Podcast appearances and mentions of Iris Murdoch

1 september. Mattias Svensson samtalar med Anna Victoria Hallberg om hennes bok ”Du berör min själ: Scener ur ett liv med Iris Murdoch”. Utöver Iris Murdochs tankar och författarskap diskuterar de individens frihet, tråkiga filosofer och hur man blir en borgerlig bohem.

Welcome to a new season of the Iris Murdoch Podcast! In this episode we're celebrating the 50th anniversary of the publication of one of Murdoch very best novels, and one of the six first-person male narrated novels, A Word Child. This is a revisit as we discussed this wonderful novel way back in 2021 – it was our ninth podcast and this episode is our seventieth! – so if you might want to catch up with that one if you love this novel. As you might expect, we also discuss a wide range of Murdoch's other novels. Joining Miles is Frances White. Frances is the Deputy director of the IMRC here at Chichester and the author of many works on Murdoch, the most recent being the edited collection Iris Murdoch and the Western Theological Imagination (Palgrave, 2025) And joining Frances and Miles is Liz Whittome. For many years she was the Chief and Principal Examiner of English for Cambridge Examinations. She has published several books on studying English at A-Level with Cambridge University Press. She is currently writing a monograph on Murdoch and Shakespeare.

We're counting down the days until the publication of The Hallmarked Man! Nick Jeffery and John Granger take perhaps the last look at Rowling's most recent postings before they dive into discussion about the meaning and artistry of Strike8.In today's conversation, they review Rowling's relationship with Stephenie Meyer, the author of the Twilight series, a New York Times feature article ‘The Wizard's Everlasting Spell' about the growth of Potter fan fiction with a romantic twist, and Rowling's acerbic review of Nikola Sturgeon's memoir Frankly. Nick and John discuss along the way the initial response of cultural gatekeepers to the quality of the writing in Harry Potter, the history of Rowling's relationship with the writers of romantic fan fiction using her characters in light of Fifty Shades of Gray, and Hogwarts Professor's role in making ‘Rowling Studies' legitimate and the culture-wide acceptance of Rowling as a writer of merit “something we've always known” rather than a controversial assertion.And what does all that have to do with the imminent release of Hallmarked Man? Nick and John share their more-than-tentative plans for reading Strike8 and the best way — not the only way, of course, but a much better way than, say, cataloging predictions everyone will forget by mid-September — to prepare for our first reading of an epic Rowling-Galbraith title.We hope you are as excited as we are to the advent of Hallmarked Man and that you're looking forward to exploration of its breadth and depth beneath the surface plot with us in the coming month!Links To Subjects Discussed Above:The Wizard's Everlasting Spell Why Magic, Dragons and Explicit Sex Are in Bookstores Everywhere: Romantasy is propping up the fiction market. Thanks to a generation that grew up reading about a boy wizard. (The New York Times, 20 August 2025, Alexandra Alter)The new version of the [‘Dramione' Potter fan fiction] story that so captivated Ms. Stallone will soon be released as “Alchemised,” and the novel's publisher, Del Rey, is betting that the feverish devotion to its fanfiction predecessor will translate into blockbuster sales. Del Rey has ordered a first printing of 750,000 copies for the novel's release in late September; translations are lined up in 21 languages.Besides appealing to hordes of existing fans, “Alchemised” has another advantage: It taps into the raging appetite for romantasy, a subgenre that blends fantasy elements like magic, fairies and dragons with love, yearning and explicit sex.In a way, the romantasy explosion — driven by the success of blockbuster authors like Sarah J. Maas and Rebecca Yarros, whose series have sold millions upon millions of copies — stems from the legacy of popular young adult series like “Twilight” and “Harry Potter.” Those books molded generations of young readers who have grown up but still crave big fantasy novels — now with a dose of erotica.“They grew up with the characters, and the stories ended, but there's still such a huge appetite,” said Leah Hultenschmidt, publisher of the romance imprint Forever. “They're still hungry for that magical world building, an epic cast of characters and heroism, and maybe they just want it a little spicier.”Publishers are frantically searching for the next breakout romantasy series. Last year, romantasy sales topped more than 32 million copies in print alone, a 47 percent jump over the previous year, according to Circana Bookscan. Five of the 10 best-selling adult fiction titles this year are romantasies. At the same time, adult fiction sales overall have stagnated.The kind of romance that's selling like crazy now — erotically charged genre mash-ups — first took off in fanfiction before publishers recognized there was an appetite for it.“For a long time, you had to go to fanfiction to find that,” said Anne Jamison, a professor of English at the University of Utah who has studied fanfiction. “Romantasy basically is what fanfiction made.”* Alchemized Sen Lin Yu* ‘Romantasy' Novels on Amazon, Etc.The twilight of Nicola Sturgeon: J.K. Rowling reviews FranklyI know I'm stating the obvious, and I'll probably be one of countless reviewers making the same point, but it's impossible to read Nicola Sturgeon's memoir without remembering the smash hit fictional franchise, Twilight by Stephenie Meyer. For those who don't know (ie, everyone who wasn't a tween or teenage girl, or living with one, 2005-2015), Twilight was massively popular for roughly a decade, each new book or film being greeted adoringly by its devoted fans. [opening paragraph)Rowling and Romantasy:* ‘The Twenty Richest Authors in the World:' Rowling #2 (!), Meyer #18, Collins #20* The Sunday Times' List of the “100 Bestselling Books of the Last Five Decades:” Rowling #23, Meyer #42, 58, 59, and 64* Twilight Book Sales * Stephen King: “Stephenie Meyer Can't Write Worth a Darn”* Speaking of Disappearances – Whatever Happened to Stephenie Meyer?* Fifty Shades of Grey Book Sales* ‘Fifty Shades Outsells Harry Potter'* ‘Rowling Refuses to Read Fifty Shades'* Rowling about Sales of Fifty Shades: “Just think how many books I could've sold if Harry had been a bit more creative with his wand.”Rowling August 2025 Tweet about Writers who are All Lake No Shed (and Vice-Versa) The Silkworm and its Women Writers:* Kathryn Kent: “I write fantasy with a twist… It's fantasy slash erotica really, but quite literary” (416) “She makes Dorcus Pengelly look like Iris Murdoch” (232)* Dorcus Pengelly: “She writes pornography dressed up as historical romance” (225)* Elizabeth Tassel: All Shed, No Lake (per Strike)You told Quine that Bombyx Mori sounded brilliant, that it would be the best thing he'd ever done, that it was going to be a massive success, but that he ought to keep the contents very, very quiet in case of legal action, and to make a bigger splash when it was unveiled.And all the time you were writing your own version. You had plenty of time to get it right, didn't you, Elizabeth? Twenty-six years of empty evenings, you could have written plenty of books by now, with your first from Oxford… but what would you write about? You haven't exactly lived a full life, have you?… (442)Did it feel good, raping and killing your way through everyone you knew, Elizabeth? One big explosion of malice and obscenity, revenging yourself on everyone, painting yourself as the unacclaimed genius, taking sideswipes at everyone with a more successful love life, a more satisfying — (440)* Michael Fancourt about women writers (298):I said that the greatest female writers, with almost no exceptions, have been childless. A fact. And I have said that women generally, by virtue of their desire to mother, are incapable of the necessarily single-minded focus anyone must bring to the creation of literature, true literature. I don't retract a word. That is a fact.* Hobart's Sin, Owen Quine's first and best novel, the “Key” to Tassel's Bombyx Mori, the “book within a book:” “The plot of Hobart's Sin turns on Hobart, who's both male and female, having to choose between parenthood and abandoning his aspirations as a writer: aborting his baby, or abandoning his brainchild” (229)* “It's all about a hermaphrodite who's pregnant and gets an abortion because a kid would interfere with his literary ambitions” (242)* Rowling about The Silkworm: It is the Story that Inspired the Series, the Lake OriginActually, the plot for Silkworm predated the plot for Cuckoo's Calling. I'd had the idea for that plot, the book within the book, for seven or eight years before I wrote it. That often happens with me, I have an idea and I keep it and sit on it. But I keep it and I play with it like a Rubik's cube and there'll come a point where everything clicks and it's ready to be written. I have a lot of notebooks filled with these kinds of things. Silkworm was like that. I sat on that plot for a long time before using it.* “It's a novel about novels with another novel inside it” (~1;15)Reading for Wisdom and JolliesAn Introduction to and Example of Reading Rowling at Four Levels: A Quadrigal Reading of The Christmas PigReading Rowling the Hard, Right Way versus Enjoying the Surface Story and Discussing Themes: An Introduction to Perennialist ReadingTraditional Symbols in Harry Potter and Cormoran Strike: A Perennialist ViewHarry Potter's Bookshelf — What to Read to Understand Rowling's Artistry and How to Read Her Work to Grasp Her Meaning and IntentionThe Deathly Hallows LecturesHarry Potter as Ring Cycle and Ring Composition* ‘How Does Ring Composition Work Anyway?'Darke Hierogliphicks: Alchemy in English Literature from Chaucer to the Restoration (Stanton Linden)How to Think About The Ink Black Heart Pre-Publication – Seven Tools for Serious Readers to Review (February 2022)And Don't Forget!* In Praise of Friendship - a Robin and Strike Heresy Get full access to Hogwarts Professor at hogwartsprofessor.substack.com/subscribe

durée : 00:58:59 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - À travers ses romans et sa réflexion philosophique, Iris Murdoch explore des thèmes tels que la liberté, les relations humaines, le pouvoir des structures sociales, tout en donnant une voix complexe aux expériences féminines. En quoi consiste la voie féministe subtile indiquée par Iris Murdoch ? - réalisation : Nicolas Berger - invités : Camille Braune Doctorante en philosophie à l'université Paris 1 Panthéon-Sorbonne

durée : 00:59:08 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - En 1970, Iris Murdoch publie "La souveraineté du Bien", ouvrage marqué par ses lectures de Platon, de Wittgenstein ou encore de Simone Weil. Comment la conception du Bien d'Iris Murdoch nous donne-t-elle les clés afin de nous rendre (moralement) meilleurs ? - réalisation : Nicolas Berger - invités : Emmanuel Halais Philosophe français

durée : 00:59:47 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - Dans le premier roman d'Iris Murdoch "Sous le filet" (1954), nous suivons le héros Jake, empêtré entre sa paresse, ses galères d'argent, ses illusions qui perdurent et les inévitables malentendus du langage. En quoi ce roman est-il nourri par les préoccupations philosophiques de Murdoch ? - réalisation : Nicolas Berger - invités : Barbara Servant Docteure en littérature comparée, chercheuse associée au CERC Paris 3 Sorbonne Université et au CELLAM, Université de Rennes 2.

durée : 00:59:44 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - L'itinéraire philosophique d'Iris Murdoch (1919-1999) est marqué par les enseignements de Wittgenstein sur le langage, ainsi que par l'existentialisme sartrien. Comment découvrir la vérité si le langage peut mentir ? Peut-on percer le mystère de la vie humaine, en dépit de son opacité ? - réalisation : Nicolas Berger - invités : Frédéric Worms Philosophe, directeur de l'Ecole Normale Supérieure de Pari

In this lecture Miles Leeson, Director of the Iris Murdoch Research Centre at the University of Chichester, discusses Murdoch's reception by her contemporaries and look at the lighter side of how she was lampooned, both directly and indirectly, in the work of H.E. Bates, Malcolm Bradbury, Brigid Brophy, Barbara Pym and Ian McEwan, as well as the reception of her work by Philip Larkin and Monica Jones. Whilst a good deal of this was affectionate, and some even complementary, there was also a streak of jealousy and cruelty present. As Murdoch grew in popularity, and as a public intellectual figure, this became commonplace and is part of the mythic figure of ‘Iris' that was played out in the 2001 film, but has now has begun to fade from the public imagination. Miles's lecture asks what it might mean for us to admire her work today in the light of these texts.

Ein Gastmahl "Er schrieb das Leben, aber wenn er lebte, verschrieb er sich." Veza Canetti wusste, wovon sie sprach. Sie war die erste Frau von Elias Canetti. Er selbst inszenierte sich scharfsinnig, begabt, schöpferisch, einzigartig. Wie sehr er seinem eigenen Bild tatsächlich entsprechen konnte oder wie oft er sich "verschrieb", hing nicht zuletzt von seinen Liebesbeziehungen ab. Sie richteten ihn auf oder rissen ihn zu Boden. Hier melden sich die Frauen zu Wort. In einem sind sie sich einig: Mit Canetti war es eine endlose Quälerei. Aber ganz ohne ihn war die Welt ohne Sinn. Veza Canetti, Friedl Benedikt, Marie-Louise von Motesiczky, Iris Murdoch und Hera Canetti bekommen Stimmen, Gesichter und Körper. Sie erzählen und streiten, sie lesen aus Tagebüchern und Briefen, auch aus unveröffentlichten Texten von Canetti. Sie zeigen das Licht und die Schatten in ihren Leben, mit und ohne den Mann, der ihre große Liebe war. In einem sind die Frauen sich einig: Mit Canetti war es eine endlose Quälerei. Aber ganz ohne ihn war die Welt ohne Sinn. Von Ina Strelow Redaktion: Joachim Dicks Produktion: NDR 2014

It's more clear than ever that outdated concepts of governance are failing the people, with horrifying results. Let's embrace a new concept of anationality (which rejects nationalism as atheism rejects religion) and search for a more humane ethics of attention, empathy and unselfing, such as can be found in the philosophy of Iris Murdoch.

Nytt ljus riktas mot fyra kvinnliga filosofer som försökte återupprätta moralen efter andra världskrigets grymheter - frågor som talar rätt in i vår oroande tid. Lyssna på alla avsnitt i Sveriges Radio Play. I Oxford möttes fyra kvinnor som skulle komma att revoltera mot den analytiska filosofin som hade dominerat universitetet fram till andra världskriget. Logiken stod i centrum, människan hade reducerats till en maskin och frågor om kärlek, mening, godhet och ondska viftades bort som subjektiva värden och nonsens. Iris Murdoch, Elizabeth Anscombe, Mary Midgley och Philippa Foot träffades i en tid då de manliga filosofistudenterna kallades in i kriget och flyktingar från Europa intog lärosätena. Kriget och avslöjandet om förintelsens fasor påverkade deras filosofi. De tog tillbaka moralen in i filosofin, vidgade samtalet om vad det var att vara människa, rotade moralen i djur, natur och mänskligt liv. Nu hålls konferenser och det skrivs böcker om deras liv och filosofi, senast i svensk översättning kom Kvinnorna i Oxford, skriven av filosoferna Clare Mac Cumhail och Rachael Wiseman. Idag när krig efter krig startas och kriser radas på varandra, vad kan dessa filosofer säga vår tid?Medverkande: Lyra Ekström Lindbäck, filosof och författare och Frits Gåvertsson, filosof och forskare vid avdelningen för idé- och lärdomshistoria vid Lunds universitet.Programledare: Cecilia Strömberg WallinProducent: Marie LiljedahlVeckans tips:Bok:Naturlagarna - Eirikur Örn NorddahlMuseum:Skissernas Museum i Lund

In this second episode focused on Existentialists and Mystics we'll be reading two essays – ‘Thinking and Language' and ‘Nostalgia for the Particular' – together. If you've yet to listen to our prior episode on Murdoch earliest work on Sartre then you may wish to catch up with that, before you listen to us here. Both essay were originally give as oral presentations. The first, ‘Thinking and Language' came from a symposium entitled, naturally enough, Thinking and language and was part of a conversation between Murdoch, Gilbert Ryle and A.C. Lloyd in 1951. The second, ‘Nostalgia for the Particular' was read at a meeting of the Aristotelian Society on the 9th June 1952. As both papers reference each other in their published form it seemed obvious to discuss them together on one episode. Miles is joined by Lesley Jamieson. Lesley is an Assistant Professor and postdoctoral researcher at the Centre for Ethics as Study in Human Value at the University of Pardubice (Czechia) and her research has centred on the history of analytic philosophy (with a focus on women, especially Iris Murdoch). This work has resulted in a monograph entitled Iris Murdoch's Practical Metaphysics: A Guide to her Early Writings (Palgrave, 2023), as well as a number of articles on the philosophy of mind and philosophy of education. Lesley's current research is an examination the practice of "public philosophy" just prior to and after the Second World War among such figures as Susan Stebbing, A. J. Ayer and Iris Murdoch.

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

Send us a textIf Brigid Brophy's The King of a Rainy Country had a soundtrack, it might include the soft patter of rain on a garret window, jazz drifting from a smoky cafe, the hum of a Vespa on narrow cobblestone streets … and the obnoxious griping of a few dozen uncultured Americans! As the description suggests, Brophy's 1956 novel has a little bit of everything  — atmosphere, nostalgia and poignancy mixed with subversive wit and madcap antics. Kim and Amy play “tour guide” examining Brophy's life and accomplishments, including this wonderfully quirky book, recently reissued by McNally Editions.Mentioned in this episode:McNally Editions The King of a Rainy Country by Brigid BrophyMarginalia article about Brigid Brophy and Iris Murdoch by Maria PopovaLost Ladies of Lit Episode No. 51 on Rosamond LehmannDusty Answer by Rosamond LehmannLost Ladies of Lit Episode No. 150 on Elizabeth SmartBy Grand Central Station I Sat Down and Wept by Elizabeth SmartLost Ladies of Lit Episode No. 184 on Elizabeth Taylor Vs. Elizabeth TaylorBBC program “Take it Or Leave It”In Transit by Brigid BrophyHackenfeller's Ape by Brigid BrophyThe Snowball by Brigid BrophyFifty Works of English Literature We Could Do Without by Brigid Brophy, Michael Levey and ??The Crown Princess and Other Stories by Brigid Brophy“Spleen” by BeaudelaireDeath in Venice by Thomas Mann“As You Like It” by William ShakespeareSupport the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter. Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

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In this episode, we discuss Chapter 6 of Cusk's Outline alongside an essay by Murdoch called The Idea of Perfection. In this essay, Murdoch argues that the way we pay attention to the world is ethically significant. We talk about how Cusk's narrator attends to the world, and what this leads the reader to infer about her character and sense of self. Speaker names: • Dr. Scarlett Baron, Associate Professor in the English Department at UCL. • Alice Harberd, PhD Student in the Philosophy Department at UCL.

Miles is joined by Lucy Oulton (University of Chichester) to discuss her new book, Iris Murdoch's Wild Imagination: Nature and the Environment (Palgrave, 2025). https://link.springer.com/book/10.1007/978-3-031-87833-6 This book presents the first ecocritical study of novelist, philosopher, poet and public intellectual Iris Murdoch (1919–1999). It brings her love of the natural world into the light, arguing for its critical significance when Murdoch conveys an awareness of intricately interconnected ecologies through her work: an awareness that anticipates the motivations and concerns of modern-day environmental humanities. The book is the first of its kind to assess some of Murdoch's poems, seen as early articulation of the environmental imagination that finds recurrent expression in her novels, philosophical writings and personal journals throughout her writing life. This book offers a significant entry point for a new research direction in Murdoch studies by explicating her unique perspective on the natural world. Lucy Oulton is a Research Associate at the Iris Murdoch Research Centre, University of Chichester, UK. She is an Editor of the Iris Murdoch Review, to which she has also contributed.

Den brittiska författaren Iris Murdoch är känd både för sin verksamhet som filosof och för sin rika skönlitterära produktion. Men också som en excentrisk och spännande personlighet. Kärlek och uppmärksamhet var två centrala teman i såväl hennes moralfilosofiska reflektioner som i hennes skönlitterära gestaltningar. Livet beskrev hon som en pilgrimsfärd från ouppmärksamhet till deltagande närvaro i världen. En närvaro som bär på religiösa och djupt andliga dimensioner. Litteraturvetaren Anna Victoria Hallberg är aktuell med en personlig bok om Murdoch, ”Du berör min själ” (Fri tanke). I det här avsnittet samtalar John Sjögren med Hallberg om Murdochs liv och tänkande. Ett samtal som landar i det outsägliga, i den svåra konsten att låta det oförklarliga förbli oförklarligt.

In this episode Miles is joined by joined by Mark Hopwood, Associate Professor of Philosophy, from the University of Sewanee, USA to discuss his new book – which has just been published – The Moral Philosophy of Iris Murdoch. This is his first monograph since he published the co-edited volume that he's perhaps best known for in Murdoch circles, the magisterial Murdochian Mind in 2022. Both books published by Routledge. https://blackwells.co.uk/bookshop/product/The-Moral-Philosophy-of-Iris-Murdoch-by-Mark-Hopwood/9780367819576 Examining the role of vision, imagination, love, goodness, and transcendence in Murdoch's work, The Moral Philosophy of Iris Murdoch presents a compelling and original argument that she is one of the major moral philosophers of the twentieth century.

Compra 'La campana' aquí: ⁠https://www.onallibres.cat/la-campana-9788418858895Aquesta setmana a L'illa de Maians, presentat i dirigit per Bernat Dedéu, parlem del llibre 'La campana', d'Iris Murdoch. L'edita Edicions de 1984 el 2025.En parlem amb Marina Porras i Jaume C. Pons Alorda. Un podcast d'Ona Llibres - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onallibres.cat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Presentat i dirigit per Bernat Dedéu.Edició i realització per Albert Olaya.

More at https://www.philosophytalk.org/shows/iris-murdoch. Iris Murdoch may be best known for her works of fiction, but her philosophical contributions were equally significant. A moral realist influenced by Plato and Simone Weil, she developed theories in virtue ethics and care ethics. So what is the relationship between Murdoch's works of fiction and her philosophical writings? Why did she believe that "nothing in life is of any value except the attempt to be virtuous"? And given that, why did she think human life has no purpose? Josh and Ray explore Murdoch's life and thought with Eva-Maria Düringer from the University of Tübingen, author of "Evaluating Emotions."

In this, her first public lecture, Dr Maria Peacock discusses Iris Murdoch's search for home using examples from her novels and biography. This lecture was given at the University of Chichester on Saturday 29th March, 2025.

S3E100 Miles Leeson returns to the podcast to talk about Iris Murdoch, this time concentrating on her short collection of poems, A Year of Birds.    Miles and Ash discuss connections between Murdoch's poetry and philosophy, the critical reputation of her poems and some of the folklore tradition associated with her chosen birds.    To pre-order a copy of Poems from an Attic:  https://www.penguin.co.uk/books/470920/poems-from-an-attic-by-murdoch-iris/9781784746124 And to listen to The Iris Murdoch podcast: https://podcasts.apple.com/gb/podcast/the-iris-murdoch-society-podcast/id1506230228   Title Music: 'Not Drunk' by The Joy Drops. All other music by Epidemic Sound.  @earreadthis earreadthis@gmail.com facebook.com/earreadthis

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 3549: Spending time in nature and reconnecting with cherished childhood places can offer a profound shift in perspective. Rachel Macy Stafford reflects on how revisiting her aunt and uncle's home after decades helped her rediscover the power of "unselfing," turning attention outward to embrace the beauty of the world beyond personal worries. By zooming out, immersing in nature, and appreciating life's vastness, we can find strength and clarity in unexpected ways. Read along with the original article(s) here: https://www.handsfreemama.com/2023/08/25/i-hope-you-feel-small-the-surprising-upside-of-unselfing/ Quotes to ponder: "This card reminded me of your long driveway. Every time we pulled into the driveway leading up to your house, my heart raced with excitement and happiness." "At home, I tended to make myself the center of my own universe, so naturally, everything felt big and overwhelming. But at my aunt's house, I was immersed in the beauty of nature using all of my senses." "Experiences that refresh our energies, calm our anxieties, and nurture our well-being are more accessible than we might think." Episode references: The Sovereignty of Good by Iris Murdoch: https://www.amazon.com/Sovereignty-Good-Iris-Murdoch/dp/0415253993 Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 3549: Spending time in nature and reconnecting with cherished childhood places can offer a profound shift in perspective. Rachel Macy Stafford reflects on how revisiting her aunt and uncle's home after decades helped her rediscover the power of "unselfing," turning attention outward to embrace the beauty of the world beyond personal worries. By zooming out, immersing in nature, and appreciating life's vastness, we can find strength and clarity in unexpected ways. Read along with the original article(s) here: https://www.handsfreemama.com/2023/08/25/i-hope-you-feel-small-the-surprising-upside-of-unselfing/ Quotes to ponder: "This card reminded me of your long driveway. Every time we pulled into the driveway leading up to your house, my heart raced with excitement and happiness." "At home, I tended to make myself the center of my own universe, so naturally, everything felt big and overwhelming. But at my aunt's house, I was immersed in the beauty of nature using all of my senses." "Experiences that refresh our energies, calm our anxieties, and nurture our well-being are more accessible than we might think." Episode references: The Sovereignty of Good by Iris Murdoch: https://www.amazon.com/Sovereignty-Good-Iris-Murdoch/dp/0415253993 Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 3549: Spending time in nature and reconnecting with cherished childhood places can offer a profound shift in perspective. Rachel Macy Stafford reflects on how revisiting her aunt and uncle's home after decades helped her rediscover the power of "unselfing," turning attention outward to embrace the beauty of the world beyond personal worries. By zooming out, immersing in nature, and appreciating life's vastness, we can find strength and clarity in unexpected ways. Read along with the original article(s) here: https://www.handsfreemama.com/2023/08/25/i-hope-you-feel-small-the-surprising-upside-of-unselfing/ Quotes to ponder: "This card reminded me of your long driveway. Every time we pulled into the driveway leading up to your house, my heart raced with excitement and happiness." "At home, I tended to make myself the center of my own universe, so naturally, everything felt big and overwhelming. But at my aunt's house, I was immersed in the beauty of nature using all of my senses." "Experiences that refresh our energies, calm our anxieties, and nurture our well-being are more accessible than we might think." Episode references: The Sovereignty of Good by Iris Murdoch: https://www.amazon.com/Sovereignty-Good-Iris-Murdoch/dp/0415253993 Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Miles is joined by Prof. Bridget Clarke (University of Montana) to discuss her new book, entitled ‘Iris Murdoch' in the Cambridge Elements, Elements on Women in the History of Philosophy series from Cambridge University Press. https://blackwells.co.uk/bookshop/product/Iris-Murdoch-by-Bridget-Clarke/9781009358149 Bridget is Professor of Philosophy at the University of Montana and her research interests include the History of Ethics, Moral Psychology and, of course, Iris Murdoch, who she has been working on for the past twenty years or more. This new book, however, is her first monograph dedicated solely to Murdoch work. To access Iris Murdoch's Review of Dr Zhivago - mentioned at the end of the podcast - use this link: https://mailadminchiac-my.sharepoint.com/:w:/g/personal/m_leeson_chi_ac_uk/ESChvUwQ5xpIiacFzothi7QB8eT3VRQavDZRT83RCUuvVg?e=FEEhQe

In this podcast Miles is joined by Michela Dianetti and Lucy Elvis (both from Galway University, Ireland) discusses the role Murdoch's work can play in public philosophy. They discuss working with her philosophy, her radio play 'The One Alone', her novel 'The Unicorn', the Quartet biography 'Metaphysical Animals' and much more. Dr Michela Dianetti is a post-doctoral researcher at the University of Galway and a CPI (Community of philosophical inquiry) facilitator. Her PhD research developed a literary ethics of attention grounded in the philosophies of Simone Weil and Iris Murdoch, applying them to the literary work of Elsa Morante. She is currently researching the influence of Weil's and Murdoch's philosophies on Ann Margaret Sharp's theorization of P4C and the role of attention in CPI. mdianetti@universityofgalway.ie Dr. Lucy Elvis teaches and researches on issues in the Philosophy of Art and Culture and the Community of Philosophical Inquiry (CPI) as a faculty member at the University of Galway. She is a founding director of Curo Thinking for Communities and has practised philosophical thinking with communities in schools, libraries, galleries, and music festivals. Currently, she is researching the CPI as a forum for practising and developing attention as described by Iris Murdoch, Simone Weil and Hans-Georg Gadamer. lucy.elvis@universityofgalway.ie Some of the texts mentioned: Sharp, Ann Margaret, “Self-transformation in the community of inquiry” in Gregory, Maughn, and Megan Laverty, eds. 2019. In Community of Inquiry with Ann Margaret Sharp: Childhood, Philosophy and Education. 1st edition. London New York (N.Y.): Routledge. Mac Cumhaill, Clare, and Rachael Wiseman. 2022. Metaphysical Animals: How Four Women Brought Philosophy Back to Life. London: Chatto & Windus. White, Frances. 2012. “A Post-Christian Concept of Martyrdom and the Murdochian Chorus: The One Alone and T.S. Eliot's Murder in the Cathedral.” In Iris Murdoch: Texts and Contexts, edited by Anne Rowe and Avril Horner, 177–91. London: Palgrave Macmillan UK. And some websites to check out: https://aireinquiryandenvironment.wordpress.com/ https://www.universityofgalway.ie/colleges-and-schools/arts-social-sciences-and-celtic-studies/history-philosophy/disciplines-centres/philosophy/

In this episode Miles is joined by Ian D'alton (Trinity College, Dublin) and Frances White (University of Chichester) to celebrate the 60th Anniversary of Murdoch's ninth novel, The Red and The Green. Ian is a visiting research fellow in the Centre for Contemporary Irish History at Trinity College, Dublin, and his most recent work is Southern Irish Protestants: Histories, Lives and Literatures was published just a few months ago. https://www.amazon.co.uk/Southern-Irish-Protestants-Histories-Literature/dp/1916742505 Frances is a Visiting Research Fellow and Deputy Director of the Iris Murdoch Research Centre at the University of Chichester, editor of the Iris Murdoch Review, and Writer in Residence at Kingston University Writing School. Her prize-winning biography Becoming Iris Murdoch was published in 2014 (Kingston University Press) and her monograph, Iris Murdoch and Remorse: Beyond Forgiving? was published in 2024 https://link.springer.com/book/10.1007/978-3-031-43013-8 You can find an excellent article on Murdoch and Ireland by Frances White and Gillian Dooley here: https://www.tandfonline.com/doi/pdf/10.1080/0013838X.2019.1672449

In this episode Miles is joined by Daniel Read (University of Kingston) to discuss his new book, 'Degrees of Evil in Iris Murdoch's Fiction and Philosophy'. https://link.springer.com/book/10.1007/978-3-031-75841-6 We range across all of her published work - in literature, fiction and theology - and ask why the nature of evil obsessed her throughout her career.

durée : 00:59:01 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - À travers ses romans et sa réflexion philosophique, Iris Murdoch explore des thèmes tels que la liberté, les relations humaines, le pouvoir des structures sociales, tout en donnant une voix complexe aux expériences féminines. En quoi consiste la voie féministe subtile indiquée par Iris Murdoch ? - réalisation : Nicolas Berger - invités : Camille Braune Doctorante en philosophie à l'université Paris 1 Panthéon-Sorbonne

durée : 00:59:04 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - En 1970, Iris Murdoch publie "La souveraineté du Bien", ouvrage marqué par ses lectures de Platon, de Wittgenstein ou encore de Simone Weil. Comment la conception du Bien d'Iris Murdoch nous donne-t-elle les clés afin de nous rendre (moralement) meilleurs ? - réalisation : Nicolas Berger - invités : Emmanuel Halais

durée : 00:59:38 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - Dans le premier roman d'Iris Murdoch (1954), nous suivons le héros Jake, empêtré entre sa paresse, ses galères d'argent, des illusions qui perdurent et les inévitables malentendus du langage. En quoi ce roman est-il nourri par les préoccupations philosophiques de Murdoch ? - réalisation : Nicolas Berger - invités : Barbara Servant Docteure en littérature comparée, chercheuse associée au CERC Paris 3 Sorbonne Université et au CELLAM, Université de Rennes 2.

durée : 00:59:44 - Avec philosophie - par : Géraldine Mosna-Savoye, Antoine Ravon - L'itinéraire philosophique d'Iris Murdoch (1919-1999) est marqué par les enseignements de Wittgenstein sur le langage, ainsi que par l'existentialisme sartrien. Comment découvrir la vérité si le langage peut mentir ? Peut-on percer le mystère de la vie humaine, en dépit de son opacité ? - réalisation : Nicolas Berger - invités : Frédéric Worms Philosophe

(01:24) Mazen al-Hamada gaf een gezicht aan duizenden slachtoffers van Assads martelregime in Syrië. Hij was geen politicus, geen generaal, en geen beroemdheid, maar een gewone man die een ongewoon leven kreeg door de gruwelijkheden van de Syrische burgeroorlog. Een aantal jaar woonde hij in Nederland, in 2020 keerde hij terug naar Syrië. Op 9 december werd Hamada's lichaam gevonden in de Sednaya gevangenis. Lara Billie Rense praat met zijn goede vriend Khaled Al Haj Saleh. (15:08) Tweeëneenhalve eeuw geleden bouwde Eise Eisinga op de zolder van zijn woonhuis in Franeker een planetarium. Met minutieuze precisie maakte hij aan zijn plafond een bewegend zonnestelsel dat de banen van de zes dan bekende planeten volgde. Wat begon als een reactie op onrust en bijgeloof, eindigde als het oudste planetarium ter wereld dat nog werkt. Sinds vorig jaar staat het op de Unesco Werelderfgoedlijst. Historicus en biograaf Sandra Langereis schreef het boek ‘Machineman – De tijden van Eise Eisinga'. Lara Billie Rense spreekt met Langereis over de bouwer van dit beroemde planetarium. Wat maakte hem zo'n revolutionair van zijn tijd? (57:39) In de reeks Grote Geesten volgt Annette van Soest het spoor terug van filosoof en schrijver Iris Murdoch. Murdoch dankt haar bekendheid aan haar romans, zoals ‘Under the Net' en ‘The Sea, the Sea'. Ze leidde een onconventioneel leven, had relaties met verschillende mannen tegelijk, maar trok zich ook regelmatig terug om te schrijven. De laatste jaren van haar leven leed ze aan dementie. Annette van Soest praat met filosoof Mariëtte Willemsen, schrijver en Murdoch liefhebber Doeke Sijens en essayist en vertaler Hein Groen.

In de podcast Wat Blijft hoor je aflevering 11 van de 12-delige serie Grote Geesten over indrukwekkende denkers uit de Humanistische Canon. Annette van Soest volgt het spoor terug van filosoof en schrijver Iris Murdoch. Murdoch dankt haar bekendheid aan haar romans, zoals ‘Under the Net' (Modern Library 100 Best Novels) en ‘The Sea, the Sea' (Booker Prize). Ze leidde een onconventioneel leven, had relaties met verschillende mannen tegelijk, maar trok zich ook regelmatig terug om te schrijven. Ze leed de laatste jaren van haar leven aan dementie, iets dat leidend was in ‘Iris', de speelfilm over Murdochs leven naar het boek ‘Elegy for Iris' van Murdochs echtgenoot John Bayley. 

In this episode Miles is joined by Robert Cremins (University of Houston, Texas) and Daniel Read (Kingston University) to celebrate the anniversary of Murdoch's Whitbread Award-winning novel from 1974. They cover the culture of the 1970s, trauma, childhood, cruelty, black humour, love triangles, links to other writers, links to other novels by Murdoch and much more. Robert is a writer and Senior Lecturer in the Honours College at the University of Houston, and the Faculty Director of Creative Works. A novelist, short story writer and literary critic, Robert has got a lifelong love of Murdoch's fiction. He is currently working on next year's North American special edition of the Iris Murdoch Review which will be published in the Autumn of 2025. Daniel Read lectures at the University of Kingston and his monograph, Degrees of Evil in Iris Murdoch's Fiction and Philosophy, is due from Palgrave MacMillan in early 2025.

Álvaro Pombo, a sus 85 años, natural de Santander, se ha convertido en el Premio Cervantes 2024. A su faceta de novelista hay que añadir su aportación como escritor de relatos y de poesía con un estilo único y original, a pesar de ser clasificado dentro del realismo subjetivo. Autor de 'El metro de platino iridiado', pero también de 'La fortuna de Matilda Turpin', de 'Donde las mujeres' o del flamante 'El exclaustrado' que acaba de publicar Anagrama hace unas semanas. Este último título no solo está lleno de humor, también de reflexiones metafísicas, morales, religiosas... De eso vamos a hablar en unos minutos con la editora del Premio Cervantes, la directora de Anagrama Silvia Sesé, y con uno de los escritores que más admira al santanderino, Gonzalo Torné, con el que podremos analizar cuánto hay de Iris Murdoch en la obra de Pombo. Hemos estado en la rueda de prensa que ha dado hoy miércoles para celebrar el galardón. Vamos a seguir en cierto modo hablando de literatura, de alguien que escribe versos para luego cantarlos. Un músico, de Salamanca, que tomó una frase de un Premio Cervantes, de Jorge Guillén, para construir un álbum luminoso, optimista, pero crítico, realista; que habla, desde el principio, de muerte: Delgado.Escuchar audio

A conversation between Dr Jay Parini, a prolific author and the D.E. Axinn Professor of English and Creative Writing at Middlebury College, and Dr Stephen Blackwood, the founding president of Ralston College, recorded on the occasion of the release of a Ralston College short course, “Robert Frost: The American Voice,” taught by Dr Parini. Dr Parini discusses the film adaptation of his most recent book Borges and Me (2020), shares stories of his friendships with literary figures including Jorge Luis Borges, W. H. Auden, and Iris Murdoch, explains why poetry matters, and shares the fruits of a life “lived in literature.” Applications are now open for next year's MA program. Full scholarships are available. https://www.ralston.ac/apply Authors, Artists, and Works Mentioned in this Episode: Jay Parini, Borges and Me Alan Cumming Jorge Luis BorgesBeowulf Robert Burns Isaiah Berlin Homer Aeschylus Dante Michel de Montaigne William Wordsworth W. B. Yeats Brian Friel, Dancing at Lughnasa Robert Burns, “A Red, Red Rose” William Shakespeare, Romeo and Juliet Iris Murdoch, The Bell W.H. Auden Boethius Jay Parini, Robert Frost: A Life Robert Frost, “Fire and Ice” Jay Parini, Robert Frost: 16 Poems to Learn by Heart Robert Frost, “The Road Less Traveled” Robert Frost, “After Apple-Picking” Robert Frost, “Birches” Robert Frost, “Directive” Robert Frost, “Stopping By Woods on a Snowy Evening” Gerard Manley Hopkins Viktor Frankl, Man's Search for Meaning T. S. Eliot, Four Quartets

In this episode Miles is joined by Dr Frances White (University of Chichester) and Liz Whittome (Former Chief and Principal Examiner of English for Cambridge Examinations) to discuss dogs in Murdoch's Fiction. The episode covers Under the Net, The Sandcastle, The Nice and the Good, The Sacred and Profane Love Machine, The Green Knight and The Philosopher's Pupil in some depth as well as discussing other Murdoch novels. You can buy Chris Boddington's 'Iris Murdoch's People A-Z' via the society website, here: https://irismurdochsociety.org.uk/product/iris-murdoch-people-a-to-z/

Matías Rivas, Arturo Fontaine y Sofia García-Huidobro recomendaron "La carta de Joan Anderson", de Neal Cassady y el Mubi Fest Santiago 2024

In this episode Miles is joined by Prof. Larry Blum (U-Mass, USA) to discuss the intellectual and personal connections between Iris and Dorothy Emmet. This follows on from a previous episode on Emmet, which you can find in the Podcast archive. Professor Lawrence Blum is Distinguished Professor of Liberal Arts and Education and Professor of Philosophy. His scholarly interests are in race theory, moral philosophy, moral psychology, moral education, multiculturalism, social and political philosophy, philosophy of education, the philosophy of Simone Weil, and, more recently, philosophy and the Holocaust, and ethics and race in film. You can find his Stanford Encyclopaedia Entry on Murdoch here: https://plato.stanford.edu/entries/murdoch/ You can find materials on the Oxford Quartet, as well as Dorothy Emmet, here: https://www.womeninparenthesis.co.uk/

In this episode Miles is joined by Matt Congdon (Vanderbilt, USA), Sam Filby, (Northwestern, USA) and Francey Russell (Columbia, USA) to consider Murdoch's moral psychology. They discuss Murdoch's essay 'Vision and Choice in Morality' and 'On 'God' and 'Good''- you can find both in 'Existentialists and Mystics'. Also recommended is this article by Cora Diamond: https://www.abc.net.au/religion/cora-diamond-picture-of-the-soul-the-moral-psychology-of-iris-m/11316086 Matt Congdon is a philosopher at the University of Vanderbilt in Nashville, Tennessee specializing in ethics, social philosophy, and aesthetics. He writes about emotions, interpersonal recognition, moral change, the aesthetics of interpersonal ethical life, and the intersections of ethics and epistemology. His work on these topics has appeared in The Philosophical Quarterly, Analysis, Philosophy, The European Journal of Philosophy, Episteme, and Philosophical Topics, amongst others. His book, Moral Articulation: On the Development of New Moral Concepts appeared in November 2023 with Oxford University Press and you can hear him discussing it on a previous podcast so check that out if you've not already listened in. He is currently working on two new book projects: one on the aesthetic dimensions of interpersonal ethical life and one on the philosophy of Iris Murdoch. He is also working on essays on the non-propositional rationality of emotions, Iris Murdoch, and struggles for recognition. Francey Russell is Assistant Professor of philosophy at the University of Columbia, New York and works on issues in moral psychology and ethics broadly construed, often overlapping with topics in social philosophy and aesthetics, and drawing from contemporary and historical sources. She works mostly on Kant and Freud, but also Nietzsche and Cavell. She is writing a book on the concept of self-opacity and its significance for philosophical accounts of agency and moral psychology. She also writes film criticism, and is working on a project on cinematic aesthetics in genre films as well as the recent article in The Philosophical Quarterly ‘Moral Psychology as a Soul Picture', which illuminates Murdoch thinking in this very area. Sam Filby is currently working on his PhD thesis on Murdoch at Northwestern University, Chicago. His work focuses on Murdoch's aesthetics and – handily for this podcast – moral psychology and he's recently presented his work at the Sorbonne in Paris and, a few weeks ago, here at the University of Chichester.

Why is that when a loved one dies, grief seems inescapable--and then diminishes? The brilliant Edinburgh philosopher Berislav Marusic's "Do Reasons Expire? An Essay on Grief" begins with his grief for the unexpected and early loss of his mother: "I stopped grieving or at least the grief diminished, yet the reason didn't really change. It's not like that my mother stopped mattering to me or that I stopped loving her, but still this change in grief somehow seemed reasonable." What are philosophers and the rest of us to make of this durable insight? John is lucky to be joined in this discussion of Beri's thoughts on grief by by his new Brandeis philosophy colleague, Katie Elliott. She is not afraid to complicate things further, proposing to Beri that we distinguish between the immediate affective intensity of the initial loss and persistent negative emotions towards the fact of the loss, even when that initial affective heat of loss has faded. Beri reponds that emotions are "thinking with feeling" and we maybe want to be skeptical about splitting the two. Beri sees two aspects of grief: "On the one hand, the vision of loss that is constituted by grief and on the other hand, a vision of grief from a empirical or as some philosophers, like to say, a creature construction perspective." It is wrong to make a pragmatist case for the sheerly functional advantages of getting over grief, and also a mistake to see (like Sigmund Freud) grief as a kind of work, a task, to detach oneself from the mourned object. John asks what it means that he personalizes his sensation of grief, focussing not on the lost beloved, but on the way the beloved, or the lost beloved, remains present to him, a loss felt inside himself. Beri invokes Iris Murdoch's warning against the "fat relentless ego" (The Sovereignty of Good, 1970, p 50) intruding itself--when what really should be at stake is the lost object of one's grief. Beri closes by suggesting that grief doesn't happen to us in the way digestion happens (purely involuntary). Sure, grief is not strictly controllable, and yet because it is reasons responsive rather than simply somatic, it is me. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Why is that when a loved one dies, grief seems inescapable--and then diminishes? The brilliant Edinburgh philosopher Berislav Marusic's "Do Reasons Expire? An Essay on Grief" begins with his grief for the unexpected and early loss of his mother: "I stopped grieving or at least the grief diminished, yet the reason didn't really change. It's not like that my mother stopped mattering to me or that I stopped loving her, but still this change in grief somehow seemed reasonable." What are philosophers and the rest of us to make of this durable insight? John is lucky to be joined in this discussion of Beri's thoughts on grief by by his new Brandeis philosophy colleague, Katie Elliott. She is not afraid to complicate things further, proposing to Beri that we distinguish between the immediate affective intensity of the initial loss and persistent negative emotions towards the fact of the loss, even when that initial affective heat of loss has faded. Beri reponds that emotions are "thinking with feeling" and we maybe want to be skeptical about splitting the two. Beri sees two aspects of grief: "On the one hand, the vision of loss that is constituted by grief and on the other hand, a vision of grief from a empirical or as some philosophers, like to say, a creature construction perspective." It is wrong to make a pragmatist case for the sheerly functional advantages of getting over grief, and also a mistake to see (like Sigmund Freud) grief as a kind of work, a task, to detach oneself from the mourned object. John asks what it means that he personalizes his sensation of grief, focussing not on the lost beloved, but on the way the beloved, or the lost beloved, remains present to him, a loss felt inside himself. Beri invokes Iris Murdoch's warning against the "fat relentless ego" (The Sovereignty of Good, 1970, p 50) intruding itself--when what really should be at stake is the lost object of one's grief. Beri closes by suggesting that grief doesn't happen to us in the way digestion happens (purely involuntary). Sure, grief is not strictly controllable, and yet because it is reasons responsive rather than simply somatic, it is me. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why is that when a loved one dies, grief seems inescapable--and then diminishes? The brilliant Edinburgh philosopher Berislav Marusic's "Do Reasons Expire? An Essay on Grief" begins with his grief for the unexpected and early loss of his mother: "I stopped grieving or at least the grief diminished, yet the reason didn't really change. It's not like that my mother stopped mattering to me or that I stopped loving her, but still this change in grief somehow seemed reasonable." What are philosophers and the rest of us to make of this durable insight? John is lucky to be joined in this discussion of Beri's thoughts on grief by by his new Brandeis philosophy colleague, Katie Elliott. She is not afraid to complicate things further, proposing to Beri that we distinguish between the immediate affective intensity of the initial loss and persistent negative emotions towards the fact of the loss, even when that initial affective heat of loss has faded. Beri reponds that emotions are "thinking with feeling" and we maybe want to be skeptical about splitting the two. Beri sees two aspects of grief: "On the one hand, the vision of loss that is constituted by grief and on the other hand, a vision of grief from a empirical or as some philosophers, like to say, a creature construction perspective." It is wrong to make a pragmatist case for the sheerly functional advantages of getting over grief, and also a mistake to see (like Sigmund Freud) grief as a kind of work, a task, to detach oneself from the mourned object. John asks what it means that he personalizes his sensation of grief, focussing not on the lost beloved, but on the way the beloved, or the lost beloved, remains present to him, a loss felt inside himself. Beri invokes Iris Murdoch's warning against the "fat relentless ego" (The Sovereignty of Good, 1970, p 50) intruding itself--when what really should be at stake is the lost object of one's grief. Beri closes by suggesting that grief doesn't happen to us in the way digestion happens (purely involuntary). Sure, grief is not strictly controllable, and yet because it is reasons responsive rather than simply somatic, it is me. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode Miles is joined by Gary Browning (Oxford Brookes, UK) to discuss his new book, Iris Murdoch and the Political. https://global.oup.com/academic/product/iris-murdoch-and-the-political-9780192844989?cc=sy&lang=en& Gary Browning is Emeritus Professor of Political Thought at Oxford Brookes University. Gary has worked at Oxford Brookes University since 1997, first as a Lecturer and then a Professor. He was Associate Dean, 2010-20,, set up a series of Think Human Festivals, performing stand-up at the first and staging an event on Iris Murdoch and Listening in 2020. He was a member of the Executive of the Political Studies Association 1999-2005, editor of the journals, Politics and Contemporary Political Theory between 2000 and 2015, served as a member of the Council of the Hegel Society of Great Britain 1997-2020, co-organized the Oxford Conference for Political Thought for BIAPT 2015-2022, and was a member of the REF Panel of the UK, 2020. He has published 16 books, and over 70 articles and essays on major thinkers and thinkers in political thought.

The story of four remarkable women who shaped the intellectual history of the 20th century: Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch. On the cusp of the Second World War, four women went to Oxford to begin their studies: a fiercely brilliant Catholic convert; a daughter of privilege longing to escape her stifling upbringing; an ardent Communist and aspiring novelist with a list of would-be lovers as long as her arm; and a quiet, messy lover of newts and mice who would become a great public intellectual of our time. They became lifelong friends. At the time, only a handful of women had ever made lives in philosophy. But when Oxford's men were drafted in the war, everything changed. As Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch labored to make a place for themselves in a male-dominated world, as they made friendships and families, and as they drifted toward and away from each other, they never stopped insisting that some lives are better than others. They argued that courage and discernment and justice--and love--are the heart of a good life. The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics (Oxford UP, 2021) presents the first sustained engagement with these women's contributions: with the critique and the alternative they framed. Drawing on a cluster of recently opened archives and extensive correspondence and interviews with those who knew them best, Benjamin Lipscomb traces the lives and ideas of four friends who gave us a better way to think about ethics, and ourselves. Benjamin J. B. Lipscomb is Professor of Philosophy and Director of the Honors Program at Houghton University. He lives with his family in Fillmore, New York, when his teaching doesn't call him to London for a season. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Send us a Text Message.What does it mean to live a good life? How do we find meaning and happiness in our everyday lives? In this episode, Amy Julia Becker sits down with Meghan Sullivan, co-author of The Good Life Method and philosophy professor at Notre Dame, to explore:The narrow American understanding of the good lifeHow to help students (and all of us) explore the big questions about life, purpose, and meaningHow individuals with intellectual disabilities contribute to our understanding of humanityThe relationship between love, attention, and the good lifeExpanding our conceptions of work and vocation _SUBSCRIBE to Amy Julia's Reimagining the Good Life newsletter._Guest Bio:Meghan Sullivan is the Wilsey Family College Professor of Philosophy at the University of Notre Dame. She serves as Director of the University-wide Ethics Initiative and is the founding director of Notre Dame's Institute for Ethics and the Common Good, which will launch in the summer of 2024. In 2022, Sullivan published The Good Life Method with Penguin Press (co-authored with her teaching collaborator Paul Blaschko) based on a wildly popular introductory philosophy course she developed at Notre Dame called “God and the Good Life.” Sullivan has degrees from the University of Virginia, Oxford University, and Rutgers University, where she earned a PhD in philosophy. She studied at Balliol College, Oxford University, as a Rhodes Scholar._Connect Online:Website: meghansullivan.orgFacebook: @sullivan.meghan_On the Podcast:The Good Life Method: Reasoning Through the Big Questions of Happiness, Faith, and Meaning by Meghan Sullivan, Ph.D. and Paul BlaschkoQuestions for a Life Worth Living with Matt Croasmun (Yale)Young Minds in Critical Condition by Michael Roth _TRANSCRIPT: amyjuliabecker.com/meghan-sullivan/_YouTube: video with closed captions_Let's Reimagine the Good Life together. Find out more at amyjuliabecker.com.Connect with me: Instagram Facebook YouTube Website Thanks for listening!

Dame Judi Dench has played everyone from the writer Iris Murdoch to M in the James Bond films. But among the roles the actress is most closely associated, are Shakespeare's heroines and some of his villians. Amongst those roles are the star-crossed lover Juliet, the comical Titania and the tragic Lady Macbeth. Now she's reflecting on that work, and Shakespeare's work in Shakespeare: The Man Who Pays The Rent.The book is comprised of Dench's conversations with her friend, the actor and director Brendan O'Hea.For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.org.Email us at considerthis@npr.org.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy