. Not that I think that at all Casaubon was modeled on Lewes, not at all, but something of the dynamic there where they get together and the young woman is in awe of this learned man and she's quite subservient to him and looking up to him and wanting him to help her make her way in the world and teach her things.Then it turns out that his insecurity about his own work starts to come through. He reacts, and the marriage brings out his own insecurity about his work. Then he becomes quite controlling of Dorothea, perhaps again as a reaction to his own sense of vulnerability and insecurity. The point of my interpretation is not to portray Lewes as some villain, but rather to see these dynamics and as I say, ambivalences, ambiguities that play themselves out in couples, between couples.Henry: I came away from the book feeling like it was a great study of talent management in a way, and that the both of them were very lucky to find someone who was so well-matched to their particular sorts of talents. There are very few literary marriages where that is the case, or where that is successfully the case. The other one, the closest parallel I came up with was the Woolfs. Leonard is often said he's too controlling, which I find a very unsympathetic reading of a man who looked after a woman who nearly died. I think he was doing what he felt she required. In a way, I agree, Lewes clearly steps over the line several times. In a way, he was doing what she required to become George Eliot, as it were.Clare: Yes, absolutely.Henry: Which is quite remarkable in a way.Clare: Yes. I don't think Mary Ann Evans would have become George Eliot without that partnership with Lewes. I think that's quite clear. That's not because he did the work, but just that there was something about that, the partnership between them, that enabled that creativity…Henry: He knew all the people and he knew the literary society and all the editors, and therefore he knew how to take her into that world without it overwhelming her, giving her crippling headaches, sending her into a depression.Clare: Yes.Henry: In a way, I came away more impressed with them from the traditional, isn't it angelic and blah, blah, blah.Clare: Oh, that's good.Henry: What did George Eliot learn from Spinoza?Clare: I think she learned an awful lot from Spinoza. She translated Spinoza in the 1850s. She translated Spinoza's Ethics, which is Spinoza's philosophical masterpiece. That's really the last major project that Eliot did before she started to write fiction. It has, I think, quite an important place in her career. It's there at that pivotal point, just before she becomes an artist, as she puts it, as a fiction writer. Because she didn't just read The Ethics, but she translated it, she read it very, very closely, and I think was really quite deeply formed by a particular Spinozist ethical vision.Spinoza thinks that human beings are not self-sufficient. He puts that in very metaphysical terms. A more traditional philosophical view is to say that individual things are substances. I'm a substance, you're a substance. What it means to be a substance is to be self-sufficient, independent. For example, I would be a substance, but my feeling of happiness on this sunny morning would be a more accidental feature of my being.Henry: Sure.Clare: Something that depends on my substance, and then these other features come and go. They're passing, they're just modes of substance, like a passing mood or whatever, or some kind of characteristic I might have. That's the more traditional view, whereas Spinoza said that there's only one substance, and that's God or nature, which is just this infinite totality. We're all modes of that one substance. That means that we don't have ontological independence, self-sufficiency. We're more like a wave on the ocean that's passing through. One ethical consequence of that way of thinking is that we are interconnected.We're all interconnected. We're not substances that then become connected and related to other substances, rather we emerge as beings through this, our place in this wider whole. That interconnectedness of all things and the idea that individuals are really constituted by their relations is, I think, a Spinoza's insight that George Eliot drew on very deeply and dramatized in her fiction. I think it's there all through her fiction, but it becomes quite explicit in Middlemarch where she talks about, she has this master metaphor of the web.Henry: The web. Right.Clare: In Middlemarch, where everything is part of a web. You put pressure on a bit of it and something changes in another part of the web. That interconnectedness can be understood on multiple levels. Biologically, the idea that tissues are formed in this organic holistic way, rather than we're not composed of parts, like machines, but we're these organic holes. There's a biological idea of the web, which she explores. Also, the economic system of exchange that holds a community together. Then I suppose, perhaps most interestingly, the more emotional and moral features of the web, the way one person's life is bound up with and shaped by their encounters with all the other lives that it comes into contact with.In a way, it's a way of thinking that really, it questions any idea of self-sufficiency, but it also questions traditional ideas of what it is to be an individual. You could see a counterpart to this way of thinking in a prominent 19th-century view of history, which sees history as made by heroic men, basically. There's this book by Carlyle, Thomas Carlyle, called The Heroic in History, or something like that.Henry: Sure. On heroes and the heroic, yes.Clare: Yes. That's a really great example of this way of thinking about history as made by heroes. Emerson wrote this book called Representative Men. These books were published, I think, in the early 1850s. Representative Men. Again, he identifies these certain men, these heroic figures, which represent history in a way. Then a final example of this is Auguste Comte's Positivist Calendar, which, he's a humanist, secularist thinker who wants to basically recreate culture and replace our calendar with this lunar calendar, which, anyway, it's a different calendar, has 13 months.Each month is named after a great man. There's Shakespeare, and there's Dante, and there's-- I don't know, I can't remember. Anyway, there's this parade of heroic men. Napoleon. Anyway, that's the view of history that Eliot grew up with. She was reading, she was really influenced by Carlisle and Emerson and Comte. In that landscape, she is creating this alternative Spinozist vision of what an exemplar can be like and who gets to be an exemplar. Dorothea was a really interesting exemplar because she's unhistoric. At the very end of Middlemarch, she describes Dorothea's unhistoric life that comes to rest in an unvisited tomb.She's obscure. She's not visible on the world stage. She's forgotten once she dies. She's obscure. She's ordinary. She's a provincial woman, upper middle-class provincial woman, who makes some bad choices. She has high ideals but ends up living a life that from the outside is not really an extraordinary life at all. Also, she is constituted by her relations with others in both directions. Her own life is really shaped by her milieu, by her relationships with the people. Also, at the end of the novel, Eliot leaves us with a vision of the way Dorothea's life has touched other lives and in ways that can't be calculated, can't really be recognized. Yet, she has these effects that are diffused.She uses this word, diffusion or diffuseness. The diffuseness of the effects of Dorothea's life, which seep into the world. Of course, she's a woman. She's not a great hero in this Carlyle or Emerson sense. In all these ways, I think this is a very different way of thinking about individuality, but also history and the way the world is made, that history and the world is made by, in this more Spinozist kind of way, rather than by these heroic representative men who stand on the world stage. That's not Spinoza's, that's Eliot's original thinking. She's taking a Spinozist ontology, a Spinozist metaphysics, but really she's creating her own vision with that, that's, of course, located in that 19th-century context.Henry: How sympathetic should we be to Mr. Casaubon?Clare: I feel very sympathetic to Mr. Casaubon because he is so vulnerable. He's a really very vulnerable person. Of course, in the novel, we are encouraged to look at it from Dorothea's point of view, and so when we look at it from Dorothea's point of view, Casaubon is a bad thing. The best way to think about it is the view of Dorothea's sister Celia, her younger sister, who is a very clear-eyed observer, who knows that Dorothea is making a terrible mistake in marrying this man. She's quite disdainful of Casaubon's, well, his unattractive looks.He's only about 40, but he's portrayed as this dried-up, pale-faced scholar, academic, who is incapable of genuine emotional connection with another person, which is quite tragic, really. The hints are that he's not able to have a sexual relationship. He's so buttoned up and repressed, in a way. When we look at it from Dorothea's perspective, we say, "No, he's terrible, he's bad for you, he's not going to be good for you," which of course is right. I think Eliot herself had a lot of sympathy for Casaubon. There's an anecdote which said that when someone asked who Casaubon was based on, she pointed to herself.I think she saw something of herself in him. On an emotional level, I think he's just a fascinating character, isn't he, in a way, from an aesthetic point of view? The point is not do we like Casaubon or do we not like him? I think we are encouraged to feel sympathy with him, even as, on the one, it's so clever because we're taken along, we're encouraged to feel as Celia feels, where we dislike him, we don't sympathize with him. Then Eliot is also showing us how that view is quite limited, I think, because we do occasionally see the world from Casaubon's point of view and see how fearful Casaubon is.Henry: She's also explicit and didactic about the need to sympathize with him, right? It's often in asides, but at one point, she gives over most of a chapter to saying, "Poor Mr. Casaubon. He didn't think he'd end up like this." Things have actually gone very badly for him as well.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.Henry: There's a good book by Debra Gettelman about the way that novelists like Eliot knew what readers expected because they were all reading so many cheap romance novels and circulating library novels. There are a lot of negations and arguments with the reader to say, "I know what you want this story to do and I know how you want this character to turn out, but I'm not going to do that. You must go with me with what I'm doing.Clare: Yes. You mean this new book that's come out called Imagining Otherwise?Henry: That's right, yes.Clare: I've actually not read it yet, I've ordered it, but funnily enough, as you said at the beginning, I'm a philosopher so I'm not trained at all as a reader of literary texts or as a literary scholar by any means, and so I perhaps foolishly embarked on this book on George Eliot thinking, "Oh, next I'm going to write a book about George Eliot." Anyway, I ended up going to a couple of conferences on George Eliot, which was interestingly like stepping into a different world. The academic world of literary studies is really different from the world of academic philosophy, interestingly.It's run by women for a start. You go to a conference and it's very female-dominated. There's all these very eminent senior women or at least at this conference I went to there was these distinguished women who were running the show. Then there were a few men in that mix, which is the inverse of often what it can be like in a philosophy conference, which is still quite a male-dominated discipline. The etiquette is different. Philosophers like to criticize each other's arguments. That's the way we show love is to criticize and take down another philosopher's argument.Whereas the academics at this George Eliot conference were much more into acknowledging what they'd learned from other people's work and referencing. Anyway, it's really interestingly different. Debra Gettelman was at this conference.Henry: Oh, great.Clare: She had a book on Middlemarch. I think it was 2019 because it was the bicentenary of Eliot's birth, that's why there was this big conference. Debra, who I'd never met before or heard of, as I just didn't really know this world, gave this amazing talk on Middlemarch and on these negations in Middlemarch. It really influenced me, it really inspired me. The way she did these close readings of the sentences, this is what literary scholars are trained to do, but I haven't had that training and the close reading of the sentences, which didn't just yield interesting insights into the way George Eliot uses language but yielded this really interesting philosophical work where Eliot is using forms of the sentence to explore ontological questions about negation and possibility and modality.This was just so fascinating and really, it was a small paper in one of those parallel sessions. It wasn't one of the big presentations at the conference, but it was that talk that most inspired me at the conference. It's a lot of the insights that I got from Debra Gettelman I ended up drawing on in my own chapter on Middlemarch. I situated it a bit more in the history of philosophy and thinking about negation as a theme.Henry: This is where you link it to Hegel.Clare: Yes, to Hegel, exactly. I was so pleased to see that the book is out because I think I must have gone up to her after the talk and said, "Oh, it's really amazing." Was like, "Oh, thank you." I was like, "Is it published? Can I cite it?" She said, "No. I'm working on this project." It seemed like she felt like it was going to be a long time in the making. Then a few weeks ago, I saw a review of the book in the TLS. I thought, "Oh, amazing, the book is out. It just sounds brilliant." I can't wait to read that book. Yes, she talks about Eliot alongside, I think, Dickens and another.Henry: And Jane Austen.Clare: Jane Austen, amazing. Yes. I think it's to do with, as you say, writing in response to readerly expectation and forming readerly expectations. Partly thanks to Debra Gettelman, I can see how Eliot does that. It'd be really interesting to learn how she sees Jane Austen and Dickens also doing that.Henry: It's a brilliant book. You're in for a treat.Clare: Yes, I'm sure it is. That doesn't surprise me at all.Henry: Now, you say more than once in your book, that Eliot anticipates some of the insights of psychotherapy.Clare: Psychoanalysis.Henry: Yes. What do you think she would have made of Freud or of our general therapy culture? I think you're right, but she has very different aims and understandings of these things. What would she make of it now?Clare: It seems that Freud was probably influenced by Eliot. That's a historical question. He certainly read and admired Eliot. I suspect, yes, was influenced by some of her insights, which in turn, she's drawing on other stuff. What do you have in mind? Your question suggests that you think she might have disapproved of therapy culture.Henry: I think novelists in general are quite ambivalent about psychoanalysis and therapy. Yes.Clare: For what reason?Henry: If you read someone like Iris Murdoch, who's quite Eliotic in many ways, she would say, "Do these therapists ever actually help anyone?"Clare: Ah.Henry: A lot of her characters are sent on these slightly dizzying journeys. They're often given advice from therapists or priests or philosophers, and obviously, Murdoch Is a philosopher. The advice from the therapists and the philosophers always ends these characters up in appalling situations. It's art and literature. As you were saying before, a more diffusive understanding and a way of integrating yourself with other things rather than looking back into your head and dwelling on it.Clare: Of course. Yes.Henry: I see more continuity between Eliot and that kind of thinking. I wonder if you felt that the talking cure that you identified at the end of Middlemarch is quite sound common sense and no-nonsense. It's not lie on the couch and tell me how you feel, is it?Clare: I don't know. That's one way to look at it, I suppose. Another way to look at it would be to see Eliot and Freud is located in this broadly Socratic tradition of one, the idea that if you understand yourself better, then that is a route to a certain qualified kind of happiness or fulfillment or liberation. The best kind of human life there could be is one where we gain insight into our own natures. We bring to light what is hidden from us, whether those are desires that are hidden away in the shadows and they're actually motivating our behavior, but we don't realize it, and so we are therefore enslaved to them.That's a very old idea that you find in ancient philosophy. Then the question is, by what methods do we bring these things to light? Is it through Socratic questioning? Is it through art? Eliot's art is an art that I think encourages us to see ourselves in the characters. As we come to understand the characters, and in particular to go back to what I said before about Spinozism, to see their embeddedness and their interconnectedness in these wider webs, but also in a sense of that embeddedness in psychic forces that they're not fully aware of. Part of what you could argue is being exposed there, and this would be a Spinozist insight, is the delusion of free will.The idea that we act freely with these autonomous agents who have access to and control over our desires, and we pick the thing that's in our interest and we act on that. That's a view that I think Spinoza is very critical. He famously denies free will. He says we're determined, we just don't understand how we're determined. When we understand better how we're determined, then perhaps paradoxically we actually do become relatively empowered through our understanding. I think there's something of that in Eliot too, and arguably there's something of that in Freud as well. I know you weren't actually so much asking about Freud's theory and practice, and more about a therapy culture.Henry: All of it.Clare: You're also asking about that. As I say, the difference would be the method for accomplishing this process of a kind of enlightenment. Of course, Freud's techniques medicalizes that project basically. It's the patient and the doctor in dialogue, and depends a lot on the skills of the doctor, doesn't it? How successful, and who is also a human being, who is also another human being, who isn't of course outside of the web, but is themselves in it, and ideally has themselves already undergone this process of making themselves more transparent to their own understanding, but of course, is going to be liable to their own blind spots, and so on.Henry: Which of her novels do you love the most? Just on a personal level, it doesn't have to be which one you think is the most impressive or whatever.Clare: I'm trying to think how to answer that question. I was thinking if I had to reread one of them next week, which one would I choose? If I was going on holiday and I wanted a beach read for pure enjoyment, which of the novels would I pick up? Probably Middlemarch. I think it's probably the most enjoyable, the most fun to read of her novels, basically.Henry: Sure.Clare: There'd be other reasons for picking other books. I really think Daniel Deronda is amazing because of what she's trying to do in that book. Its ambition, it doesn't always succeed in giving us the reading experience that is the most enjoyable. In terms of just the staggering philosophical and artistic achievement, what she's attempting to do, and what she does to a large extent achieve in that book, I think is just incredible. As a friend of Eliot, I have a real love for Daniel Deronda because I just think that what an amazing thing she did in writing that book. Then I've got a soft spot for Silas Marner, which is short and sweet.Henry: I think I'd take The Mill on the Floss. That's my favorite.Clare: Oh, would you?Henry: I love that book.Clare: That also did pop into my mind as another contender. Yes, because it's so personal in a way, The Mill on the Floss. It's personal to her, it's also personal to me in that, it's the first book by Eliot I read because I studied it for A-Level. I remember thinking when we were at the beginning of that two-year period when I'd chosen my English literature A-Level and we got the list of texts we were going to read, I remember seeing The Mill on the Floss and thinking, "Oh God, that sounds so boring." The title, something about the title, it just sounded awful. I remember being a bit disappointed that it wasn't a Jane Austen or something more fun.I thought, "Oh, The Mill on the Floss." Then I don't have a very strong memory of the book, but I remember thinking, actually, it was better than I expected. I did think, actually, it wasn't as awful and boring as I thought it would be. It's a personal book to Eliot. I think that exploring the life of a mind of a young woman who has no access to proper education, very limited access to art and culture, she's stuck in this little village near a provincial town full of narrow-minded conservative people. That's Eliot's experience herself. It was a bit my experience, too, as, again, not that I even would have seen it this way at the time, but a girl with intellectual appetites and not finding those appetites very easily satisfied in, again, a provincial, ordinary family and the world and so on.Henry: What sort of reader were you at school?Clare: What sort of reader?Henry: Were you reading lots of Plato, lots of novels?Clare: No. I'm always really surprised when I meet people who say things like they were reading Kierkegaard and Plato when they were 15 or 16. No, not at all. No, I loved reading, so I just read lots and lots of novels. I loved Jane Eyre. That was probably one of the first proper novels, as with many people, that I remember reading that when I was about 12 and partly feeling quite proud of myself for having read this grown-up book, but also really loving the book. I reread that probably several times before I was 25. Jane Austen and just reading.Then also I used to go to the library, just completely gripped by some boredom and restlessness and finding something to read. I read a lot and scanning the shelves and picking things out. That way I read more contemporary fiction. Just things like, I don't know, Julian Barnes or, Armistead Maupin, or just finding stuff on the shelves of the library that looked interesting, or Anita Brookner or Somerset Maugham. I really love Somerset Maugham.Henry: Which ones do you like?Clare: I remember reading, I think I read The Razor's Edge first.Henry: That's a great book.Clare: Yes, and just knowing nothing about it, just picking it off the shelf and thinking, "Oh, this looks interesting." I've always liked a nice short, small paperback. That would always appeal. Then once I found a book I liked, I'd then obviously read other stuff by that writer. I then read, so The Razor's Edge and-- Oh, I can't remember.Henry: The Moon and Sixpence, maybe?Clare: Yes, The Moon and Sixpence, and-Henry: Painted Veils?Clare: -Human Bondage.Henry: Of Human Bondage, right.Clare: Human Bondage, which is, actually, he took the title from Spinoza's Ethics. That's the title. Cluelessly, as a teenager, I was like, "Ooh, this book is interesting." Actually, when I look back, I can see that those writers, like Maugham, for example, he was really interested in philosophy. He was really interested in art and philosophy, and travel, and culture, and religion, all the things I am actually interested in. I wouldn't have known that that was why I loved the book. I just liked the book and found it gripping. It spoke to me, and I wanted to just read more other stuff like that.I was the first person in my family to go to university, so we didn't have a lot of books in the house. We had one bookcase. There were a few decent things in there along with the Jeffrey Archers in there. I read everything on that bookshelf. I read the Jeffrey Archers, I read the True Crime, I read the In Cold Blood, just this somewhat random-- I think there was probably a couple of George Eliots on there. A few classics, I would, again, grip by boredom on a Sunday afternoon, just stare at this shelf and think, "Oh, is there anything?" Maybe I'll end up with a Thomas Hardy or something. It was quite limited. I didn't really know anything about philosophy. I didn't think of doing philosophy at university, for example. I actually decided to do history.I went to Cambridge to do history. Then, after a couple of weeks, just happened to meet someone who was doing philosophy. I was like, "Oh, that's what I want to do." I only recognized it when I saw it. I hadn't really seen it because I went to the local state school, it wasn't full of teachers who knew about philosophy and stuff like that.Henry: You graduated in theology and philosophy, is that right?Clare: Yes. Cambridge, the degrees are in two parts. I did Part 1, theology, and then I did Part 2, philosophy. I graduated in philosophy, but I studied theology in my first year at Cambridge.Henry: What are your favorite Victorian biographies?Clare: You mean biographies of Victorians?Henry: Of Victorians, by Victorians, whatever.Clare: I don't really read many biographies.Henry: Oh, really?Clare: [laughs] The first biography I wrote was a biography of Kierkegaard. I remember thinking, when I started to write the book, "I'd better read some biographies." I always tend to read fiction. I'm not a big reader of history, which is so ironic. I don't know what possessed me to go and study history at university. These are not books I read for pleasure. I suppose I am quite hedonistic in my choice of reading, I like to read for pleasure.Henry: Sure. Of course.Clare: I don't tend to read nonfiction. Obviously, I do sometimes read nonfiction for pleasure, but it's not the thing I'm most drawn to. Anyway. I remember asking my editor, I probably didn't mention that I didn't know very much about biography, but I did ask him to recommend some. I'd already got the book contract. I said, "What do you think is a really good biography that I should read?" He recommended, I think, who is it who wrote The Life of Gibbon? Really famous biography of Gibbon.Henry: I don't know.Clare: That one. I read it. It is really good. My mind is going blank. I read many biographies of George Eliot before I wrote mine.Henry: They're not all wonderful, are they?Clare: I really liked Catherine Hughes's book because it brought her down from her pedestal.Henry: Exactly. Yes.Clare: Talking about hedonism, I would read anything that Catherine Hughes writes just for enjoyment because she's such a good writer. She's a very intellectual woman, but she's also very entertaining. She writes to entertain, which I like and appreciate as a reader. There's a couple of big archival biographies of George Eliot by Gordon Haight and by Rosemary Ashton, for example, which are both just invaluable. One of the great things about that kind of book is that it frees you to write a different kind of biography that can be more interpretive and more selective. Once those kinds of books have been published, there's no point doing another one. You can do something more creative, potentially, or more partial.I really like Catherine Hughes's. She was good at seeing through Eliot sometimes, and making fun of her, even though it's still a very respectful book. There's also this brilliant book about Eliot by Rosemary Bodenheimer called The Real Life of Mary Ann Evans. It's a biographical book, but it's written through the letters. She sees Eliot's life through her letters. Again, it's really good at seeing through Eliot. What Eliot says is not always what she means. She can be quite defensive and boastful. These are things that really come out in her letters. Anyway, that's a brilliant book, which again, really helped me to read Eliot critically. Not unsympathetically, but critically, because I tend to fall in love with thinkers that I'm reading. I'm not instinctively critical. I want to just show how amazing they are, but of course, you also need to be critical. Those books were--Henry: Or realistic.Clare: Yes, realistic and just like, "This is a human being," and having a sense of humor about it as well. That's what's great about Catherine Hughes's book, is that she's got a really good sense of humor. That makes for a fun reading experience.Henry: Why do you think more philosophers don't write biographies? It's an unphilosophical activity, isn't it?Clare: That's a very interesting question. Just a week or so ago, I was talking to Clare Mac Cumhaill I'm not quite sure how you pronounce her name, but anyway, so there's--Henry: Oh, who did the four women in Oxford?Clare: Yes. Exactly.Henry: That was a great book.Clare: Yes. Clare MacCumhaill co-wrote this book with Rachael Wiseman. They're both philosophers. They wrote this group biography of Iris Murdoch, Elizabeth Anscombe, Philippa Foot, and Mary Midgley. I happened to be having dinner with a group of philosophers and sitting opposite her. Had never met her before. It was just a delight to talk to another philosopher who'd written biography. We both felt that there was a real philosophical potential in biography, that thinking about a shape of a human life, what it is to know another person, the connection between a person's life and their philosophy. Even to put it that way implies that philosophy is something that isn't part of life, that you've got philosophy over here and you've got life over there. Then you think about the connection between them.That, when you think about it, is quite a questionable way of looking at philosophy as if it's somehow separate from life or detachment life. We had a really interesting conversation about this. There's Ray Monk's brilliant biography of Wittgenstein, The Duty of Genius. He's another philosopher who's written biography, and then went on to reflect, interestingly, on the relationship between philosophy and biography.I think on the one hand, I'd want to question the idea that biography and philosophy are two different things or that a person's life and their thought are two separate questions. On the other hand, we've got these two different literary forms. One of them is a narrative form of writing, and one of them- I don't know what the technical term for it would be- but a more systematic writing where with systematic writing, it's not pinned to a location or a time, and the structure of the text is conceptual rather than narrative. It's not ordered according to events and chronology, and things happening, you've just got a more analytic style of writing.Those two styles of writing are very, very different ways of writing. They're two different literary forms. Contemporary academic philosophers tend to write, almost always-- probably are pretty much forced to write in the systematic analytic style because as soon as you would write a narrative, the critique will be, "Well, that's not philosophy. That's history," or "That's biography," or, "That's anecdote." You might get little bits of narrative in some thought experiment, but by definition, the thought experiment is never pinned to a particular time, place, or context. "Let's imagine a man standing on a bridge. There's a fat man tied to the railway line [crosstalk]." Those are like little narratives, but they're not pinned. There is a sequencing, so I suppose they are narratives. Anyway, as you can tell, they're quite abstracted little narratives.That interests me. Why is it that narrative is seen as unphilosophical? Particularly when you think about the history of philosophy, and we think about Plato's dialogues, which tend to have a narrative form, and the philosophical conversation is often situated within a narrative. The Phaedo, for example, at the beginning of the book, Socrates is sitting in prison, and he's about to drink his poisoned hemlock. He's awaiting execution. His friends, students, and disciples are gathered around him. They're talking about death and how Socrates feels about dying. Then, at the end of the book, he dies, and his friends are upset about it.Think about, I know, Descartes' Meditations, where we begin in the philosopher's study, and he's describing--Henry: With the fire.Clare: He's by the fire, but he's also saying, "I've reached a point in my life where I thought, actually, it's time to question some assumptions." He's sitting by the fire, but he's also locating the scene in his own life trajectory. He's reached a certain point in life. Of course, that may be a rhetorical device. Some readers might want to say, "Well, that's mere ornamentation. We extract the arguments from that. That's where the philosophy is." I think it's interesting to think about why philosophers might choose narrative as a form.Spinoza, certainly not in the Ethics, which is about as un-narrative as you can get, but in some of his other, he experimented with an earlier version of the Ethics, which is actually like Descartes' meditation. He begins by saying, "After experience had taught me to question all the values I'd been taught to pursue, I started to wonder whether there was some other genuine good that was eternal," and so on. He then goes on to narrate his experiments with a different kind of life, giving up certain things and pursuing other things.Then you come to George Eliot. I think these are philosophical books.Henry: Yes.Clare: The challenge lies in saying, "Well, how are they philosophical?" Are they philosophical because there are certain ideas in the books that you could pick out and say, "Oh, here, she's critiquing utilitarianism. These are her claims." You can do that with Eliot's books. There are arguments embedded in the books. I wouldn't want to say that that's where their philosophical interest is exhausted by the fact that you can extract non-narrative arguments from them, but rather there's also something philosophical in her exploration of what a human life is like and how choices get made and how those choices, whether they're free or unfree, shape a life, shape other lives. What human happiness can we realistically hope for? What does a good life look like? What does a bad life look like? Why is the virtue of humility important?These are also, I think, philosophical themes that can perhaps only be treated in a long-form, i.e., in a narrative that doesn't just set a particular scene from a person's life, but that follows the trajectory of a life. That was a very long answer to your question.Henry: No, it was a good answer. I like it.Clare: Just to come back to what you said about biography. When I wrote my first biography on Kierkegaard, I really enjoyed working in this medium of narrative for the first time. I like writing. I'd enjoyed writing my earlier books which were in that more analytic conceptual style where the structure was determined by themes and by concepts rather than by any chronology. I happily worked in that way. I had to learn how to do it. I had to learn how to write. How do you write a narrative?To come back to the Metaphysical Animals, the group biography, writing a narrative about one person's life is complicated enough, but writing a narrative of four lives, it's a real-- from a technical point of view-- Even if you only have one life, lives are not linear. If you think about a particular period in your subject's life, people have lots of different things going on at once that have different timeframes. You're going through a certain period in your relationship, you're working on a book, someone close to you dies, you're reading Hegel. All that stuff is going on. The narrative is not going to be, "Well, on Tuesday this happened, and then on Wednesday--" You can't use pure chronology to structure a narrative. It's not just one thing following another.It's not like, "Well, first I'll talk about the relationship," which is an issue that was maybe stretching over a three-month period. Then in this one week, she was reading Hegel and making these notes that were really important. Then, in the background to this is Carlisle's view of history. You've got these different temporal periods that are all bearing on a single narrative. The challenge to create a narrative from all that, that's difficult, as any biographer knows. To do that with four subjects at once is-- Anyway, they did an amazing job in that book.Henry: It never gets boring, that book.Clare: No. I guess the problem with a biography is often you're stuck with this one person through the whole--Henry: I think the problem with a biography of philosophers is that it can get very boring. They kept the interest for four thinkers. I thought that was very impressive, really.Clare: Yes, absolutely. Yes. There's a really nice balance between the philosophy and the-- I like to hear about Philippa Foot's taste in cushions. Maybe some readers would say, "Oh, no, that's frivolous." It's not the view I would take. For me, it's those apparently frivolous details that really help you to connect with a person. They will deliver a sense of the person that nothing else will. There's no substitute for that.In my book about Kierkegaard, it was reviewed by Terry Eagleton in the London Review of Books. It was generally quite a positive review. He was a bit sneering about the fact that it had what he calls "domestic flourishes" in the book. I'd mentioned that Kierkegaard's favorite flower was the lily of the valley. He's like, "Huh." He saw these as frivolities, whereas for me, the fact that Kierkegaard had a favorite flower tells us something about the kind of man he was.Henry: Absolutely.Clare: Actually, his favorite flower had all sorts of symbolism attached to it, Kierkegaard, it had 10 different layers of meaning. It's never straightforward. There's interesting value judgments that get made. There's partly the view that anything biographical is not philosophical. It is in some way frivolous or incidental. That would be perhaps a very austere, purest philosophical on a certain conception of philosophy view.Then you might also have views about what is and isn't interesting, what is and isn't significant. Actually, that's a really interesting question. What is significant about a person's life, and what isn't? Actually, to come back to Eliot, that's a question she is, I think, absolutely preoccupied with, most of all in Middlemarch and in Daniel Deronda. This question about what is trivial and what is significant. Dorothea is frustrated because she feels that her life is trivial. She thinks that Casaubon is preoccupied with really significant questions, the key to all mythologies, and so on.Henry: [chuckles]Clare: There's really a deep irony there because that view of what's significant is really challenged in the novel. Casaubon's project comes to seem really futile, petty, and insignificant. In Daniel Deronda, you've got this amazing question where she shows her heroine, Gwendolyn, who's this selfish 20-year-old girl who's pursuing her own self-interest in a pretty narrow way, about flirting and thinking about her own romantic prospects.Henry: Her income.Clare: She's got this inner world, which is the average preoccupation of a silly 20-year-old girl.Henry: Yes. [laughs]Clare: Then Eliot's narrator asks, "Is there a slenderer, more insignificant thread in human history than this consciousness of a girl who's preoccupied with how to make her own life pleasant?" The question she's asking is-- Well, I think she wants to tell us that slender thread of the girl's consciousness is part of the universe, basically. It's integral. It belongs to a great drama of the struggle between good and evil, which is this mythical, cosmic, religious, archetypal drama that gets played out on the scale of the universe, but also, in this silly girl's consciousness.I think she's got to a point where she was very explicitly thematizing that distinction between the significant and the insignificant and playing with that distinction. It comes back to Dorothea's unhistoric life. It's unhistoric, it's insignificant. Yet, by the end of Middlemarch, by the time we get to that description of Dorothea's unhistoric life, this life has become important to us. We care about Dorothea and how her life turned out. It has this grandeur to it that I think Eliot exposes. It's not the grandeur of historic importance, it's some other human grandeur that I think she wants to find in the silly girls as much as in the great men.Henry: I always find remarks like that quite extraordinary. One of the things I want a biography to tell me is, "How did they come to believe these things?" and, "How did they get the work done?" The flowers that he likes, that's part of that, right? It's like Bertrand Russell going off on his bicycle all the time. That's part of how it all happened. I remember Elizabeth Anscombe in the book about the four philosophers, this question of, "How does she do it all when she's got these six children?" There's this wonderful image of her standing in the doorway to her house smoking. The six children are tumbling around everywhere. The whole place is filthy. I think they don't own a Hoover or she doesn't use it. You just get this wonderful sense of, "This is how she gets it done."Clare: That's how you do it.Henry: Yes. The idea that this is some minor domestic trivial; no, this is very important to understanding Elizabeth Anscombe, right?Clare: Yes, of course.Henry: I want all of this.Clare: Yes. One of the things I really like about her is that she unashamedly brings that domesticity into her philosophical work. She'll use examples like, "I go to buy some potatoes from the grocer's." She'll use that example, whereas that's not the thing that-- Oxford dons don't need to buy any potatoes because they have these quasi-monastic lives where they get cooked for and cleaned for. I like the way she chooses those. Of course, she's not a housewife, but she chooses these housewifely examples to illustrate her philosophy.I don't know enough about Anscombe, but I can imagine that that's a deliberate choice. That's a choice she's making. There's so many different examples she could have thought of. She's choosing that example, which is an example, it shows a woman doing philosophy, basically. Of course, men can buy potatoes too, but in that culture, the buying of the potatoes would be the woman's work.Henry: Yes. She wasn't going to run into AJ Ayre at the grocer's.Clare: Probably not, no.Henry: No. Are you religious in any sense?Clare: I think I am in some sense. Yes, "religious," I think it's a really problematic concept. I've written a bit about this concept of religion and what it might mean. I wrote a book on Spinoza called Spinoza's Religion. Part of what I learned through writing the book was that in order to decide whether or not Spinoza was religious, we have to rethink the very concept of religion, or we have to see that that's what Spinoza was doing.I don't know. Some people are straightforwardly religious and I guess could answer that question, say, "Oh yes, I've always been a Christian," or whatever. My answer is a yes and no answer, where I didn't have a religious upbringing, and I don't have a strong religious affiliation. Sorry, I'm being very evasive.Henry: What do you think of the idea that we're about to live through or we are living through a religious revival? More people going to church, more young people interested in it. Do you see that, or do you think that's a blip?Clare: That's probably a question for the social scientists, isn't it? It just totally depends where you are and what community you're--Henry: Your students, you are not seeing students who are suddenly more religious?Clare: Well, no, but my students are students who've chosen to do philosophy. Some of them are religious and some of them are not. It will be too small a sample to be able to diagnose. I can say that my students are much more likely to be questioning. Many of them are questioning their gender, thinking about how to inhabit gender roles differently.That's something I perceive as a change from 20 years ago, just in the way that my students will dress and present themselves. That's a discernible difference. I can remark on that, but I can't remark on whether they're more religious.Just actually just been teaching a course on philosophy of religion at King's. Some students in the course of having discussions would mention that they were Muslim, Christian, or really into contemplative practices and meditation. Some of the students shared those interests. Others would say, "Oh, well, I'm an atheist, so this is--" There's just a range-Henry: A full range.Clare: -of different religious backgrounds and different interests. There's always been that range. I don't know whether there's an increased interest in religion among those students in particular, but I guess, yes, maybe on a national or global level, statistically-- I don't know. You tell me.Henry: What do you think about all these reports that undergraduates today-- "They have no attention span, they can't read a book, everything is TikTok," do you see this or are you just seeing like, "No, my students are fine actually. This is obviously happening somewhere else"?Clare: Again, it's difficult to say because I see them when they're in their classes, I see them in their seminars, I see them in the lectures. I don't know what their attention spans are like in their--Henry: Some of the other people I've interviewed will say things like, "I'll set reading, and they won't do it, even though it's just not very much reading,"-Clare: Oh, I see. Oh, yes.Henry: -or, "They're on the phone in the--" You know what I mean?Clare: Yes.Henry: The whole experience from 10, 20 years ago, these are just different.Clare: I'm also more distracted by my phone than I was 20 years ago. I didn't have a phone 20 years ago.Henry: Sure.Clare: Having a phone and being on the internet is constantly disrupting my reading and my writing. That's something that I think many of us battle with a bit. I'm sure most of us are addicted to our phones. I wouldn't draw a distinction between myself and my students in that respect. I've been really impressed by my students, pleasantly surprised by the fact they've done their reading because it can be difficult to do reading, I think.Henry: You're not one of these people who says, "Oh students today, it's really very different than it was 20 years ago. You can't get them to do anything. The whole thing is--" Some people are apocalyptic about-- Actually, you're saying no, your students are good?Clare: I like my students. Whether they do the reading or not, I'm not going to sit here and complain about them.Henry: No, sure, sure. I think that's good. What are you working on next?Clare: I've just written a book. It came out of a series of lectures I gave on life writing and philosophy, actually. Connected to what we were talking about earlier. Having written the biographies, I started to reflect a bit more on biography and how it may or may not be a philosophical enterprise, and questions about the shape of a life and what one life can transmit to another life. Something about the devotional labor of the biographer when you're living with this person and you're-- It's devotional, but it's also potentially exploitative because often you're using your subjects, of course, without their consent because they're dead. You're presenting their life to public view and you're selling books, so it's devotional and exploitative. I think that's an interesting pairing.Anyway, so I gave these lectures last year in St Andrews and they're going to be published in September.Henry: Great.Clare: I've finished those really.Henry: That's what's coming.Clare: That's what's coming. Then I've just been writing again about Kierkegaard, actually. I haven't really worked on Kierkegaard for quite a few years. As often happens with these things, I got invited to speak on Kierkegaard and death at a conference in New York in November. My initial thought was like, "Oh, I wish it was Spinoza, I don't want to--" I think I got to the point where I'd worked a lot on Kierkegaard and wanted to do other things. I was a bit like, "Oh, if only I was doing Spinoza, that would be more up my street." I wanted to go to the conference, so I said yes to this invitation. I was really glad I did because I went back and read what Kierkegaard has written about death, which is very interesting because Kierkegaard's this quintessentially death-fixated philosopher, that's his reputation. It's his reputation, he's really about death. His name means churchyard. He's doomy and gloomy. There's the caricature.Then, to actually look at what he says about death and how he approaches the subject, which I'd forgotten or hadn't even read closely in the first place, those particular texts. That turned out to be really interesting, so I'm writing-- It's not a book or anything, it's just an article.Henry: You're not going to do a George Eliot and produce a novel?Clare: No. I'm not a novelist or a writer of fiction. I don't think I have enough imagination to create characters. What I love about biography is that you get given the characters and you get given the plots. Then, of course, it is a creative task to then turn that into a narrative, as I said before. The kinds of biography I like to write are quite creative, they're not just purely about facts. I think facts can be quite boring. Well, they become interesting in the context of questions about meaning interpretations by themselves. Again, probably why I was right to give up on the history degree. For me, facts are not where my heart is.That amount of creativity I think suits me well, but to create a world as you do when you're a novelist and create characters and plots, and so, that doesn't come naturally to me. I guess I like thinking about philosophical questions through real-life stories. It's one way for philosophy to be connected to real life. Philosophy can also be connected to life through fiction, of course, but it's not my own thing. I like to read other people's fiction. I'm not so bothered about reading other biographies.Henry: No. No, no.[laughter]Clare: I'll write the biographies, and I'll read the fiction.Henry: That's probably the best way. Clare Carlisle, author of The Marriage Question, thank you very much.Clare: Oh, thanks, Henry. It's been very fun to talk to you.Henry: Yes. It was a real pleasure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Carolyn explores the story that redefined the true crime genre and made it what it is today... the case that inspired the book In Cold Blood by the great Truman Capote, Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charlie and Gill Paul (Scandalous Women) discuss Jackie Collins, Jacqueline Susann, and the way the 1960s publishing industry treated women. A transcript is available on my site General references: My other episodes with Gill are 42 and 86 The Love Machine (movie) Some of Richard Osman's words on the subject can be found here Once Upon A Time In America Lady Boss trailer Mad Men Feud: Capote Vs His Swans Cold Blooded: The Clutter Family Murders I spoke to Èric Chacour in episode 115 The three books with a Mira in them were Eliza Chan's Fathomfolk, Èric Chacour's What I Know About You, and Rebecca Yarros' Fourth Wing Books mentioned by name or extensively: Dale Carnegie: How To Win Friends And Influence People Gill Paul: Another Woman's Husband Gill Paul: The Second Marriage (Jackie And Maria) Gill Paul: A Beautiful Rival Gill Paul: Scandalous Women Helen Gurley Brown: Sex And The Single Girl Ian McEwan: On Chesil Beach Jackie Collins: The World Is Full Of Married Men Jacqueline Susann: Valley Of The Dolls Jacqueline Susann: The Love Machine Letty Cottin Pogrebin: How To Make It In A Man's World Truman Capote: In Cold Blood Buy the books: UK || USA Release details: recorded 11th October 2024; published 24th March 2025 Where to find Gill online: Website || Twitter || Facebook || Instagram || TikTok Where to find Charlie online: Website || Twitter || Instagram || TikTok Discussions 01:23 Why these women and why now? 03:02 More about Jacqueline Susann and Jackie Collins 04:15 Jacqueline Susann's screen work 05:58 On Gill's having Jacqueline Susann and Jackie Collins meet and support each other 09:06 The murder of Sharon Tate 10:29 Jacqueline's illness and bargaining with God 14:22 About Jackie Collins' marriages 17:28 Creating the fictional character, Nancy 20:55 More on Nancy in regards to the historical misogyny 26:19 Gill's fictional Truman Capote interview and the real stories including the facts behind Capote's In Cold Blood 31:06 Jacqueline Susann's keeping up to date with booksellers' lives 33:31 Nancy's relationships with Stephen and George 35:52 The Cousin, Louise, the drugs and trafficking 37:18 Gill's writing style and how it aligns with Scandalous Women 39:28 Including a small nod to A Beautiful Rival and how Gill includes these in her books in general 41:45 What Gill is writing now Disclosure: If you buy books linked to my site, I may earn a commission from Bookshop.org, whose fees support independent bookshops

Hoezee, een verjaardagsaflevering!Peerke blaast in maart elk jaar een kaarsje meer uit en dat is dit jaar niet anders. Als een echte dictator mocht hij dan ook bij de Movie Matters Podcast drie films kiezen voor in ons Watchlist-segment.Een absoluut te ontwaren thema was niet echt aanwezig, doch Peer wilde vooral zijn goede voornemen om meer eigen collectie te bekijken, eer aan doen. Hij selecteerde dan ook een Truman Capote klassieker “IN COLD BLOOD” (1967), een Spike Lee film “JUNGLE FEVER” (1991) en het Australische “SNOWTOWN” (2011).Wat is er overigens warm én stinkt naar banaan? Juist, apenkots! De Cinemaat deinsde er echter niet voor terug en dwong ons dan ook naar “THE MONKEY” van onze vriend Osgood Perkins.Voor al dit lekkers, één adres, namelijk aflevering 54 van de Movie Matters Podcast.jullie kunnen ons ook mailen naar moviematterspodcast@hotmail.com Volg ook onze socials: (1) Movie Matters Podcast Op facebook en op instagram: @_moviematterspodcast_ • Volg ons via Letterboxd: Zwino: ‎ThomasZwino's profile • Letterboxd Peer: ‎Lpereboom's profile • Letterboxd Tim:  ‎Tim Poelman's profile • en https://boxd.it/4Y95L En Join onze discord waar we samen gezellig over films kunnen praten: https://discord.gg/Krq6uXGWFm

Howard Blum is an investigative journalist who has drawn his attention to the Brian Kohberger quadruple murder case. Brian is accused to have murdered 4 co-eds in Moscow Idaho. The Case has been a national sensation. The biggest question is why? Why did this happen. Pete A Turner and Brook Urick welcome Howard to the Break It Down Show. Get When the Night Came Falling on Amazon at amzn.to/437Dht9 Timed for a trial that will capture national attention, When the Night Comes Falling examines the mysterious murders of the four University of Idaho students. Having covered this case from its start, Edgar award winning investigative reporter Howard Blum takes listeners behind the scenes of the police manhunt that eventually led to suspected killer, Bryan Christopher Kohberger, and uncovered larger, lurid questions within this unthinkable tragedy. Reminiscent of the panoramic portraiture of In Cold Blood and The Executioner's Song, When the Night Comes Falling offers a suspenseful, richly detailed narrative that will have listeners transfixed.

Seriah is joined by Ryan Grulich and Joshua Cutchin to discuss the true-crime/paranormal documentary film “The Lady Of The Lake: A Story Of Murder And Everything After”. Topics include a woman's hand found in a lake in 1940, ghost hunting, the Pacific Northwest, Amanda D. Paulson/pretty fn spooky, a condition where a human body turns into soap, Florida graveyards above ground, David Paulides and lack of public records, the Olympic National Forest, bottomless lakes, Lake Crescent, lake monsters, editing and directing the movie, ghost hunting and true-crime genre productions, the “rabbit hole” experience, UFO research as an initiatory process, John Keel and Bigfoot sightings, serial killer Israel Keys, the podcast “ True Crime BS”, the effect of true-crime media on actual killers, the National Park Service, lack of records, a huge number of bodies in a cold water lake, the archetype of the Lady in the Lake, Susan Demeter, “dead people theory”, Ufology vs Parapsychology in terms of dogmatism, the BBC's “Ghost Story for Christmas” series, a murder on the Winter Solstice, Disney's “Snow White” and synchronicity, Halloween vs Christmas, archetypes and the holidays, ghost stories and personal development, a window area with numerous tragedies, ghost hunters and physical theories of haunting, FBI Agent Ted Gunderson and Geraldo Rivera, the Satanic Panic, rumors of a mass grave, geography and the liminal, marginalized people and the paranormal, solar activity and psi activity, Greg Little, Jack Hunter, mediums and ectoplasm and flashbulbs, cosmic rays and evolution, John Tenny and an amusing scenario, a retired detective and body positioning, the memory of the victim, “In Cold Blood” by Truman Capote, the nature of True Crime art, influences on the film, telling stories to heal from trauma, the fetishization of serial killers, Jimmy Church, the 2024 movie “The Order”, a disturbing lecture on a murder to school children, Harlan McNutt, identification by dental records, an Estes method session, meditation and mystical practices, ghost box experiences, non-linear communication with a non-human intelligence, Joshua Cutchin's upcoming projects, and much more! This a really compelling discussion!

Tariff fear mongering. Soul vs spirit? Aborsh pill in the mail: Indicted! Squid vs Octopus differences.The Hake Report, Monday, February 3, 2025 ADTIMESTAMPS* (0:00:00) Start* (0:01:29) Kendrick* (0:03:38) Hey, guys! Facts vs Truth* (0:07:05) KENNY, AL: Soul vs spirit?* (0:13:25) Supers… Coffees, LYC vs Age of Inversion* (0:18:04) Don't be scared of flying! …* (0:24:42) Tariff hype* (0:30:12) WILLIAM 7, CA: Coffee, Spirit, Soul; Anger* (0:35:51) WILLIAM 3, CA: 101 blocked; Panama Canal; Monroe Doctrine; Trump* (0:43:58) WILLIAM 3: Obvious problems the govt neglects* (0:46:11) Monroe Doctrine* (0:47:22) Aborsh pill prosecution: Margaret Carpenter: LA vs NY* (0:56:18) JAIME, MN: Economy, Tariffs* (1:01:16) JAIME: Spirit vs Soul, Hell* (1:03:24) LYC: Selling slavery* (1:05:08) Breakup before Valentine's Day* (1:07:22) Baby shark born in tank housing only females* (1:10:01) Squid vs Octopus differences* (1:15:52) Squids vs Octopuses pictures* (1:19:53) DANIEL, TX: Reading? Dielawn, Romans…* (1:24:24) DANIEL: Shreveport, Velveeta, Govt Cheese* (1:25:57) DANIEL: Southern black Catholics; Truman Capote, In Cold Blood* (1:27:22) … Joel Friday… Facts vs Truth* (1:32:48) RICK, VA: Anger makes you blind; Truth and Trump vs Media* (1:39:02) RICK: Trump hiring women* (1:44:56) RICK: John from Kentucky; Tiffany Henyard* (1:47:27) LYC: Zero God, Truth vs Facts* (1:48:46) SARAH, TX: Pro-life? But they benefit!* (1:50:54) Aleyda by Lisandro MezaLINKSBLOG https://www.thehakereport.com/blog/2025/2/3/the-hake-report-mon-2-3-25PODCAST / Substack HAKE NEWS from JLP https://www.thehakereport.com/jlp-news/2025/2/3/hake-news-mon-2-3-25Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/showVIDEO YouTube - Rumble* - Facebook - X - BitChute - Odysee*PODCAST Substack - Apple - Spotify - Castbox - Podcast Addict*SUPER CHAT on platforms* above or BuyMeACoffee, etc.SHOP - Printify (new!) - Spring (old!) - Cameo | All My LinksJLP Network:JLP - Church - TFS - Nick - Joel - Punchie Get full access to HAKE at thehakereport.substack.com/subscribe

Hay líneas en la vida, que si las cruzas, no tienen vuelta atrás. Asomarse al abismo de nuestro interior, produce vértigo, pero también terror, al descubrir que no tenemos el corazón de oro, que pensamos tener. El ahora centenario Truman Capote (1924-1984) descubrió en Kansas algo de sí mismo, que le hundió en un pozo del que ya nunca pudo salir. Al investigar el incomprensible crimen de la familia Clutter en “A sangre fría” (1966) reinventa el periodismo, pero es incapaz de escribir ningún libro más, sumido en el alcoholismo y un descenso a los infiernos, que le lleva a destruir todas sus amistades. En este programa de radio, "Al Trasluz", escuchamos fragmentos del libro leído por Eugenio Barona, después de la voz del propio Capote leyendo el principio de la novela. Oímos escenas de las película que hizo Richard Brooks sobre la obra en 1967 (A sangre fría), Douglas McGrath sobre la biografía de George Plimpton en 2005 (Historia de un crimen) y de Bennet Miller en 2008 sobre el libro de Gerald Clarke (Capote). Escuchamos también la composición que hizo Peter Gabriel en 1980 (Family Snapshot) y la "Canción para Truman Capote" de Rhett Miller en 1989. La música que suena de fondo a los comentarios de José de Segovia es de la banda sonora original de Quincy Jones para la película de 1967 (In Cold Blood), la de 2005 por Rachel Portman (Infamous) y la de 2008 por Mychael Danna (Capote). El diseño sonoro y la realización técnica es de Daniel Panduro

Examines the 1959 slaughter of the Clutters, a Kansas farming family memorialized in Truman Capote's "In Cold Blood."

Seriah is joined by Ryan Grulich and Joshua Cutchin to discuss the true-crime/paranormal documentary film “The Lady Of The Lake: A Story Of Murder And Everything After”. Topics include a woman's hand found in a lake in 1940, ghost hunting, the Pacific Northwest, Amanda D. Paulson/pretty fn spooky, a condition where a human body turns into soap, Florida graveyards above ground, David Paulides and lack of public records, the Olympic National Forest, bottomless lakes, Lake Crescent, lake monsters, editing and directing the movie, ghost hunting and true-crime genre productions, the “rabbit hole” experience, UFO research as an initiatory process, John Keel and Bigfoot sightings, serial killer Israel Keys, the podcast “ True Crime BS”, the effect of true-crime media on actual killers, the National Park Service, lack of records, a huge number of bodies in a cold water lake, the archetype of the Lady in the Lake, Susan Demeter, “dead people theory”, Ufology vs Parapsychology in terms of dogmatism, the BBC's “Ghost Story for Christmas” series, a murder on the Winter Solstice, Disney's “Snow White” and synchronicity, Halloween vs Christmas, archetypes and the holidays, ghost stories and personal development, a window area with numerous tragedies, ghost hunters and physical theories of haunting, FBI Agent Ted Gunderson and Geraldo Rivera, the Satanic Panic, rumors of a mass grave, geography and the liminal, marginalized people and the paranormal, solar activity and psi activity, Greg Little, Jack Hunter, mediums and ectoplasm and flashbulbs, cosmic rays and evolution, John Tenny and an amusing scenario, a retired detective and body positioning, the memory of the victim, “In Cold Blood” by Truman Capote, the nature of True Crime art, influences on the film, telling stories to heal from trauma, the fetishization of serial killers, Jimmy Church, the 2024 movie “The Order”, a disturbing lecture on a murder to school children, Harlan McNutt, identification by dental records, an Estes method session, meditation and mystical practices, ghost box experiences, non-linear communication with a non-human intelligence, Joshua Cutchin's upcoming projects, and much more! This a really compelling discussion!Recap by Vincent Treewell of The Weird Part PodcastOutro Music is Heavy Delish and the Bone Throwers with Broken Stars Hosted on Acast. See acast.com/privacy for more information.

The Holidays are a time for watching movies, and we need an entire episode to catch you all up on what we've caught up on… including The Brutalist, Babygirl, A Real Pain & over 40 movies. These reviews are mostly Spoiler Free. HOWEVER, we do discuss some mid-Act II events for a few movies like The Brutalist, Y2K and Juror No. 2. NEW FILMS REVIEWED: The Brutalist - 1:26 Oscars & Globes Betting Odds Updated For The Brutalist, etc - 14:36 All We Imagine As Light then reviewing (September 5) Nowon East Village - 24:05 Babygirl - 28:47 The Lord of the Rings: The War of the Rohirrim, La Cocina & Y2K - 34:40 The People's Joker - 39:15 A Real Pain - 41:32 Bird - 45:18 The Six Triple Eight - 47:14 Small Things Like These - 49:21 Out Of My Mind- 51:13 Juror No. 2 - 54:17 Red One, Sweethearts, Late Bloomers, Coup!, Lonely Planet - 59:03 Rewatches of Will & Harper, My Old Ass, Conclave, etc - 1:03:11 OLDER FILMS: Family Movie Nights: Hombre, The Shootist, The Crimson Pirate - 1:05:46 Christmas Movies: The Feast of the Seven Fishes, It's A Wonderful Life, A Christmas Vacation, A Christmas Story, The Holdovers - 1:07:12 Mike's Tour of the film year of 1967 continues: In The Heat of the Night & Guess Who's Coming For Dinner, The Graduate, In Cold Blood, Bonnie & Clyde, Cool Hand Luke, Wait Until Dark, The Producers, The Dirty Dozen, Point Blank - 1:08:08 OUTRO: Let us know your thoughts (especially with all the opinions we have to lay down in this episode). Plus, what's coming next might involve some radio time and words of wisdom.

Capote is a 2005 American biographical drama film about American novelist Truman Capote directed by Bennett Miller, and starring Philip Seymour Hoffman in the title role. The film primarily follows the events during the writing of Capote's 1965 nonfiction book In Cold Blood. The film was based on Gerald Clarke's 1988 biography Capote. It was released on September 30, 2005, coinciding with what would've been Capote's 81st birthday.

An hour of soundtrack music composed by Quincy Jones. Films covered include In Cold Blood, Cactus Flower, The Hot Rock, Roots and much more! Set lists available at www.mondohollywood.ca

Donald Trump will inherit a tangle of conflicts in the Middle East; will he deliver on his promise to “stop the wars”? That will depend on who has his ear. Our correspondent says the way to better rehabilitate people in British prisons is to take some of them out (10:33). And our obituaries editor on the staggeringly productive career of Quincy Jones (19:15). Additional audio in this episode includes Quincy Jones, “Soul  Bossa Nova” and “In Cold Blood”; Michael Jackson, “Billie Jean”, “Bad” and “Thriller”; Lesley Gore, “It's My Party”; USA For Africa, “We Are The World”; DJ Jazzy Jeff, “The Fresh Prince Of Bel Air”; Frank Sinatra, “Fly Me To The Moon”Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Donald Trump will inherit a tangle of conflicts in the Middle East; will he deliver on his promise to “stop the wars”? That will depend on who has his ear. Our correspondent says the way to better rehabilitate people in British prisons is to take some of them out (10:33). And our obituaries editor on the staggeringly productive career of Quincy Jones (19:15). Additional audio in this episode includes Quincy Jones, “Soul  Bossa Nova” and “In Cold Blood”; Michael Jackson, “Billie Jean”, “Bad” and “Thriller”; Lesley Gore, “It's My Party”; USA For Africa, “We Are The World”; DJ Jazzy Jeff, “The Fresh Prince Of Bel Air”; Frank Sinatra, “Fly Me To The Moon”Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

In this heartfelt episode of Hollywood Live, Tanya Hart honors the legendary Quincy Jones, a powerhouse in the entertainment industry and a steadfast champion of civil rights for over seven decades. Born in Chicago, Quincy's career began in the 1950s as a jazz arranger and conductor, quickly expanding to include pop music and film scores. He produced hits for artists like Leslie Gore and collaborated with jazz greats like Frank Sinatra and Count Basie. In 1968, Quincy became the first African American nominated for an Academy Award for Best Original Song, achieving two nominations in the same year with his work in Banning and In Cold Blood. Quincy's influence reached new heights with his production of Michael Jackson's iconic albums Off the Wall, Thriller, and Bad. He also produced and conducted the historic charity single “We Are the World,” which raised millions for famine relief in Ethiopia. Tanya reflects on her first encounter with Quincy during her Boston TV show Coming Together and the wisdom he shared that continues to inspire her. With a legacy that includes recent projects, such as a documentary produced with Debbie Allen, Quincy Jones' impact will be felt for generations. Tanya extends heartfelt condolences to his family and friends and celebrates the indelible mark he left on the world. Learn more about your ad choices. Visit megaphone.fm/adchoices

pWotD Episode 2743: Quincy Jones Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,063,332 views on Monday, 4 November 2024 our article of the day is Quincy Jones.Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024) was an American record producer, songwriter, composer, arranger, and film and television producer. Over the course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards. Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016).Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.This recording reflects the Wikipedia text as of 06:51 UTC on Tuesday, 5 November 2024.For the full current version of the article, see Quincy Jones on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Amy.

Jeremy Langmead is one of the founders of the global men's e-tailer, Mr Porter, part of the YOOX Net-a-Porter Group. He joined in 2010 to help launch the e-commerce business in 2011 and oversaw the design, branding, content, social, communications and events teams for a number of years.Jeremy has also served as chief content officer at Christie's, launched LUXX magazine for The Times in 2017, and was previously editor-in-chief of Esquire, Wallpaper and the Sunday Times Style magazines.Today Jeremy consults for a number of fashion and grooming brands; writes for The Times Saturday magazine, a grooming column for The Times' LUXX magazine, the Telegraph, and has published a book on male vanity called “Vain Glorious;” and is the co-host of the podcast “How Long Have We Got?” with his friend Sarah Edmundson.   In this episode, Jeremy tells host Anne V Mühlethaler about his tumultuous childhood, filled with numerous stepfathers and a desire to create perfect worlds as a means of escape. Jeremy recounts his early days in fashion, his time at Central St Martin's and the career progression that led him from newspapers and magazines to Mr Porter (and the Mr Porter Post). From his move from the global e-tailer to Christie's and back, he shares the lessons he's learned and the importance of innovation and storytelling in his professional journey. Jeremy candidly shares with Anne his battle with prostate cancer, offering a raw and honest look at the challenges he faced. His diagnosis became a focal point for raising awareness about the importance of early detection in prostate cancer (check your PSAs, he reminds our listeners), which is what led him to write publicly about his experience for the Times and the Saturday Times Magazine. He explains how he met his friend and co-host Sarah and how the two of them decided to start a podcast that tries to “take the kerfuffle out of cancer,” in their own words. Jeremy emphasises the complexities of living (and working) while in treatment, including how his relationship with his body has changed. He and Anne discuss how we can harness the power of storytelling to support patients in their health journeys and the crucial importance of cancer literacy.Throughout the discussion, Jeremy talks about the intersection of vanity and authenticity, particularly as a gay man in the fashion world. He shares stories with Anne about his own experiences with male grooming (from hair transplant to eyelash dying) and explores the societal perceptions of vanity, encouraging men to embrace their desires to look and feel good without shame. While the topic of the episode is serious at times, Jeremy shares his story with humour, tact and warmth, understanding the significant influence that the podcast has on the cancer community and those close to someone living with the illness.   By sharing his story, Jeremy not only raises awareness for early testing in prostate cancer, but also offers inspiration to listeners to find beauty and meaning in their journeys, regardless of the obstacles they may face.An inspiring conversation that shows how humour, resilience and storytelling go hand in hand.Selected links from episode:Out of the Clouds website: https://outoftheclouds.com/Out of the Clouds on Instagram: https://www.instagram.com/_outofthecloudsThe Mettā View website: https://avm.consulting/metta-viewAnne on Instagram: https://www.instagram.com/annvi/Anne on Threads: https://www.threads.net/@annviAnne on LinkedIn: https://www.linkedin.com/in/anne-v-muhlethaler/Jeremy on LinkedIn: https://uk.linkedin.com/in/jeremylangmeadJeremy on Instagram: https://www.instagram.com/jeremylangmead/Jeremy and Sarah's podcast How Long Have You GotHow Long Have You Got on Instagram: https://www.instagram.com/howlonghaveyougot2024/Jeremy's first article for the TimesJeremy's follow up article about the podcast with Sarah EdmundsonDeath Dula Alua Arthur's TED talkMacMillan Cancer Support Breast Cancer Support NowWhat song best represents him : Pet Shop Boys ‘It's a sin' and ‘being boring' Here you can find the Out of the Clouds playlist containing the songs chosen by the guests who answered the question: ‘What Song Best Represents You?' Favorite books Truman Capote's In Cold Blood and Bruce Chatwin's What Am I Doing Here?  Cancer Centre at Guy's Hospital***Are you curious about Anne's Coaching & Consulting:Feeling lost or burnt out? Discover Anne's blend of business savvy & spirituality. Transition from career exhaustion to trusting yourself again with her unique coaching approach.Book your free one on one exploratory coaching session here. To find out more about Anne's coaching approach, her consulting background and more, head over here. This episode is brought to you by AVM Consulting Struggling to connect with your audience? Feeling disconnected from your brand's purpose? Is motivating your team becoming a daunting task?AVM Consulting offers a unique blend of coaching, consulting, and storytelling services designed to help your brand connect authentically, align with your values, and inspire your team to achieve greatness.With a track record of success in working with fashion and luxury partners worldwide, AVM Consulting, led by industry expert and certified coach Anne Mühlethaler, is your trusted partner in achieving your brand's vision. Ready to transform your brand and drive meaningful change? Don't wait any longer. We like to make magic happen.FIND OUT MORE ABOUT AVM CONSULTING HERE. ***If you enjoyed this episode, click subscribe for more, and consider writing a review of the show on Apple Podcasts, we really appreciate your support and feedback. And thank you so much for listening!  For all notes and transcripts, please visit Out Of The Clouds on Simplecast - https://out-of-the-clouds.simplecast.com/   Sign up for Anne's email newsletter for more from Out of the Clouds at https://annevmuhlethaler.com.  Follow Anne and Out of the Clouds: IG: @_outoftheclouds or  @annvi  Or on Threads @annviOn Youtube @OutoftheClouds For more, you can read and subscribe to Anne's Substack, the Mettā View, her weekly dose of insights on coaching, brand development, the future of work, and storytelling, with a hint of mindfulness.

Lilly Dancyger joins Let's Talk Memoir for a conversation about the challenges of existing in the world as a woman, approaching the writing process with a sense of exploration and curiosity, discovering what's really essential and what can we let go of, the nitty-gritty of writing an essay, getting clarity on our material, finding the container to write about what we need to write, articulating the connections we're making, girlhood, going off the rails as a teenager, how grief and art can be inextricably linked, the tug to write about close relationships with women, living in community and caring for each other, and her book First Love: A Collection of Essays on Friendship.   Also in this episode: -sad girls -tending to friendships -being open to not knowing where the story is going to go   Books mentioned in this episode: In Cold Blood by Truman Capote Helter Skelter by Vincent Bugliosio The Stranger Beside Me by Ann Rule I'll Be Gone in the Dark by Michelle McNamara The Heart and Other Monsters by Rose Anderson Memorial Drive by Natasha Tretheway Stay True by Hua Hsu Girlhood by Melissa Febos White Magic by Elissa Washuta The Clean Life by CJ Hauser Easy Beauty by Chloe Cooper Jones Love is a Burning Thing by Nina St. Pierre   Lilly Dancyger is the author of First Love: Essays on Friendship (The Dial Press, 2024), and Negative Space (SFWP, 2021). She lives in New York City, and is a 2023 NYSCA/NYFA Artist Fellow in nonfiction from The New York Foundation for the Arts. Her writing has been published by Guernica, Literary Hub, The Rumpus, Longreads, Off Assignment, The Washington Post, Playboy, Rolling Stone, and more. She teaches creative nonfiction in MFA programs at Columbia University and Randolph College. Find her on Instagram at @lillydancyger and Substack at The Word Cave.   Connect with Lilly: Website: https://www.lillydancyger.com/ Instagram: https://www.instagram.com/lillydancyger/ X: https://twitter.com/lillydancyger Substack: https://lillydancyger.substack.com/ Get her book: https://www.penguinrandomhouse.com/books/714347/first-love-by-lilly-dancyger/ Learn more about her classes: https://www.lillydancyger.com/classes   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com   Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd Substack: https://substack.com/@ronitplank Newsletter sign-up: https://ronitplank.com/#signup   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

The Austin Yogurt Shop Murders - A Deep Dive Into the 1991 Cold Case On December 6, 1991, a chilling crime forever changed Austin, Texas. The brutal murders of four young girls in a local frozen yogurt shop left the community in shock and shattered the belief that such horrors couldn't happen here. In this episode, we thoroughly investigate the case, analyze key suspects, and explore the first year of the investigation that still leaves many questions unanswered. Book Announcement: Next month, we'll be discussing In Cold Blood by Truman Capote, a true crime classic that delves into one of the most infamous murders in U.S. history. Crime Glasses is your go-to True Crime Book Club podcast. This month, we focus on the Austin Yogurt Shop Murders, guided by Beverly Lowry's Who Killed These Girls?, offering new insights and riveting discussion. Resources: Who Killed These Girls? by Beverly Lowry Parent. Child. Death's Dominion by David Maraniss for the Washington Post Austin Statesman newspaper Stay connected! Instagram: @thecrimeglasses TikTok: @thecrimeglasses Email: CrimeGlasses@gmail.com

SURPRISE! On this extra episode of Crime Glasses, I deep dive into the Satanic Panic with host of the “You're Wrong About” Podcast, Sarah Marshall.  KIND REMINDER:  Next month's book is “In Cold Blood” by Truman Capote.  ‘Crime Glasses' is your True Crime Book Club podcast. This month we will be covering the Austin Yogurt Shop murders using the book “Who Killed These Girls?” by Beverly Lowry as a guide.

Op zaterdag 28 september waren we te gast bij het International Literature Festival Utrecht, om te praten over In Cold Blood van Truman Capote, waarin twee mannen in koele bloede een meervoudige moord plegen en vervolgens op de vlucht slaan. Dit boek wordt ook wel gezien als de eerste moderne non-fictie roman, true crime uit 1966 dus. Maar in hoeverre is alles wat Capote opschreef waargebeurd? En wat kunnen we zeggen over de moraliteit van het neerpennen van zo'n verhaal?Over true crime als genre, de psychologie van 'de moordenaar' en onze perfect crime.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Jeremy Langmead is one of the founders of the global men's e-tailer, Mr Porter, part of the YOOX Net-a-Porter Group. He joined in 2010 to help launch the e-commerce business in 2011 and oversaw the design, branding, content, social, communications and events teams for a number of years.Jeremy has also served as chief content officer at Christie's, launched LUXX magazine for The Times in 2017, and was previously editor-in-chief of Esquire, Wallpaper and the Sunday Times Style magazines.Today Jeremy consults for a number of fashion and grooming brands; writes for The Times Saturday magazine, a grooming column for The Times' LUXX magazine, the Telegraph, and has published a book on male vanity called “Vain Glorious;” and is the co-host of the podcast “How Long Have We Got?” with his friend Sarah Edmundson.   In this episode, Jeremy tells host Anne V Mühlethaler about his tumultuous childhood, filled with numerous stepfathers and a desire to create perfect worlds as a means of escape. Jeremy recounts his early days in fashion, his time at Central St Martin's and the career progression that led him from newspapers and magazines to Mr Porter (and the Mr Porter Post). From his move from the global e-tailer to Christie's and back, he shares the lessons he's learned and the importance of innovation and storytelling in his professional journey. Jeremy candidly shares with Anne his battle with prostate cancer, offering a raw and honest look at the challenges he faced. His diagnosis became a focal point for raising awareness about the importance of early detection in prostate cancer (check your PSAs, he reminds our listeners), which is what led him to write publicly about his experience for the Times and the Saturday Times Magazine. He explains how he met his friend and co-host Sarah and how the two of them decided to start a podcast that tries to “take the kerfuffle out of cancer,” in their own words. Jeremy emphasises the complexities of living (and working) while in treatment, including how his relationship with his body has changed. He and Anne discuss how we can harness the power of storytelling to support patients in their health journeys and the crucial importance of cancer literacy.Throughout the discussion, Jeremy talks about the intersection of vanity and authenticity, particularly as a gay man in the fashion world. He shares stories with Anne about his own experiences with male grooming (from hair transplant to eyelash dying) and explores the societal perceptions of vanity, encouraging men to embrace their desires to look and feel good without shame. While the topic of the episode is serious at times, Jeremy shares his story with humour, tact and warmth, understanding the significant influence that the podcast has on the cancer community and those close to someone living with the illness.   By sharing his story, Jeremy not only raises awareness for early testing in prostate cancer, but also offers inspiration to listeners to find beauty and meaning in their journeys, regardless of the obstacles they may face.An inspiring conversation that shows how humour, resilience and storytelling go hand in hand.Selected links from episode:Out of the Clouds website: https://outoftheclouds.com/Out of the Clouds on Instagram: https://www.instagram.com/_outofthecloudsThe Mettā View website: https://avm.consulting/metta-viewAnne on Instagram: https://www.instagram.com/annvi/Anne on Threads: https://www.threads.net/@annviAnne on LinkedIn: https://www.linkedin.com/in/anne-v-muhlethaler/Jeremy on LinkedIn: https://uk.linkedin.com/in/jeremylangmeadJeremy on Instagram: https://www.instagram.com/jeremylangmead/Jeremy and Sarah's podcast How Long Have You GotHow Long Have You Got on Instagram: https://www.instagram.com/howlonghaveyougot2024/Jeremy's first article for the TimesJeremy's follow up article about the podcast with Sarah EdmundsonDeath Dula Alua Arthur's TED talkMacMillan Cancer Support Breast Cancer Support NowWhat song best represents him : Pet Shop Boys ‘It's a sin' and ‘being boring' Here you can find the Out of the Clouds playlist containing the songs chosen by the guests who answered the question: ‘What Song Best Represents You?' Favorite books Truman Capote's In Cold Blood and Bruce Chatwin's What Am I Doing Here?  Cancer Centre at Guy's Hospital***Are you curious about Anne's Coaching & Consulting:Feeling lost or burnt out? Discover Anne's blend of business savvy & spirituality. Transition from career exhaustion to trusting yourself again with her unique coaching approach.Book your free one on one exploratory coaching session here. To find out more about Anne's coaching approach, her consulting background and more, head over here. This episode is brought to you by AVM Consulting Struggling to connect with your audience? Feeling disconnected from your brand's purpose? Is motivating your team becoming a daunting task?AVM Consulting offers a unique blend of coaching, consulting, and storytelling services designed to help your brand connect authentically, align with your values, and inspire your team to achieve greatness.With a track record of success in working with fashion and luxury partners worldwide, AVM Consulting, led by industry expert and certified coach Anne Mühlethaler, is your trusted partner in achieving your brand's vision. Ready to transform your brand and drive meaningful change? Don't wait any longer. We like to make magic happen.FIND OUT MORE ABOUT AVM CONSULTING HERE. ***If you enjoyed this episode, click subscribe for more, and consider writing a review of the show on Apple Podcasts, we really appreciate your support and feedback. And thank you so much for listening!  For all notes and transcripts, please visit Out Of The Clouds on Simplecast - https://out-of-the-clouds.simplecast.com/   Sign up for Anne's email newsletter for more from Out of the Clouds at https://annevmuhlethaler.com.  Follow Anne and Out of the Clouds: IG: @_outoftheclouds or  @annvi  Or on Threads @annviOn Youtube @OutoftheClouds For more, you can read and subscribe to Anne's Substack, the Mettā View, her weekly dose of insights on coaching, brand development, the future of work, and storytelling, with a hint of mindfulness.

Ein Roman über ein Gewaltverbrechen in einem kleinen Ort in Westkansas an vier unschuldigen Mitgliedern einer Familie. Bei seinem Erscheinen im Jahr 1965 ist "Kaltblütig" eine literarische Sensation. Denn die Schüsse auf die nette Familie Clutter sind sechs Jahre zuvor tatsächlich gefallen. Die Angehörigen und Nachbarn leben wirklich in dem 270-Seelen-Dorf Holcomb. Und die zwei jungen Mörder sind wenige Monate zuvor exakt so hingerichtet worden, wie es Truman Capote in seinem Meisterwerk schildert. "In Cold Blood" ist ein Tatsachenroman: der "wahrheitsgemäße Bericht über einen mehrfachen Mord und seine Folgen". Capote hat dafür sechs Jahre lang Interviews geführt, beobachtet und geschrieben. Das Ergebnis ist ein Text von legendärer atmosphärischer Dichte, einer der berühmtesten US-amerikanischen Romane überhaupt. Von Irene Schuck (BR 2011)

Georgetown University English professor Christopher Shinn discussed the history and cultural reception of Truman Capote's 1967"In Cold Blood" as well as its impact on the genres of pulp fiction and true crime novels. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Here's What We Know, we're thrilled to bring you a fascinating conversation with an award-winning audiobook narrator! Our guest is the incredibly talented Scott Brick. Scott shares how he continues navigating his successful career from his journey through 1,100 audiobooks to overcoming health challenges and working on notable titles like Jurassic Park from Michael Crichton's collection, Orphan X series by Gregg Hurwitz, and many more!Tune in and discover how his dedication shines through every project, whether it be new releases or classic retellings! In This Episode:Career Milestones: From Michael Crichton's Jurassic Park to its sequel, The Lost World, discover how Scott got these iconic gigs.Health Challenges: Hear about Scott's journey through diabetes and thyroid cancer and how it shaped his career.Character Voices: Learn about the delicate balance between staying true to characters without mimicking previous performances.Audiobook Narration Techniques and Insights: Uncover Scott's approach to vocal training and balancing originality with audience expectationsEmotional Depths: Feel the passion as Scott recounts breaking into tears while narrating an Orphan X book.Preparation & Dedication: Discover how thorough preparations like listening to previous series' narrators have helped him excel—such as for Shawn Inmon's Middel Falls Time Travel series.This episode is sponsored by:Reed Animal Hospital (Be sure to tell them Gary sent you!)Mike Counsil Plumbing & Rooter (Use code “Gary” to get $89 off any service!)Bio:Scott Brick is an actor, writer, and award-winning audiobook narrator who certainly knows how to tell a story! Hailed by Audible in 2012 as their most prolific narrator, Brick has narrated titles such as Jurassic Park, the Jack Reacher series, Alexander Hamilton, the Hunt For Red October, The Passage trilogy, In Cold Blood, the Bourne trilogy, Atlas Shrugged, Helter Skelter, Fahrenheit 451 and the Dune series. To date, he's won over 60 Earphones Awards for his narrating skills, as well as five Audie Awards, five SOVAS Awards for voiceover, and a Grammy nomination for the multi-cast recording of The Mark of Zorro (2011). After recording 250 titles in his first five years, AUDIOFILE MAGAZINE named Brick “one of the fastest-rising stars in the audiobook galaxy,” and proclaimed him a Golden Voice, but it was the WALL STREET JOURNAL that sealed the moniker with a front-page article in November, 2004.  PUBLISHERS WEEKLY then honored Brick as Narrator of the Year in both 2007 and 2011.  That honor was followed up with another feature in the WSJ in 2019 and a recent appearance on the CBS Sunday Morning news show.  And the ultimate distinction – being inducted into the Audible Narrator's Hall of Fame in 2018.  Having now recorded over 1100 audiobooks, Brick has no intention of slowing down. He obviously won't be happy until he's recorded every book ever published.Website: https://scottbrick.com/Connect with Gary: Gary's Website Follow Gary on Instagram Gary's Tiktok Gary's Facebook Watch the episodes on YouTube Advertise on the Podcast Thank you for listening. Let us know what you think about this episode. Leave us a review!

Subscribe for free: robertmurphy.substack.comIn Cold Blood started as a study in how a heartbreaking killing impacted a Mid-West community. But Truman Capote got sucked into the story.At first, the folk of Holcomb, Kansas, distrusted the flamboyant writer.But slowly, he won the small city round.And when the killers were caught, he built an unbelievable and controversial bond with them.In this episode, Capote's friend and biographer, Gerald Clarke, describes the awful murders of the Clutter family in 1959, how Capote spent six years writing his masterpiece and its legacy on true crime and non-fiction literature.You can get a copy of In Cold Blood here.You can get a copy of Gerald Clarke's Capote here. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

Swanner and Judd talk about: The Bachelorette; Big Brother; Only Murders; The English Teacher; Veep; Agatha All Along; Survivor; The Perfect Couple; WWE; In Cold Blood; and more! Left Click To Listen, Right Click Here To Download

On the heels of a divorce, a midlist mystery writer returns to his hometown in Central CT. He's drugged back into a decades-old, unsolved case involving former missing classmates to expose the horrific secrets of a quaint, idyllic New England town.Fusing the modern domestic psychological thriller with classic nonfiction noir (Girl on the Train by way of In Cold Blood), SAY MY NAME is a true-crime story about a crime that never happened—or did it?

The horrific killing of four members of the Clutter family in 1959 led author Truman Capote to write In Cold Blood, the book credited with launching true crime as a genre. But how much of what Capote wrote was as "immaculately factual" as the author led the world to believe? "Crimes of the Centuries" is a podcast from Grab Bag Collab exploring forgotten crimes from times past that made a mark and helped change history. You can get early and ad-free episodes on the Grab Bag Patreon page.  DON'T FORGET ABOUT THE CRIMES OF THE CENTURIES BOOK!  Order today at www.centuriespod.com/book (https://www.centuriespod.com/book)! Follow us on Instagram and Twitter: @centuriespod Episode Sponsors: IQ Bar. Our special podcast listeners get 20% off all IQBar products plus FREE shipping. To get your twenty percent off, just text CENTURIES to 64000. Better Help. This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/COTC and get 10% off your first month.

Magic Mind helped me concentrate and gave me motivation to create this episode! Grab some for yourself at http://magicmind.com/darkness and use the code DARKNESS at checkout to get up to 48% OFF YOUR FIRST SUBSCRIPTION or 20% off a one-time purchase!IN THIS EPISODE: 
A high school biohacker in France claims he created a DNA sequence out of passages from the Bible and the Koran – and then he injected it into his veins. (God's DNA) *** A family discovers it might not be a good idea to purchase a home once owned by a child molester. (Childhood Tormentors) *** One town legend from 1577 says a giant hellhound killed two people who were kneeling in prayer after knocking down the church doors amid a flash of lightning. We'll learn about the Black Shuck. (The Black Shuck) *** In a remote part of northern Tanzania in Africa there is a mysterious lake. The water is so caustic that it can burn the skin and eyes of unprepared creatures. And it can turn flesh into stone. (Medusa Lake) *** But first, we'll look at the story behind Truman Capote's best selling novel, “In Cold Blood” - and how it not only terrorized the townspeople in 1959 – but it haunted Capote himself for the rest of his life. (In Cold Blood: The Clutter Murders) *** In the story of Jack and the Beanstalk, the giant threatens to eat Jack by killing him and grinding his bones into bread. But it's not just fairytales that have human bone bread – it's a reality in the kitchens of some people. (I'll Grind His Bones To Make My Bread) *** On December 26, 1900, something strange and unexplained happened on the largest of the Flannan Islands, Eilean Mor, Scotland. Three lighthouse keepers disappeared into the night, never to be seen again. Their mysterious disappearance still baffles historians and scientists. (Disappearance At The Eilean Mor Lighthouse) *** According to legend, one small town in Iowa suffered a very strange fate. No one knows when the town of Urkhammer was established – and nobody knows where it has gone. (Where's Urkhammer?) *** When a poltergeist finds its voice and starts to talk, you know the haunting you are living through has taken a turn for the worse. (When The Poltergeist Finds Its Voice)SOURCES AND REFERENCES FROM THE EPISODE…“In Cold Blood: The Clutter Murders” by Troy Taylor: https://tinyurl.com/vdcbu6n“God's DNA” by Paul Seaburn: https://tinyurl.com/y8pg7mxj“Childhood Tormentors” by Illuminati322: https://tinyurl.com/rt4pxy8“Black Shuck” by William DeLong: https://tinyurl.com/ya399c5h“Medusa Lake” by Caleb Strom: https://tinyurl.com/ur75h7y“I'll Grind His Bones To Make My Bread” by DHWTY for Ancient Origins: http://ow.ly/98wM30nljti“Disappearance At The Eilean Mor Lighthouse” by A. Sutherland for Ancient Pages: http://ow.ly/1gqR30nljsF“Where is Urkhammer” by Garth Haslam for AnomalyInfo.com: http://ow.ly/328V30nljyr“When The Poltergeist Finds Its Voice” by Tim. R. Swartz for Spectral Vision: http://ow.ly/MJKi30nljDZWeird Darkness theme by Alibi Music Library.= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: January 15, 2019

Timed prior to the trial that will capture national attention, Blum's newest book, When the Night Comes Falling examines the mysterious murders of the four University of Idaho students. "I hope to tell a suspenseful factual story that will put readers in the midst of events and help them understand what really happened in the still of the night in Moscow, Idaho," he recently said. Having covered this case from its start, the Edgar award winning investigative reporter takes readers behind the scenes of the police manhunt that eventually led to suspected killer Bryan Christopher Kohberger, and uncovered larger, lurid questions within this unthinkable tragedy. Reminiscent of the panoramic portraiture of In Cold Blood and The Executioner's Song, When the Night Comes Falling offers a suspenseful, richly detailed narrative. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Host: Geoffrey D. Calhoun, Author of The Guide For Every ScreenwriterGuest: Mike Hammond, Retired Homicide Detective and Host of Detective Story PodcastSummary:In this episode, Geoffrey D. Calhoun welcomes retired homicide detective Mike Hammond. They delve into the intricacies of being a homicide detective, the challenges of communication in investigations, and the emotional toll the job takes. Mike shares his journey from being inspired by Truman Capote's In Cold Blood to becoming a detective in Chicago. They also discuss Mike's transition to hosting his own podcast, Detective Story, which focuses on victims' stories. This episode offers a deep insight into the real world of homicide investigations and the mindset required for such a demanding career.Takeaways:Communication is Key: Effective communication is crucial for solving cases, involving understanding and listening to victims, witnesses, and suspects.Empathy Over Intimidation: Building rapport and showing empathy often yield better results than aggressive interrogation tactics.Mental Resilience: Detectives must manage the emotional impact of their work, recognizing and addressing stress to maintain mental health.Adaptability: Remaining open-minded and flexible is essential to avoid tunnel vision in investigations.Legacy of Service: The importance of serving victims and their families with integrity and dedication.Chapters:00:38 - Introduction: Geoffrey welcomes listeners and introduces the topic.00:55 - Guest Introduction: Mike Hammond shares his background and thanks the audience.01:01 - Starting a Podcast: Mike discusses the inception of his podcast, Detective Story.02:15 - Chicago Homicide Detective: Insights into the daily life and challenges of a homicide detective.05:44 - Career Path: Mike's journey from reading In Cold Blood to becoming a detective.11:12 - Psychological Toll: The mental and emotional challenges faced by detectives.17:39 - Learning from Mistakes: The importance of staying flexible and avoiding preconceived notions.19:56 - Legacy: Mike reflects on the legacy he hopes to leave as a detective.Follow US:Geoffrey D. Calhoun on Instagram: @screenwriterpodMike Hammond Detecive Podcast#Screenwriting #HomicideDetective #TrueCrime #Podcast #Investigation #CommunicationSkills #MentalHealth #Empathy #Legacy #Chicago

This month of Best Picture nominees that didn't quite get over the finish line to win the big prize comes to an end at Film Seizure. This week, the gang discusses Capote, the film that looks at some behind the scenes of the writer's work on In Cold Blood and a Best Actor award for Philip Seymour Hoffman. Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Recorded July 22, 2024 Book talk begins at 30:19 Our annual Mother Bear KAL has begun and will run until August 31.  To find out all about this wonderful charity, please go to the Mother Bear Project website.  Talk bears with us in the Mother Bear Chatter thread and post your finished bears in the FOs thread.  Any bears you have knit in 2024 are eligible!   Every Saturday at noon Pacific time - Virtual Knitting Group via Zoom Tracie is teaching a class on making knitted toys at Rumpelstiltskin in Sacramento, and it has been rescheduled to September 28 and November 2 .  See the class listing here for details!   KNITTING Barb finished: Mother Bear #296 - 298   Tracie finished: Mother Bears 328, 329 and one that I sent to my uncle Davis #4 by Pam Allen in Knit Picks Snuggle Puff in Hatchling (pale mint green) Scraps Chaps by Barbara Prime: Rabbit in Sea Change Fibers by The Dye Project Ecola Worsted in Mushroom Hunter Cat in Plymouth Yarn Worsted Merino Superwash Solids in Caraway Heather   Barb continues to work on: Gardengate by Jennifer Steingass, using Cloudborn Merino Superwash Sock Twist in the Graphite Heather colorway and Cloudborn Fibers Highland Fingering in the Petal colorway   And has cast on: Mother Bear #299 Spinwheel Beanie by Benjamin Matthews, using a mystery gray yarn   Tracie cast on: 42-6 Dream in Blue Cardigan by DROPS design in Universal Uptown DK in Baby Blue and Paintbox Yarns Simply DK in Banana Cream Dawning Top by Ainur Berkimbayeva in Sea Change Fibers by The Dye Project Bayshore Fingering in Pink Frock   And continues to work on: Just Float by Stephanie Lotven (TellyBean Knits) in Apple Fiber Studio Sparkling Cider in Malachite and Life in the Long Grass Silk/Merino Sock in Autumn Fiddly Bits cowl #11 by Jana Pihota Digital Citizens stuffed toys   BOOKS Barb read: Cook County ICU: 30 Years of Unforgettable Patients and Odd Cases - 3 stars.   Written in 2016 - he headed the ICU 1970s thru the 1990s Bitter Blood: a True Story of Southern Family Pride, Madness, and Multiple Murder by Jerry Bledsoe - 5 stars.  Fuzz: When Nature Breaks the Law by Mary Roach - 4 stars In Cold Blood by Truman Capote - 5 stars   Tracie read: Inside Out by Demi Moore - 4.5 stars Before He Wakes by Jerry Bledsoe - 4.5 stars The Lincoln Highway by Amor Towles - 3 stars Blind Rage: A True Story of Sin, Sex, and Murder in a Small Arkansas Town by Anita Paddock - 2.5 stars

Reunited and it feels so good! Just in time for Pride, Sam and Beth return with our first episode in June. We decided to mix things up and cover two films that Sam and Beth have wanted to cover since we started our podcast. “Infamous” and “Capote” offer different treatments of two of the most celebrated writers of the 20th Century. Truman Capote and Harper Lee were childhood friends who would grow up to and leave an indelible mark on American literature with Capote's groundbreaking “In Cold Blood” and Lee's Pulitzer winning “To Kill a Mockingbird”. Episode link https://youtu.be/TIJ_uxQa1gM?si=5YaZaOGeQB8Cztn7

December 19, 1959. Osprey, Florida. After spending the day running errands and visiting a family friend, 25-year old Cliff Walker, his 24-year old wife Christine, and their two children, three-year old Jimmie and 23-month old Debbie, head back to their rural home in separate vehicles. The following morning, the family's bodies are discovered inside their house. They were each shot in the head before Debbie was drowned in the bathtub and Christine has also been sexually assaulted. Over the next several decades, investigators would look at a number of different suspects, but two of the most promising turn out to be Perry Smith and Richard Hickock, who were responsible for the murder of the Clutter family in Kansas one month earlier, a crime which became the subject of the iconic book, “In Cold Blood”. However, DNA testing on the deceased killers turns out to be inconclusive and there is no evidence to conclusively implicate anyone. This week's episode of “The Path Went Chilly” covers the harrowing murders of an entire family which have remained unsolved for 65 years. Patreon.com/thetrailwentcoldPatreon.com/julesandashleyAdditional Reading:https://en.wikipedia.org/wiki/Walker_family_murders“In Colder Blood” by J.T. Hunterhttp://www.heraldtribune.com/news/20051218/unsolvedhttp://www.heraldtribune.com/news/20051219/the-suspects-a-litany-of-names-and-clueshttp://www.heraldtribune.com/news/20051220/a-last-hope-dna-could-crack-the-casehttp://www.heraldtribune.com/news/20121209/what-if-in-cold-blood-got-it-wrong-about-walker-murdershttp://www.heraldtribune.com/news/20121209/what-in-cold-blood-saidhttp://www.heraldtribune.com/news/20130813/no-dna-link-between-walker-murders-in-cold-blood-killers

December 19, 1959. Osprey, Florida. After spending the day running errands and visiting a family friend, 25-year old Cliff Walker, his 24-year old wife Christine, and their two children, three-year old Jimmie and 23-month old Debbie, head back to their rural home in separate vehicles. The following morning, the family's bodies are discovered inside their house. They were each shot in the head before Debbie was drowned in the bathtub and Christine has also been sexually assaulted. Over the next several decades, investigators would look at a number of different suspects, but two of the most promising turn out to be Perry Smith and Richard Hickock, who were responsible for the murder of the Clutter family in Kansas one month earlier, a crime which became the subject of the iconic book, “In Cold Blood”. However, DNA testing on the deceased killers turns out to be inconclusive and there is no evidence to conclusively implicate anyone. This week's episode of “The Path Went Chilly” covers the harrowing murders of an entire family which have remained unsolved for 65 years. Patreon.com/thetrailwentcoldPatreon.com/julesandashleyAdditional Reading:https://en.wikipedia.org/wiki/Walker_family_murders“In Colder Blood” by J.T. Hunterhttp://www.heraldtribune.com/news/20051218/unsolvedhttp://www.heraldtribune.com/news/20051219/the-suspects-a-litany-of-names-and-clueshttp://www.heraldtribune.com/news/20051220/a-last-hope-dna-could-crack-the-casehttp://www.heraldtribune.com/news/20121209/what-if-in-cold-blood-got-it-wrong-about-walker-murdershttp://www.heraldtribune.com/news/20121209/what-in-cold-blood-saidhttp://www.heraldtribune.com/news/20130813/no-dna-link-between-walker-murders-in-cold-blood-killers

In this interview, I chat with Ann Leary about I've Tried Being Nice, why she decided to write this essay collection, how she is trying to no longer be a people pleaser, how hard it can be to get along with people as an introvert, why your priorities change as you get older, and much more. Ann's recommended reads are: In Cold Blood by Truman Capote The Collector by John Fowles Looking for some great summer reads? Check out my Summer Reading Guide Preview or my complete printable 12-page 2024 Summer Reading Guide with 45 new titles vetted by me that will provide great entertainment this summer. Want to know which new titles are publishing in May - October of 2024? Check out our second Literary Lookbook which contains a comprehensive but not exhaustive list all in one place so you can plan ahead. Join my Patreon group to support the podcast.  Other ways to support the podcast can be found here.     I've Tried Being Nice can be purchased at my Bookshop storefront.      Connect with me on Instagram, Facebook, YouTube, and Threads.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Over the past several years, true crime's hold on the culture has tightened into a vice grip, with new titles flooding podcast charts and streaming platforms on a daily basis. This week on Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz take stock of the phenomenon, first by speaking with fans of the genre to understand its appeal. Then, onstage at the 2024 Cascade PBS Ideas Festival, they continue the discussion with The New Yorker's Patrick Radden Keefe, whose books “Empire of Pain” and “Say Nothing” are exemplars of the form. The panel considers Keefe's recent piece, “The Oligarch's Son,” which illuminates the journalistic challenges of reporting on sordid events—not least the difficulty of managing the emotions and expectations of victims' families. As its appeal has skyrocketed, true crime has come under greater scrutiny. The most successful entries bypass lurid details and shed light on the society in which these transgressions occur. But “the price you have to pay in sociology, in anthropology, in enriching our understanding of something beyond the crime itself—it's fairly high,” Keefe says. “You have to remember that this is a real story about real people. They're alive. They're out there.” This episode was recorded on May 4, 2024 at the Cascade PBS Ideas Festival, in Seattle, Washington. Read, watch, and listen with the critics:“UK True Crime Podcast”“My Favorite Murder”“Empire of Pain,” by Patrick Radden Keefe“Say Nothing,” by Patrick Radden Keefe“Paradise Lost,” by John Milton“A Loaded Gun,” by Patrick Radden Keefe (The New Yorker)“The Oligarch's Son,” by Patrick Radden Keefe (The New Yorker)“Capote” (2005)“In Cold Blood,” by Truman Capote (The New Yorker)“The Jinx: The Life and Deaths of Robert Durst” (2015, 2024)“Helter Skelter: The True Story of the Manson Murders,” by Curt Gentry and Vincent Bugliosi“Law & Order” (1990–)“Dahmer—Monster: The Jeffrey Dahmer Story” (2022)“The People v. O. J. Simpson: American Crime Story” (2016)“O.J.: Made in America” (2016)“Lost Girls: An Unsolved American Mystery,” by Robert KolkerNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. 

THE FEUD SEASON 2: CAPOTE VS THE SWANS REVIEW After his novel In Cold Blood in 1966, eccentric life of the party Truman Capote climbed the ladder of high life society and became the legendary culture icon we all know, love, and imitate to this very day. What's a scaling of social ladders though without… Read More »Screener Squad: The Feud Season 2: Capote vs the Swans

In this week's Flightless Bird, David Farrier talks to Terra Newell, who you may well know from the Dirty John podcast. We look at what makes the True Crime genre such a big deal, and some of the ethical questions it raises. David also shares his favourite 10 True Crime bits of media with Monica and Rob - which are: Dear Zachary (2008): A filmmaker decides to memorialize a murdered friend when his friend's ex-girlfriend announces she is expecting his son. Blackfish (2013) / The Cove (2009): A documentary following the controversial captivity of killer whales, and its dangers for both humans and whales. The Jinx: The Life and Deaths of Robert Durst (2015): Filmmaker Andrew Jarecki examines the complicated life of reclusive real estate icon Robert Durst, the key suspect in a series of unsolved crimes. The Staircase (2004): The high-profile murder trial of American novelist Michael Peterson following the death of his wife Kathleen Peterson in 2001. Last Call (2023): As the AIDS crisis intensifies in the early 1990s, homophobia and hate crimes increase, and a serial killer preys on gay men in New York City by infiltrating the queer nightlife to identify his victims. 6 The Thin Blue Line - 1988 (Errol Morris): A film that successfully argued that a man was wrongly convicted for murder by a corrupt justice system in Dallas County, Texas. Paradise Lost (1996): A horrific triple child murder leads to an indictment and trial of three nonconformist boys based on questionable evidence. Capturing the Friedmans (2003): Documentary on the Friedmans, a seemingly typical, upper-middle-class Jewish family whose world is instantly transformed when the father and his youngest son are arrested and charged with shocking and horrible crimes. The Imposter (2012): A documentary centered on a young man in Spain who claims to a grieving Texas family that he is their 16-year-old son who has been missing for 3 years. In The Dark Season 2: The second season of In the Dark explored the legal odyssey surrounding Curtis Flowers, who was accused of shooting four people to death inside Tardy Furniture, a Winona, Mississippi store, in July 1996 Honorable mentions: A Very Fatal Murder, American Vandal Other OGs: Helter Skelter (1974), In Cold Blood (1966), Making a Murderer (2018), Serial (2014) Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Episode 163, Sara Hildreth, from @FictionMatters and co-host of the podcast Novel Pairings, returns for her third appearance on our show as our expert for Classics & Retellings 101. Sara guides us through the sometimes intimidating world of timeless reads in an accessible way. She busted some myths about classics and changed my mind about some elements of the classics. And, she has a great approach to find the perfect retelling of your favorite classics for your next read.  This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Sara explores the definitions of a classic and a modern classic book. We talk about separating the American literature canon from the idea of a classic. Sara talks about being free to define classics on personal terms. The idea of a book being labeled a “future classic.” Now-famous books that went unnoticed initially when they were released. Sara's personal reading motivations. Common issues people have when trying to tackle classic books. Notable quirks of many classics that were first published as serials. Tips and advice for approaching older books. Addressing the pressure surrounding reading or revisiting classics. Examples of nonfiction classics. Legal considerations for all those retellings. The rise of retellings as a trend with today's audience. The difference between retellings and fan fiction. Sara's recommendations for accessible classic literature. A different approach to finding the right retelling for your reading. Please note: Sara mistakenly mentions during the discussion that The Great Gatsbydid not come into popularity until its distribution to soldiers during World War I, when this actually occurred during World War II. Sara's Book Recommendations [49:02] Two OLD Books She Loves — Classics The Custom of the Country by Edith Wharton | Amazon | Bookshop.org [49:43] Passing by Nella Larson | Amazon | Bookshop.org  [53:12] Other Books Mentioned The Age of Innocence by Edith Wharton [50:58] The House of Mirth by Edith Wharton [50:59] Roman Fever and Other Stories by Edith Wharton [51:03] The Vanishing Half by Brit Bennett [55:44] Two NEW Books She Loves — Retellings Anna K by Jenny Lee | Amazon | Bookshop.org [57:35] The Chosen and the Beautiful by Nghi Vho | Amazon | Bookshop.org [1:00:28] Other Books Mentioned Anna Karenina by Leo Tolstoy [59:01] Gossip Girl by Cecily von Ziegesar [59:53] Crazy Rich Asians by Kevin Kwan [59:58] One Book She DIDN'T Love — Classic Adventures of Huckleberry Finn by Mark Twain | Amazon | Bookshop.org[1:03:25] One NEW RELEASE She's Excited About — Retelling and Classic Pairing The Garden by Claire Beams (April 9, 2024) | Amazon | Bookshop.org [1:05:12] Other Books Mentioned The Illness Lesson by Claire Beams [1:05:37] Little Women by Louisa May Alcott [1:05:41] The Secret Garden by Frances Hodgson Burnett [1:06:21] Last 5-Star Book Sara Read James by Percival Everett (March 19, 2024) | Amazon | Bookshop.org [1:07:47] Books Mentioned During the Classics Discussion The Bonfire of the Vanities by Tom Wolfe [3:44] Beloved by Toni Morrison [10:46] Demon Copperhead by Barbara Kingsolver [12:05] David Copperfield by Charles Dickens [12:19] James by Percival Everett (March 19, 2024) [13:29] Adventures of Huckleberry Finn by Mark Twain [13:34] Wide Sargasso Sea by Jean Rhys [13:51] Jane Eyre by Charlotte Brontë [14:02] The Great Gatsby by F. Scott Fitzgerald [14:45] Frankenstein by Mary Shelley [15:09] Gone Girl by Gillian Flynn [15:20] Wuthering Heights by Emily Brontë [24:27] A Model of Christian Charity: A City on a Hill by John Winthrop [26:35] A Vindication of the Rights of Woman by Mary Wollstonecraft [26:47] Narrative of the Life of Frederick Douglass by Frederick Douglass [26:54] The Diary of a Young Girl by Anne Frank [26:59] A Room of One's Own by Virginia Woolf [27:02] In Cold Blood by Truman Capote [27:14] The Talented Mr. Ripley by Patricia Highsmith [29:13] The Time Machine by H. G. Wells [29:20] The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson [29:23] Rebecca by Daphne du Maurier [29:30] The Handmaid's Tale by Margaret Atwood [29:36] The Women of Brewster Place by Gloria Naylor [29:45] The Most Dangerous Game by Richard Connell [30:17] The Yellow Wallpaper by Charlotte Perkins Gilman [30:20] The Lottery and Other Stories by Shirley Jackson [30:23] The Minority Report and Other Classic Stories by Philip K. Dick [30:26] Going to Meet the Man: Stories (with Sonny's Blues) by James Baldwin [30:37] Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance (with The Gilded Six-Bits) by Zora Neale Hurston [30:42] Their Eyes Were Watching God by Zora Neale Hurston [30:54] Kindred by Octavia E. Butler [31:00] Parable of the Sower by Octavia E. Butler [31:08] Books Mentioned During the Retellings Discussion Julia by Sandra Newman [33:38] 1984 by George Orwell [33:40] Hamlet by William Shakespeare [34:10] Emma by Jane Austen [34:24] The Taming of the Shrew by William Shakespeare [34:28] The Kind Worth Killing by Peter Swanson [34:45] Strangers on a Train by Patricia Highsmith [34:51] Everyone in My Family Has Killed Someone by Benjamin Stevenson [35:04] And Then There Were None by Agatha Christie [35:08] The Winters by Lisa Gabriele [35:35] The Odyssey by Homer [36:38] The Song of Achilles by Madeline Miller [37:00] Circe by Madeline Miller [37:01] Hogarth Shakespeare series by various authors [37:53] Canongate Myth Series by various authors [37:57] The Austen Project series by various authors [38:00] Eligible by Curtis Sittenfeld [38:03] Naamah by Sarah Blake [38:56] Anna K by Jenny Li [40:10] Anna Karenina by Leo Tolstoy [40:20] Tom Lake by Ann Patchett [40:41] Beautiful Little Fools by Jillian Cantor [42:36] Stone Blind by Natalie Haynes [44:14] Marmee by Sarah Miller [44:17] Little Women by Louisa May Alcott [44:22] Gone with the Wind by Margaret Mitchell [44:38] Ruth's Journey: A Novel of Mammy from Margaret Mitchell's Gone with the Wind by Donald McCaig [44:40] Pride by Ibi Zoboi [45:19] Other Links The Atlantic | Italo Calvino's 14 Definitions of What Makes a Classic by Maria Popova (July 7, 2012) Novel Pairings | The Custom of the Country by Edith Wharton (February 27, 2024) About Sara Hildreth Website | Instagram | Facebook  Sara Hildreth is the creator behind FictionMatters, a literary Instagram account, newsletter, and book club focused on putting thought-provoking books into the hands of adventurous readers. She also co-hosts Novel Pairings, a podcast dedicated to making the classics readable, relevant, and fun.

In this continuing Alicia's Version working through the FX/Hulu series from Ryan Murphy, Feud: Capote vs. The Swans, it is time to conquer Episode Three, Masquerade 1966. In this first episode of a double-drop week, we focus on everything but The Black and White Ball. That is a whole episode on its own. Here, we explore In Cold Blood, Truman's Sagaponack Home and 1966 documentary, and C.Z Guest's husband's problems with the IRS. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Anthony Edwards is probably best known as Dr. Mark Greene on the series “ER.” Edwards has received four Emmy nominations for Outstanding Lead Actor in a Drama Series. Edwards has won three Screen Actor's Guild Awards (Outstanding Performance by a Male Actor in a Drama Series in 1996 and Best Ensemble Cast in 1998 and 1999.) He won the Golden Globe Award in 1998. In the theater Edwards was seen on Broadway in Children of a Lesser God, Classic Stage Company's Month in the Country, WPA Shem Bitterman's Frozen, Williamstown Theater festival Harvey and Joyce Carol Oates's Black. Edwards has starred in more than twenty features, including his memorable turn as "Goose" in the blockbuster feature Top Gun. Other feature film credits include; Consumed, Experimenter, Big Sur, Motherhood with Uma Thurman, Flipped directed by Rob Reiner, and Zodiac directed by David Fincher. Thunderbirds, Forgotten, Playing by Heart, The Client, Miracle Mile, Mr. North, Hawks, Pet Semetary II, Delta Heat, Landslide, The Sure Thing, Gotcha, Revenge of the Nerds, Heart Like a Wheel, and Fast Times at Ridgemont High. Edwards recently starred in both the Apple series “WeCrashed” and the Netflix mini-series “Inventing Anna”, created by Shonda Rhimes. Other television credits include ”Law and Order True Crimes: the Menendez Murders”, “Zero Hour”, “Girls”, “Blue Bloods”, “Billions”, “Northern Exposure” and “It Takes Two” as well as the telefilms “In Cold Blood”, “El Diablo”, “Hometown Boy Makes Good”, “Going for the Gold: The Bill Johnson Story”, “High School USA” and “The Killing of Randy Webster”. Edwards made his feature directing debut with My Dead Boyfriend in 2016. He also directed several episodes of “ER”. Edwards was an Executive Producer of the HBO biopic “Temple Grandin”, which won multiple Emmys and Golden Globes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

FX is debuting a new series created by Ryan Murphy — called Feud: Capote and the Swans -- regarding writer Truman Capote's relationship with several famed New York society women. And it's such a New York story that listeners have asked if we're going to record a tie-in show to that series. Well, here it is! Capote -- who was born 100 years ago this year -- and the "swans" are part of the pivotal cast of this podcast, the story of one of the most exclusive parties ever held in New York. Tom and Greg recorded this show back in November of 2016 but, likely, most of you haven't heard this one.Truman was a true New York character, a Southern boy who wielded his immense writing talents to secure a place within Manhattan high society. Elegant, witty, compact, gay — Capote was a fixture of swanky nightclubs and arm candy to wealthy, well-connected women.One project would entirely change his life — the completion of the classic In Cold Blood, a ‘non-fiction novel' about a horrible murder in Kansas. Retreating from his many years of research, Truman decided to throw a party.But this wasn't ANY party. This soiree — a masquerade ball at the Plaza Hotel — would have the greatest assemblage of famous folks ever gathered for something so entirely frivolous. An invite to the ball was the true golden ticket, coveted by every celebrity and social climber in America.FEATURING: Harper Lee, Lauren Bacall, Leonard Bernstein, Frank Sinatra, Robert Frost, Lillian Hellman, Halston, Katherine Graham and a cast of thousands (well, or just 540)Visit our website for fabulous pictures of this star-studded affairOTHER RECOMMENDED LISTENING:The History of the Plaza HotelThe Beatles Invade New YorkLeonard Bernstein's New York, New YorkAt Home With Lauren Bacall  

Jeff Stanfield & Andy Shaver discuss everything going on around The Big Honker Lodge and both have come to the realization that Andy has become the grumpy old man amongst the guide staff. Then, they share their opinion on the Mahomes temper tantrum and look at one of America's most famous true crime novels, In Cold Blood, by Truman Capote. Finally, they search for the true meaning of Christmas and look at how hollow the holiday has become.