Podcasts about Isaiah Berlin

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

In this, the seventh episode of our series on Isaiah Berlin and romanticism, I take a break from the discussion of German philosophers Hamann and Herder to discuss the historical and political context of Berlin's original scholarship - the mid 20th century - and reflect on current receptions of that consequential and possibly misunderstood period..#IsaiahBerlin #UK #facism #ColdWar #SamuelMoyn #Arendt #enlightnenemnt #honesty #ethics #romanticism #fanatacism #hermit #isolation #loneliness #politics #revolution #socialism #manners #mores #france #england  #liberalism #conservatism #socialcontract #rousseau #totalitarianism #diderot #rameau #classicalmusic #beethoven #psychology #behavior 

In the inaugural episode of a new series, Jim talks with David Krakauer about his intellectual formation and worldview. They discuss what woke up as David this morning, his commitments to chance and pattern seeking, his epiphany about the idea of the idea at age 12 or 13, his perverse attraction to the arcane and difficult, evolution as integral to intelligence, the risk-averse character of scholars and the sociology of science, the Santa Fe Institute's attempt to maintain revolutionary science, the Ouroboros concept challenging foundationalism in epistemology, the standard model of physics as foundational versus the view that you can establish foundations anywhere, string theory as a slowly dying pseudoscience, whether beauty is a useful guide in science, emergence and broken symmetries, Phil Anderson's "More is Different" paper, the Wigner reversal and the shift from law to initial conditions, rejecting both weak and strong emergence, effective theories and causally justified concepts, downward causality, micrograining versus coarse graining, the distinction between abiotic and biotic systems, games and puzzles as model systems for complexity, combinatorial solution spaces, heuristics as dimensional reducers and potentially the golden road to AGI, Isaiah Berlin's influence on David's worldview, negative versus positive liberties, value pluralism and historicity, the Fermi paradox and the possibility of alien life, the rational versus the irrational in human life, and much more. Episode Transcript JRS EP 192 - David Krakauer on Science, Complexity and AI JRS EP10 - David Krakauer: Complexity Science "A Minimum Viable Metaphysics," by Jim Rutt "More Is Different," by P.W. Anderson The Emergence of Everything, by Harold Morowitz David Krakauer's research explores the evolution of intelligence and stupidity on Earth. This includes studying the evolution of genetic, neural, linguistic, social, and cultural mechanisms supporting memory and information processing, and exploring their shared properties. President of the Santa Fe Institute since 2015, he served previously as the founding director of the Wisconsin Institutes for Discovery, the co-director of the Center for Complexity and Collective Computation, and professor of mathematical genetics, all at the University of Wisconsin, Madison.

Centraal staat Berlins beroemde onderscheid tussen negatieve vrijheid (vrij zijn van dwang) en positieve vrijheid (meesterschap over jezelf). Het gesprek raakt aan grote thema's als:denkdwang en consensusdemocratie versus totalitarismeverlichting en contraverlichtingnationalisme, emancipatie en identiteitwaardepluralisme: waarom waarden onvermijdelijk botsenAan de hand van actuele voorbeelden van klimaatdebat tot EU en hedendaagse politiek bespreken Sommer en Ru Frans waarom Berlins denken vandaag misschien wel relevanter is dan ooit.Isaiah Berlin waarschuwde voor grote systemen, absolute waarheden en ideologieën die beweren te weten wat goed is voor de mens. Vrijheid, zo betoogde hij, is geen eindtoestand maar een kwetsbaar domein dat steeds opnieuw verdedigd moet worden.

Professor Matthew Longo. Reflecting on the site thirty years later, Longo discusses the philosophical implications of freedom using Isaiah Berlin and Hannah Arendt. He contrasts Western "negative liberty" with the solidarity desired by East Germans, noting how the former borderland has transformed into an unremarkable green belt. 1985 CZECH FRONTIER

Οξφόρδη, 1958. Ο Αϊζάια Μπερλίν ανεβαίνει στο βήμα για μια διάλεξη που θα κρατήσει λιγότερο από μία ώρα κι όμως θα αλλάξει για πάντα τον τρόπο που μιλάμε για την ελευθερία.Για τον Μπερλίν, δεν υπάρχει μία ελευθερία. Υπάρχουν δύο. Η πρώτη είναι η αρνητική ελευθερία: να μην σου λέει κανείς τι να κάνεις. Η δεύτερη είναι η θετική ελευθερία: να μπορείς να γίνεις αυτό που θέλεις. Και οι δύο ακούγονται όμορφες. Αλλά η δεύτερη, λέει ο Μπερλίν, είναι επικίνδυνη. Γιατί πολλές φορές, πίσω από το «ξέρω εγώ τι είναι καλό για σένα», ξεφυτρώνουν πατερναλισμοί, αυταρχισμοί, μικρές ή μεγάλες τυραννίες.Στο δέκατο επεισόδιο των Βιβλίων της Ελευθερίας μιλάμε για το πιο απλό αλλά και πιο δύσκολο δίλημμα: θέλουμε ελευθερία από ή ελευθερία για; Κι έχει άραγε κόστος η απάντηση;ΣυντελεστέςΑφήγηση: Επιστήμη ΜπινάζηSound design: Δάφνη Γερογιάννη

#mitchhampton #IsaiahBerlin #romanticism #TomStoppard #arts #culture #podcast On this, the sixth episode of our miniseries on Isaiah Berlin and Romanticism, I continue to emphasize prose style and conclude the subject of the art of letter writing - with a couple of examples from Berlin's extensive correspondence with the then young Polish political philosopher and dissident Beata Polanowska-Sygulska at the end of Berlin's life. In addition I will include the beginnings of a discussion of the Germans Hamann and Herder and their significance for arts and letters from the 19th century all the way to our present day.

Nevena and Macca are joined live on the phone by Peter Kurti, Director of the Culture, Prosperity & Civil Society program and is also Adjunct Associate Professor in the School of Law and Business at the University of Notre Dame Australia. He has written extensively about issues of religion, liberty, culture and civil society in Australia, and appears frequently as a commentator on television and radio. In addition to having written many newspaper articles, he is also the author or editor of a number of books, including The Tyranny of Tolerance: Threats to Religious Liberty in Australia; Euthanasia: Seven Questions about Voluntary Assisted Dying; Sacred & Profane: Faith and Belief in a Secular Society; and Beyond Belief: Rethinking the Voice to Parliament. Peter is a Fellow of the Royal Society of Arts, and an ordained minister in the Anglican Church of Australia. In his most recent paper, Kurti, argues that, “that Australia's democratic institutions must learn to manage, rather than resolve, deep moral disagreement. Building on the pluralist tradition of Isaiah Berlin, John Gray and Bernard Williams, this report contends that conflict between legitimate but incompatible values is a permanent feature of free societies. It warns against the illusion that political consensus can be achieved through neutrality, proceduralism or abstract ideals alone”. “Liberal democracies must instead draw defensible lines — imperfect, contested, but necessary — that allow diverse groups to live together under common rules”. https://www.cis.org.au/publication/drawing-the-line-moral-conflict-and-the-fragility-of-liberal-tolerance/ The post Sat, 13th, Dec, 2025: Peter Kurti, Centre for Ind. Studies; Drawing The Line; Australia's Democratic Institutions Must Manage, Not Resolve, Moral Disagreement appeared first on Saturday Magazine.

“Ideeën, als ze verwaarloosd worden door hen die er zich beroepshalve mee zouden moeten bezighouden - dat wil zeggen door hen die geleerd hebben kritisch over ideeën na te denken - gaan soms een onbeheersbaar eigen leven leiden en een onweerstaanbare macht op de massa's uitoefenen” Op deze manier drukte Isaiah Berlin een mogelijkheid uit, die zich momenteel voltrekt met het denken van de Frans-Amerikaanse filosoof René Girard. Waarom wordt Girard omarmd door Silicon Valley- en MAGA-mannen als Peter Thiel en JD Vance?Verdraaien zij het denken van Girard of geeft zijn denken inderdaad aanleiding tot antidemocratische gedachtengoed en vijanddenken?En wat gebeurt er als we mimetische begeerte niet remmen, maar juist aanwakkeren? Te gast is Guido VanheeswijckThema: Girard en de tech-bro's

The Green Belt and Rethinking Liberty 30 Years Later. Matthew Longo reflects that thirty years after the Iron Curtain fell, the border site is now an unremarkable "green belt." Researcher Longo considers the meaning of freedom, contrasting Isaiah Berlin's negative liberty—freedom from state interference—with Hannah Arendt's concept of plurality and solidarity. He notes the disappointment felt by some East Germans who missed the community they knew in the East. Guest: Matthew Longo. Retry

China wordt steeds vaker de vijand genoemd. Maar wat als het probleem niet China is, maar onze blik op de wereld?Rogier van Bemmel spreekt met sinoloog Rogier Creemers over technologie, macht, en waarom het Westen zijn toekomst is kwijtgeraakt.--Steun DNW en word patroon op http://www.petjeaf.com/denieuwewereld.Liever direct overmaken? Maak dan uw gift over naar NL61 RABO 0357 5828 61 t.n.v. Stichting De Nieuwe Wereld. Crypto's doneren kan via https://commerce.coinbase.com/checkout/31d3b502-6996-41f6-97aa-ef2958025fb8-- Bronnen en links bij deze uitzending: -Europese Unie over China: Officiële EU-documentatie over de relatie met China, waarin het land wordt beschreven als partner, concurrent en rivaal.https://www.eeas.europa.eu/eeas/eu-china-relations_en-Made in China 2025: Een overzicht van China's strategische plan om wereldleider te worden in technologie en industrie.https://www.csis.org/analysis/made-china-2025-James Pomfret - The Beautiful Country and the Middle Kingdom: Boek over de historische relatie tussen de VS en China, zoals genoemd in het gesprek.https://www.amazon.com/Beautiful-Country-Middle-Kingdom-Relationship/dp/1250160634-Tom Holland - Dominion: Boek over de christelijke wortels van westerse waarden, relevant voor de discussie over universalisme en China's afwijzing hiervan.https://www.amazon.com/Dominion-Christian-Revolution-Remade-World/dp/0465093507-China's batterijtechnologie en EV-industrie: Artikel van Bloomberg over China's voorsprong in elektrische voertuigen en batterijen.https://www.bloomberg.com/news/articles/2023-10-25/china-s-ev-battery-dominance-is-a-global-challenge-15-minutenstad concept: Uitleg van het 15-minutenstad-model, zoals besproken in relatie tot mobiliteit en stedelijke planning.https://www.c40.org/what-we-do/scaling-up-climate-action/15-minute-cities/-Isaiah Berlin en het "messy compromise": Een inleiding tot Isaiah Berlins ideeën over pluralisme en compromis, relevant voor de slotdiscussie.https://plato.stanford.edu/entries/berlin/-ASML en de halfgeleiderindustrie: Achtergrond over ASML's rol in de mondiale chipindustrie, zoals genoemd in het gesprek.https://www.asml.com/en/company/about-asml-Neoliberalisme en delokalisatie: Artikel van The Guardian over de impact van globalisering en neoliberalisme op lokale economieën.https://www.theguardian.com/business/2019/jan/13/globalisation-decline-local-communities-China's platformeconomie regulering: Analyse van Reuters over China's aanpak van techbedrijven zoals TikTok en Alibaba.https://www.reuters.com/technology/chinas-tech-crackdown-what-it-means-2021-12-29/--00:00 Introductie en gastvoorstelling01:36 China als "vijand" kaderen02:29 Harde belangen vs. psychologische factoren04:15 China's uitdagingen in luchtvaart en andere sectoren08:54 China's strategische investeringen in toekomstige industrieën13:57 Westerse politiek en gebrek aan toekomstvisie18:29 Mobiliteit en stadsplanning heruitvinden25:32 De rol van schaal en centralisatie30:26 Consumptie, technologie en verantwoordelijkheid36:38 Democratie, schaal en delokalisatie43:48 De gevolgen van neoliberalisme53:53 China's rol in mondiale economische dynamieken64:12 Naar een coöperatieve toekomst?71:29 Afsluitende gedachten en oproep aan kijkers--De Nieuwe Wereld TV is een platform dat mensen uit verschillende disciplines bij elkaar brengt om na te denken over grote veranderingen die op komst zijn door een combinatie van snelle technologische ontwikkelingen en globalisering. Het is een initiatief van filosoof Ad Verbrugge in samenwerking met anchors Jelle van Baardewijk en Marlies Dekkers. De Nieuwe Wereld TV wordt gemaakt in samenwerking met de Filosofische School Nederland. Onze website: https://denieuwewereld.tv/ DNW heeft ook een Substack. Meld je hier aan: https://denieuwewereld.substack.com/

AI therapists and caregivers. Digital tutors and advisors and friends. Artificial lovers. Griefbots trained to imitate dead loved ones. Welcome, to the bustling world of AI-powered chatbots. This was once the stuff of science fiction, but it's becoming just the stuff of everyday life. What will these systems do to our society, to our relationships, to our social skills and motivations? Are these bots destined to leave us hollowed out, socially stunted, screen-addicted, and wary of good-old-fashioned, in-the-flesh human interaction? Or could they actually be harnessed for good? My guest today is Dr. Henry Shevlin. Henry is a philosopher and AI ethicist at the Leverhulme Centre for the Future of Intelligence (CFI) at Cambridge University. In a series of recent papers, Henry has been exploring this brave new world of "social AI" and its philosophical, ethical, and psychological dimensions. Here, Henry and I sketch the current landscape of social AI—from dedicated platforms like Replika and CharacterAI to the more subtly social uses of ChatGPT and Claude. We consider several tragic cases that have recently rocketed these kinds of services into public awareness. We talk about what's changed about AI systems—quite recently—that's now made them capable of sustained relationships. We linger on the possible risks of social AI and, perhaps less obviously, on the possible benefits. And we consider the prospects for regulation. Along the way, Henry and I also talk about his 81-year-old father, his teenage self, and, of course, the kids these days; we consider whether social AI, in its potential harms, is more like social media or more like violent video games; we talk about "deskilling" and it's opposite "upskilling"; and we of course take stock of a certain elephant in the room. Alright friends, this is a fun one. We've been wanting to explore this dawning age of social AI for some time. And we finally found, in Henry, the right person to do it with. Enjoy!   Notes 3:00 – The piece in The Guardian—'It's time to prepare for AI personhood'—by Jacy Reece Anthis. 5:00 – The Replika subreddit.  9:30 – News coverage of recent research on the bedside manner of AI systems. 10:30 – For a recent paper on AI by the philosopher Ophelia Deroy, see here. 11:30 – For some of Dr. Shevlin's recent writing about "social AI", see here and here. 13:30 – OpenAI's recent report, 'How People Use ChatGPT'. 16:30 – For examples of popular media coverage of recent (tragic) cases involving chatbots, see here, here, here, and here. 21:00 – The paper by Rose Guingrich and Michael Graziano on how users describe their relationships with chatbots. 24:00 – The precise quote by Mark Twain is: “Nothing so needs reforming as other people's habits.” 25:30 – The classic paper on Mary's room by Frank Jackson. 27:00 – Dr. Shevlin has also worked on questions about animal minds (e.g., here), as well as a number of issues in AI beyond “social AI” (e.g., here, here). 30:00 – The classic essay by Isaiah Berlin on hedgehogs and foxes. 32:00 – The classic paper on ELIZA, introduced by Joseph Weizenbaum in 1966. A version of ELIZA that you can interact with. For work by Sherry Turkle, see here. 34:00 – Dr. Shevlin's recent paper about the “anthropomimetic turn” in contemporary AI. 41:00 – For recent work on whether current chatbots pass a version of the Turing test, see here.  45:00 – Ted Chiang's story, ‘The Lifecycle of Software Objects,' was re-published as part his collection of short fiction, Exhalation. 46:00 – For Dr. Shevlin's recent writing on machine consciousness, see here. 48:00 – For more on the possibility of consciousness in borderline cases (like AI systems), see our past episodes here and here. 52:00 – The study on whether people attribute consciousness to LLMs. 54:30 – A recent paper on griefbots by scholars at the University of Cambridge. A popular article about the phenomenon. 55:30 – A blogpost describing the so-called DigiDan experiment. 1:00:00 – Some of the potentially positive social qualities of AIs are discussed in this essay by Paul Bloom.  1:19:30 – For more on Iain Banks' culture series, see here. 1:20:30 – A popular article on the phenomenon of hikikomori.   Recommendations The Oxford Intersections: AI in Society collection The new podcast, Our Lives with Bots   Many Minds is a project of the Diverse Intelligences Summer Institute, which is made possible by a generous grant from the John Templeton Foundation to Indiana University. The show is hosted and produced by Kensy Cooperrider, with help from Assistant Producer Urte Laukaityte and with creative support from DISI Directors Erica Cartmill and Jacob Foster. Our artwork is by Ben Oldroyd. Subscribe to Many Minds on Apple, Stitcher, Spotify, Pocket Casts, Google Play, or wherever you listen to podcasts. You can also now subscribe to the Many Minds newsletter here! We welcome your comments, questions, and suggestions. Feel free to email us at: manymindspodcast@gmail.com. For updates about the show, visit our website or follow us on Bluesky (@manymindspod.bsky.social).

With party conference season underway and Andy Burnham circling with a bolder agenda, former special adviser Callum Price asks the hard questions: Why is Labour so wary of defining its purpose? Why does Starmer still seem like a fox pretending to be a hedgehog — chasing contradictory goals without a guiding principle? And what happens when a party with power has no story to tell?Drawing on lessons from Isaiah Berlin and even Margaret Thatcher's ideological clarity, this edition explores what happens when governments try to govern without vision — and why the vacuum is already being filled.Stay informed with CapX's unmissable daily briefings from the heart of Westminster. Go to capx.co to subscribe. Hosted on Acast. See acast.com/privacy for more information.

We had an absolute blast Saturday at our most recent aesthetic miniseries livestream! Thanks to our replay crew and please share it far and wide with us!We are hoping to reach 500 subscribers by Christmas so thank you for being part of our show- the best part !More on this miniseries, here:In this, the fourth episode of our miniseries for All About Aesthetics on Isiah Berlin's theory of Romanticism and its great effects, I discuss the many philosophic stances concerning individual had collective human conduct. We discuss the concepts of Sincerity and Authenticity, largely inventions of the Romantic revolution. Denis Diderot and Jean Jacques Rousseau's relationship and books are read as metaphors for opposing views. The great 20th century philosopher Bernard Williams will be a guide of sorts to these discussions - the implications of which remain as powerful today, four centuries later.#IsaiahBerlin #aesthetics #romanticism

The material is used for the purpose of education, commentary and criticism, which falls under the fair use doctrine of copyright law. No copyright infringement is intended. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS”#aesthetics #IsaiahBerlin #romanticism #arts #culture In this, the third episode on Isaiah Berlin and Romanticism I focus on a couple of examples of the period from 1779-1830 as well as 1980s and 2010 representations and reflections on this late 18th century and early 19th century period.*Special Correction- in this episode Mitch gives commentary on the wonderful film "Tender Mercies" and the lead actress is Tess Harper, not Kate Mulgrew ( both fabulous ).More on this mini series, here:In this, our new special topic, “All About Aesthetics”, I will begin a miniseries on Isaiah Berlin's theory of Romanticism, taken from his important lectures in the 1960s at the National Gallery and elsewhere, and starting from his unequivocal assertion that Romanticism was “the single greatest shift in the consciousness of the West that has occurred” I will inquire into the many effects of this shift, most of which are taken for granted and have been indispensable to forming the works of art, both popular and high, that we have most enjoyed or given importance. The series will include discussion of MGM musicals in Hollywood, melodrama films, novels, standup comedy, improvised jazz performances and much more.Learning Links related to this stream:   • Romanticism - Isaiah Berlin (1965)  https://isaiah-berlin.wolfson.ox.ac.u...#History #literature #movies #love #Hollywood #comedy #tragedy #freedom #liberty #classical #modern #postmodern #religion #spirituality #wordsworth #coleridge #keats #brightstar #lyricalballads #verse #isaiahberlin #russia #germany #France #uk #greatbritain #england #jazz #rock #africanamerican #existentialism #standupcomedy #tradition #thirtyyearswar #communism #fascism #ecology #environmentalism #intellectualhistory #culturalstudies #authenticity #sincerity #annaakhmatova #poetry #brontesisters #lordbyron #painting #caspardavidfriedrich #eletricguitar #powerballad #romance #feminism #democracy #liberalism #immanuelkant #rousseau #diderot #socialcontract #civility #manners #civillization #anarchism

Welcome to Tales from the Waystone; Summer Reading Program - The Long Way to a Small, Angry Planet; Perfect is the Enemy of the Good, where we will be going over pages 360 through the end of Becky Chambers' cozy road-trip sci-fi novel The Long Way to a Small, Angry Planet. Here is the link to the Isaiah Berlin essay Will Referenced For Apple Podcast listeners, please consider rating the show and leaving us a review! It'll help us be seen by more people! We have a Patreon! Patreon.com/waystonepod! Also!!! Join our Discord! https://discord.gg/ebDBWfrU9V   Recommended Thing of the Week: The Interdependency Trilogy by John Scalzi

#romanticism #podcast #mitchhampton #aesthetics In this, the second episode of my series on Isaiah Berlin and his scholarship and theories of Romanticism, I enter into a definition of Romanticism and begin my regular usage of visual film and textual examples.More on this special series, here:In this, the 22st episode of “All About Aesthetics” I will begin a miniseries on Isaiah Berlin's theory of Romanticism, taken from his important lectures in the 1960s at the National Gallery and elsewhere, and starting from his unequivocal assertion that Romanticism was “the single greatest shift in the consciousness of the West that has occurred”.I will inquire into the many effects of this shift, most of which are taken for granted and have been indispensable to forming the works of art, both popular and high, that we have most enjoyed or given importance. The series will include discussion of MGM musicals in Hollywood, melodrama films, novels, standup comedy, improvised jazz performances and much more.Learning Links related to this stream:   • Romanticism - Isaiah Berlin (1965)  https://isaiah-berlin.wolfson.ox.ac.u...#History #literature #movies #love #Hollywood #comedy #tragedy #freedom #liberty #classical #modern #postmodern #religion #spirituality #wordsworth #coleridge #keats #brightstar #lyricalballads #verse #isaiahberlin #russia #germany #France #uk #greatbritain #england #jazz #rock #africanamerican #existentialism #standupcomedy #tradition #thirtyyearswar #communism #fascism #ecology #environmentalism #intellectualhistory #culturalstudies #authenticity #sincerity #annaakhmatova #poetry #brontesisters #lordbyron #painting #caspardavidfriedrich #eletricguitar #powerballad #romance #feminism #democracy #liberalism #immanuelkant #rousseau #diderot #socialcontract #civility #manners #civillization #anarchism

In the first of a three-part series on Richard Rorty's Contingency, Irony, and Solidarity (1989), Let Us Think About It delves into the concept of contingency. Host Ryder Richards guides listeners through Rorty's radical argument that language, selfhood, and liberal communities are not grounded in universal truths but are crafted through historical chance, like tools in a dynamic toolkit. Drawing on Chapter 1, Ryder explores how language, far from mirroring reality, builds truths through evolving vocabularies, with examples like the French Revolution and Donald Davidson's “passing theories.” Chapter 2 reveals the self as a contingent construction, sculpted through redescriptions, as seen in Freud and Proust. Chapter 3 examines liberal societies as experimental creations, sustained by imaginative solidarity rather than fixed foundations, referencing Isaiah Berlin and Judith Shklar. While admiring Rorty's vivid metaphors and provocative ideas, Ryder critiques his potentially reductive view, questioning whether freedom alone can ensure moral progress. Packed with direct quotes and punchy insights, this episode sets the stage for upcoming discussions on irony and solidarity. Tune in to rethink how we create our world with the tools of language!

Most scholars are both haunted, even undone, by the task of writing papers for peers and traveling to strange campuses to deliver them. Yet we keep it up--we inflict it on our peers, we inflict it on ourselves. Why? To answer that question, Recall This Book assembled three (if you count John) scholars of Victorian literature asked to speak at the Spring 2025 Northeastern Victorian Studies Association conference. Their discussion began with the idea that agreeing to give papers is an act of “externalized self-promising” and ranged across the reasons that floating ideas before our peers is terrifying, exhilarating and ultimately necessary. Kristin Mahoney 's books include Literature and the Politics of Post-Victorian Decadence (Cambridge UP, 2015) and Queer Kinship After Wilde: Transnational Decadence and the Family. Nasser Mufti 's first scholarly book was Civilizing War and he is currently working on a monograph about what Britain's nineteenth century looks like from the perspective of such anti-colonial thinkers as C.L.R. James and Eric Williams. (RTB listeners don't need to hear about John or his Arendt obsession. Mentioned in the episode Theosophical Society in Chennai Annie Besant Jiddu Krishnamurthi in his early life was a not-quite-orphan child guru for Besant. Eric Williams, British Historians and the West Indies on hte grid theorizations of race by folks like Acton C L R James Adorno's Minima Moralia provides Naser with an important reminder o the importance of “hating tradition properly.” H G Wells, The Time Machine and its modernist aftermath eg in the opening pages of Proust's Remembrance of Things Past and in Ford Madox Ford's The Inheritors and The Good Soldier, which is in its own peculiar way a time-travel novel. The three discuss Foucault's notion of capillarity a form of productive constraint, which Nasser uses to characterize both early 20th century Orientalism, and the paradigms of post colonialism that replaced it, Paul Saint Amour's chapter on Ford Madox Ford is in Tense Future. John Guillory on the distinctions between criticism and scholarship in Professing Criticism; the rhizomatic appeal of B-Side Books. The “hedgehog and the fox” as a distinction comes from a poem by Archilochus—and sparked Isaiah Berlin's celebrated essay of the same name. Pamela Fletcher the Victorian Painting of Modern Life Listen and Read here. 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

Most scholars are both haunted, even undone, by the task of writing papers for peers and traveling to strange campuses to deliver them. Yet we keep it up--we inflict it on our peers, we inflict it on ourselves. Why? To answer that question, Recall This Book assembled three (if you count John) scholars of Victorian literature asked to speak at the Spring 2025 Northeastern Victorian Studies Association conference. Their discussion began with the idea that agreeing to give papers is an act of “externalized self-promising” and ranged across the reasons that floating ideas before our peers is terrifying, exhilarating and ultimately necessary.   Kristin Mahoney's books include Literature and the Politics of Post-Victorian Decadence (Cambridge UP, 2015) and Queer Kinship After Wilde: Transnational Decadence and the Family. Nasser Mufti 's first scholarly book was Civilizing War and he is currently working on a monograph about what Britain's nineteenth century looks like from the perspective of such anti-colonial thinkers as C.L.R. James and Eric Williams. RTB listeners don't need to hear about John or his Arendt obsession.   Mentioned in the episode Theosophical Society in Chennai Annie Besant Jiddu Krishnamurthi in his early life was a not-quite-orphan child guru for Besant.  Eric Williams, British Historians and the West Indies on grand theorizations of race by folks like Acton C L R James Adorno's Minima Moralia provides Nasser with an importantreminder of the importance of “hating tradition properly.” H G Wells, The Time Machine and its modernist aftermath eg in the opening pages of Proust's Remembrance of Things Past and in Ford Madox Ford's The Inheritors and The Good Soldier, which is in its own peculiar way a time-travel novel.  The three discuss Foucault's notion of capillarity a form of productive constraint, which Nasser uses to characterize both early 20th century Orientalism, and the paradigms of postcolonialism that replaced it,  Paul Saint Amour's chapter on Ford Madox Ford is in Tense Future. John Guillory on the distinctions between criticism and scholarship in Professing Criticism; the rhizomatic appeal of B-Side Books. The “hedgehog and the fox” as a distinction comes from a poem by Archilochus—and sparked  Isaiah Berlin's celebrated essay of the same name. Pamela Fletcher the Victorian Painting of Modern Life . Learn more about your ad choices. Visit megaphone.fm/adchoices

Most scholars are both haunted, even undone, by the task of writing papers for peers and traveling to strange campuses to deliver them. Yet we keep it up--we inflict it on our peers, we inflict it on ourselves. Why? To answer that question, Recall This Book assembled three (if you count John) scholars of Victorian literature asked to speak at the Spring 2025 Northeastern Victorian Studies Association conference. Their discussion began with the idea that agreeing to give papers is an act of “externalized self-promising” and ranged across the reasons that floating ideas before our peers is terrifying, exhilarating and ultimately necessary. Kristin Mahoney 's books include Literature and the Politics of Post-Victorian Decadence (Cambridge UP, 2015) and Queer Kinship After Wilde: Transnational Decadence and the Family. Nasser Mufti 's first scholarly book was Civilizing War and he is currently working on a monograph about what Britain's nineteenth century looks like from the perspective of such anti-colonial thinkers as C.L.R. James and Eric Williams. (RTB listeners don't need to hear about John or his Arendt obsession. Mentioned in the episode Theosophical Society in Chennai Annie Besant Jiddu Krishnamurthi in his early life was a not-quite-orphan child guru for Besant. Eric Williams, British Historians and the West Indies on hte grid theorizations of race by folks like Acton C L R James Adorno's Minima Moralia provides Naser with an important reminder o the importance of “hating tradition properly.” H G Wells, The Time Machine and its modernist aftermath eg in the opening pages of Proust's Remembrance of Things Past and in Ford Madox Ford's The Inheritors and The Good Soldier, which is in its own peculiar way a time-travel novel. The three discuss Foucault's notion of capillarity a form of productive constraint, which Nasser uses to characterize both early 20th century Orientalism, and the paradigms of post colonialism that replaced it, Paul Saint Amour's chapter on Ford Madox Ford is in Tense Future. John Guillory on the distinctions between criticism and scholarship in Professing Criticism; the rhizomatic appeal of B-Side Books. The “hedgehog and the fox” as a distinction comes from a poem by Archilochus—and sparked Isaiah Berlin's celebrated essay of the same name. Pamela Fletcher the Victorian Painting of Modern Life Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Most scholars are both haunted, even undone, by the task of writing papers for peers and traveling to strange campuses to deliver them. Yet we keep it up--we inflict it on our peers, we inflict it on ourselves. Why? To answer that question, Recall This Book assembled three (if you count John) scholars of Victorian literature asked to speak at the Spring 2025 Northeastern Victorian Studies Association conference. Their discussion began with the idea that agreeing to give papers is an act of “externalized self-promising” and ranged across the reasons that floating ideas before our peers is terrifying, exhilarating and ultimately necessary. Kristin Mahoney 's books include Literature and the Politics of Post-Victorian Decadence (Cambridge UP, 2015) and Queer Kinship After Wilde: Transnational Decadence and the Family. Nasser Mufti 's first scholarly book was Civilizing War and he is currently working on a monograph about what Britain's nineteenth century looks like from the perspective of such anti-colonial thinkers as C.L.R. James and Eric Williams. (RTB listeners don't need to hear about John or his Arendt obsession. Mentioned in the episode Theosophical Society in Chennai Annie Besant Jiddu Krishnamurthi in his early life was a not-quite-orphan child guru for Besant. Eric Williams, British Historians and the West Indies on hte grid theorizations of race by folks like Acton C L R James Adorno's Minima Moralia provides Naser with an important reminder o the importance of “hating tradition properly.” H G Wells, The Time Machine and its modernist aftermath eg in the opening pages of Proust's Remembrance of Things Past and in Ford Madox Ford's The Inheritors and The Good Soldier, which is in its own peculiar way a time-travel novel. The three discuss Foucault's notion of capillarity a form of productive constraint, which Nasser uses to characterize both early 20th century Orientalism, and the paradigms of post colonialism that replaced it, Paul Saint Amour's chapter on Ford Madox Ford is in Tense Future. John Guillory on the distinctions between criticism and scholarship in Professing Criticism; the rhizomatic appeal of B-Side Books. The “hedgehog and the fox” as a distinction comes from a poem by Archilochus—and sparked Isaiah Berlin's celebrated essay of the same name. Pamela Fletcher the Victorian Painting of Modern Life Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this, the 21st episode of All About Aesthetics I will begin a miniseries on Isaiah Berlin's theory of Romanticism, taken from his important lectures in the 1960s at the National Gallery and elsewhere, and starting from his unequivocal assertion that Romanticism was "the single greatest shift in the consciousness of the West that has occurred".More on this livestream event, here:“Isaiah Berlin, Romanticism and it's effects in Art and CultureEpisode 1, an Introduction”In this, the 21st episode of “All About Aesthetics” I will begin a miniseries on Isaiah Berlin's theory of Romanticism, taken from his important lectures in the 1960s at the National Gallery and elsewhere, and starting from his unequivocal assertion that Romanticism was “the single greatest shift in the consciousness of the West that has occurred” I will inquire into the many effects of this shift, most of which are taken for granted and have been indispensable to forming the works of art, both popular and high, that we have most enjoyed or given importance.I return to our good friend and inspiration for the podcast Isaiah Berlin, covered in my book lunch on Kei Hiruta from Season Three and elsewhere.The series will include discussion of MGM musicals in Hollywood, melodrama films, novels, standup comedy, improvised jazz performances and much more. This will be the beginning of a series of episodes on Berlin's innovative theory of “The Roots Of Romanticism” that Berlin explored in lectures delivered at the National Gallery Of Art in Washington DC 1966.Berlin was quite explicit in his assessment: “the largest recent movement to transform the lives and thought of the Western world and seems to me the greatest single shift in the consciousness of the West that has occurred, and all the other shifts which have occurred in the course of the nineteenth and twentieth century appear to me in comparison lessimportant and at any rate influenced by it.” Starting from the premise that there is a great deal of truth in Berlin's theory, I will examine in these episodes not only the beauty of Berlin's oratory but also the many world of art and culture that seem to be made possible by this shift in consciousness - even in areas not normally thought of of as in any way Romantic, as well as in vastly diverse mediums of expression, including music, stand-up comedy, performance art, movies and much more.#History #literature #movies #love #Hollywood #comedy #tragedy #freedom #liberty #classical #modern #postmodern #religion #spirituality #wordsworth #coleridge #keats #brightstar #lyricalballads #verse #isaiahberlin #russia #germany #France #uk #greatbritain #england #jazz #rock #africanamerican #existentialism #standupcomedy #tradition #thirtyyearswar #communism #fascism #ecology #environmentalism #intellectualhistory #culturalstudies #authenticity #sincerity #annaakhmatova #poetry #brontesisters #lordbyron #painting #caspardavidfriedrich #eletricguitar #powerballad #romance #feminism #democracy #liberalism #immanuelkant #rousseau #diderot #socialcontract #civility #manners #civillization #anarchism

Sir Isaiah Berlin was one of the 20th century's most influential British philosophers and political theorists. He was born in 1909 in Rīga, Latvia, and his childhood had a lasting influence on his life and academic work. We explore Sir Isaiah's connections to Rīga with some interesting, relatively unknown stories.  Thanks for listening!

In this episode from 2021, Alex Aragona speaks with Graeme Thompson about the classical liberal tradition in Canada, and what the evolution of that tradition has looked like. References from The Curious Task Episode 94 with Graeme Thompson A collection of the speeches of Wilfred Laurier can be found in an edited edition by Arthur Milnes, available from Amazon here. Macdonald Laurier and the Election of 1891 by Christopher Pennington can be found from Penguin House here. Graeme Thompson's piece “Whatever Happened to Laurier” can be found in the National Post here. Graeme mentions positive and negative liberty by Isaiah Berlin, which is discussed on the Stanford Encyclopedia of Philosophy here. The works of Adam Smith, Edmund Burke, and J.S. Mill can be read for free through the Online Library of Liberty.  

Mill's 'Autobiography' was considered too shocking to publish while he was alive. Behind his musings on many of the philosophical and political preoccupations of his time lie the confessions of a deeply repressed man who knows that he's deeply repressed, coming to terms with the uncompromising educational experiment his father subjected him to as a child – described by Isaiah Berlin as ‘an appalling success'. In this episode Jonathan and James discuss Mill's startlingly honest account of this experience and the breakdown that ensued in his 20s, and the boldness of his life and thought from his views on socialism and the rights of women to his unwavering devotion to his wife, Harriet Taylor, the co-author of 'On Liberty' and other works.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrcipIn other podcast apps: https://lrb.me/closereadingscipFurther reading in the LRB:Sissela Bok on Mill's 'Autobiography':https://www.lrb.co.uk/the-paper/v06/n06/sissela-bok/his-father-s-childrenAlasdair MacIntyre: Mill's Forgotten Victoryhttps://www.lrb.co.uk/the-paper/v02/n20/alasdair-macintyre/john-stuart-mill-s-forgotten-victoryPanbkaj Mishra: Bland Fanaticshttps://www.lrb.co.uk/the-paper/v37/n23/pankaj-mishra/bland-fanaticsNext EpisodeF.H. Bradley's 'My Station and Its Duties' can be found online here:https://archive.org/details/ethicalstudies0000brad/page/160/mode/2up Hosted on Acast. See acast.com/privacy for more information.

PLUS: How DeepSeek has upended assumptions about AI; meet Gary Topp, the man who brought punk to Toronto; Canadian opera tenor Isaiah Berlin is stunning audiences with his queer-centred performances; and Riffed from the Headlines, our weekly musical news quiz.

He's lived a rich life as a journalist, a human rights activist, an author, a columnist -- and now he's written a great book on Gujaratis. Salil Tripathi joins Amit Varma in episode 409 of The Seen and the Unseen to discuss his life, his learnings, these times we live in -- and the times that came before. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Salil Tripathi on Twitter, Instagram, Wikipedia, LinkedIn and Amazon. 2. The Gujaratis: A Portrait of a Community -- Salil Tripathi. 3. The Colonel Who Would Not Repent -- Salil Tripathi. 4. Offence – The Hindu Case -- Salil Tripathi. 5. Detours: Songs of the Open Road -- Salil Tripathi. 6. For, In Your Tongue, I Cannot Fit -- Edited by Shilpa Gupta and Salil Tripathi. 7. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 8. Gita Press and the Making of Hindu India — Akshaya Mukul. 9. Saraswatichandra (Gujarati) (English) -- Govardhanram Tripathi. 10. Gujarat Ni Asmita -- KM Munshi. 11. I Follow the Mahatma -- KM Munshi. 12. Devdutt Pattanaik and the Stories That Shape Us — Episode 404 of The Seen and the Unseen. 13. Ahimsa: 100 Reflections on the Harappan Civilization — Devdutt Pattanaik. 14. Until the Lions -- Karthika Nair. 15. Gods, Guns and Missionaries: The Making of the Modern Hindu Identity — Manu Pillai. 16. The Forces That Shaped Hinduism -- Episode 405 of The Seen and the Unseen (w Manu Pillai). 17. Heroic Failure: Brexit and the Politics of Pain -- Fintan O'Toole. 18. Understanding Gandhi: Part 1: Mohandas — Episode 104 of The Seen and the Unseen (w Ram Guha). 19. Understanding Gandhi: Part 2: Mahatma — Episode 105 of The Seen and the Unseen (w Ram Guha). 20. Gandhi Before India -- Ramachandra Guha. 21. Objects From Our Past -- Episode 77 of Everything is Everything. 22. The Diary of Manu Gandhi (Part 1) (Part 2) -- Edited and Translated by Tridip Suhrud. 23. The Ferment of Our Founders — Episode 272 of The Seen and the Unseen (w Shruti Kapila). 24. Lessons from an Ankhon Dekhi Prime Minister — Amit Varma. 25. Akhil Katyal's poem on caste. 26. Midnight's Children -- Salman Rushdie. 27. Bare Feet – a Poem about MF Husain -- Salil Tripathi. 28. My Mother's Fault -- Salil Tripathi. 29. Jejuri -- Arun Kolatkar. 30. Yashwant Rao -- Arun Kolatkar. 31. The Patriot -- Nissim Ezekiel. 32. Goopy Gyne Bagha Byne -- Satyajit Ray. 33. You're Missing -- Bruce Springsteen. 34. Gabriel Garcia Marquez, Salman Rushdie, Milan Kundera, Ved Mehta and John McPhee on Amazon. 35. All We Imagine as Light -- Payal Kapadia. 36. Niranjan Rajadhyaksha Is the Impartial Spectator — Episode 388 of The Seen and the Unseen. 37. On Tyranny -- Timothy Snyder. 38. Lant Pritchett Is on Team Prosperity — Episode 379 of The Seen and the Unseen. 39. Saving Capitalism From The Capitalists -- Raghuram Rajan and Luigi Zingales. 40. Check out Johan Norberg's great work. 41. The Life and Times of the Indian Economy — Episode 387 of The Seen and the Unseen (w Rajeswari Sengupta). 42. India's Problem is Poverty, Not Inequality — Amit Varma. 43. Stay Away From Luxury Beliefs — Episode 46 of Everything is Everything. 44. On Inequality — Harry Frankfurt. 45. Economic growth is enough and only economic growth is enough — Lant Pritchett with Addison Lewis. 46. Sample SSR conspiracy theory: He's alive! 47. Amit Varma's 2022 piece on the mess-up at The Wire. 48. Television Price Controls — Episode 27 of The Seen and the Unseen (w Ashok Malik). 49. The Selfish Altruist -- Tony Vaux. 50. Sadanand Dhume's tweet on the hypocrisy around The Satanic Verses. 51. Bad Elements -- Ian Buruma. 52. Biju Rao Won't Bow to Conventional Wisdom — Episode 392 of The Seen and the Unseen. 53. Can Economics Become More Reflexive? — Vijayendra Rao. 54. The Life and Times of Teesta Setalvad — Episode 302 of The Seen and the Unseen. 55. Aakar Patel Is Full of Hope — Episode 270 of The Seen and the Unseen. 56. The Wal-Mart Effect -- Charles Fishman. 57. Modern South India -- Rajmohan Gandhi. 58. The Adda at the End of the Universe — Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). 59. Whatever happened To Ehsan Jafri on February 28, 2002? — Harsh Mander. 60. Jai Jai Garvi Gujarat -- Narmad. 61. The Populist Playbook -- Episode 42 of Everything is Everything. 62. Where the Green Ants Dream -- Werner Herzog. 63. People's Linguistic Survey of India -- GN Devy and others. 64. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 65. Stage.in. 66. Reading Lolita in Tehran -- Azar Nafisi. 67. Two Concepts of Liberty — Isaiah Berlin. 68. Understanding the State -- Episode 25 of Everything is Everything. 69. The First Assault on Our Constitution — Episode 194 of The Seen and the Unseen (w Tripurdaman Singh). 70. Shruti Rajagopalan's talk on the many amendments in our constitution. 71. Caged Tiger: How Too Much Government Is Holding Indians Back — Subhashish Bhadra. 72. Subhashish Bhadra on Our Dysfunctional State — Episode 333 of The Seen and the Unseen. 73. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 74. Goodbye Solo — Ramin Bahrani. 75. The desire to help, and the desire not to be helped — Roger Ebert's review of Goodbye Solo. 76. Dalit Kitchens of Marathwada -- Shahu Patole. 77. Firaaq -- Nandita Das. 78. How the BJP Wins — Prashant Jha. 79. The BJP's Magic Formula — Episode 45 of The Seen and the Unseen (w Prashant Jha). 80. The Year of Living Dangerously -- Peter Weir. 81. Ingmar Bergman, Satyajit Ray, Francois Truffaut and Aparna Sen. 82. The New Yorker, Vanity Fair and London Review of Books. 83. Ravi Shankar, Zakir Hussain and Vilayat Khan on Spotify. 84. Nadine Gordiner, Fintan O'Toole, Ilya Kaminsky, Karthika Nair, Ruchir Joshi, Kiran Desai, Nilanjana Roy, Sunil Gavaskar and Mike Brearley. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Asmita' by Simahina.

Today's Talmud page, Bava Batra 134, tells us about two of Rabbi Hillel's students, one of them the greatest and one the least impressive. What can we learn from this story about the nature and essence of genius? And what does Isaiah Berlin's most famous essay have to do with it? Listen and find out. Like the show? Subscribe to our weekly newsletter. Send us a note at takeone@tabletmag.com. Follow us on Twitter at @takeonedafyomi and join the conversation in the Take One Facebook group. We think that you may also enjoy Liel's new book How the Talmud Can Change Your Life: Surprisingly Modern Advice from a Very Old Book, available directly from the publisher, or wherever you purchase books. Listen to the Testimonies Archive, a partnership between Tablet Studios and the USC Shoah Foundation, for eyewitness audio accounts from Israel in the wake of the Oct 7 Hamas attacks. Check out all of Tablet's podcasts at tabletmag.com/podcasts.

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Continuing on "Two Concepts of Liberty" (1969), we finish up the negative conception ("freedom from") and give Berlin's strange account of positive freedom ("freedom to"), which involves an identification of some part of you (e.g. for Plato, your rationality), the obeying of which makes you free, even if what you "want" goes against this. Read along with us, starting on p. 20. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're reading through the beginning of "Two Concepts of Liberty" (1969). What are the various ways we can conceive of freedom, and is the concept necessarily political? Can you legitimately say you've been deprived freedom because, e.g., you can't afford some necessity? Read along with us. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey, are you a fox or a hedgehog? Do you remember a bit of that from a previous episode? Well, here's the premise: “a fox knows many things, but a hedgehog knows one big thing.” So, which one are you, a fox or a hedgehog? Most importantly, what does God want you to be? Join Kevin as we take an excursion into being Kingdom-minded for God! // Download this episode's Application & Action questions and PDF transcript at whitestone.org.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comGeorge writes a twice-weekly column on politics and foreign affairs for the Washington Post, a column he launched in 1974. He is also a regular contributor to MSNBC and NBC News. The author of 14 books, his latest is American Happiness and Discontents, but the one we primarily cover in this episode is The Conservative Sensibility — which I reviewed for the NYT.For two clips of our convo — on why the presidency has too much power, and the necessity of stopping Putin — pop over to our YouTube page. Other topics: growing up in Lincoln country; the son of a philosophy prof and an academic editor; Isaiah Berlin was a family friend; George and I both attending Magdalen College, Oxford; his meeting with Thatcher in late '60s; how socialism is stultifying; Oakeshott; industrial policy as crony capitalism “from the start”; Milton Friedman; why “secure” is the most important word in the Constitution; just war theory; Vietnam as the “professors' war”; collectivism vs national security; the trauma of 9/11 and the Iraq War; the China threat today; Gaza; why natcons are jealous of progressives; Elizabeth Warren; why Woodrow Wilson criticized the Founding as quaint; FDR and his fireside chats; in praise of Eisenhower; the spread of the administrative state; Caldwell's The Age of Entitlement; Reagan and the national debt; his bad wager on the Laffer Curve; the meaning of his smile; presentism; Hume at a dinner party; Madison's genius; George the “amiable low-voltage atheist”; Christian nationalism; evangelicals for Trump; the entitlement crunch with Boomers; “not voting is an opinion”; our disagreement on immigration; the “execrable” 1924 law; climate change as a low priority for Gen Z; why Trump is unprecedented; Biden's age and his “stupendous act of selfishness” in running again; Gina Raimondo; DEI as the new racial discrimination; the deep distrust in media; the flailing WaPo; “happiness is overrated”; the appeal of baseball; and the reasons why America is exceptional.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Nellie Bowles on the woke revolution, Lionel Shriver on her new novel, Elizabeth Corey on Oakeshott, Tim Shipman on the UK elections, Erick Erickson on the left's spiritual crisis, Bill Wasik and Monica Murphy on animal cruelty, Van Jones, and Stephen Fry! Send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. 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

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/philosophy

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Christine Tan argues that the most fruitful way to read the Zhuangzi, if one is seeking political and ethical insight, is through the Jin Dynasty commentator Guo Xiang. In Freedom's Frailty: Self-Realization in the Neo-Daoist Philosophy of Guo Xiang's Zhuangzi (SUNY Press, 2024), she lays out her reasoning for this position, offering her interpretation of Guo's conception of freedom in relationship to Anglo-European philosophers like Isaiah Berlin. Explaining what she calls Guo's “logic of convergence,” on which opposites are brought together, Tan unpacks Guo's hermeneutic approach to the Zhuangzi and his use of self-realization (zide) as a tool to bring about political transformation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you know Thomas Sowell, one of the most amazing individuals speaking into people's lives the last fifty years? Have you read any of his books or listened to him on videos? If so, you know what I'm talkin' about! If not, you are in for a real treat. Join Kevin as he profiles the amazing Thomas Sowell, a man especially relevant to all of us in the troubled culture and for the troubled times in America! // Download this episode's Application & Action questions and PDF transcript at whitestone.org.

This is a free preview of a paid episode. To hear more, visit www.americanprestigepod.comSamuel Moyn, Chancellor Kent Professor of Law and History at Yale, makes his return to the pod to discuss his book Liberalism Against Itself: Cold War Intellectuals and the Making of Our Times. The group examines the Cold War liberal intellectuals featured in the book like Isaiah Berlin, Gertrude Himmelfarb, and Karl Popper, the interwar roots of Americ…

Drawing on Isaiah Berlin's inferential essay, “The Hedgehog and the Fox,” Hillel Goldberg opens this volume: “By commitment I am a hedgehog – I believe in a single central principle, the Torah. By temperament I am a fox, drawn to the wide Jewish intellectual horizon, buoyed by its diversity and ever-expanding reach.”  The kaleidoscopic breadth of Jewish thought marks this volume on prayer, biblical interpretation, musar, theology, and biography – tributaries highlighting the mainstream, halakhah. Goldberg treats halakhah not as a concept but via its “small letters,” exemplified in the laws of mikveh and expressed in “Philosophy of Halakhah: The Prism of Mikveh” and “The Vilna Gaon's Codes.” In Across the Expanse of Jewish Thought: From the Holocaust to Halakhah and Beyond (Ktav, 2022), Goldberg draws on his prior work on cross-cultural Jewish thinkers from Eastern Europe to gather multiple voices of Jewish thought under the canopy of the whole. Matthew Miller is a graduate of Yeshivat Yesodei HaTorah. He studied Jewish Studies and Linguistics at McGill for his BA and completed an MA in Hebrew Linguistics at Queen Mary University of London. He works with Jewish organizations in media and content distribution, such as TheHabura.com and RabbiEfremGoldberg.org. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, Xavier Bonilla has a dialogue with Samuel Moyn about cold war liberalism. They provide a definition of liberalism, cold war liberalism, and some of the differences between these two forms of liberalism. They discuss some of the lessons from Cold War liberals for liberals today and the rise of neoliberalism and neoconservatism. They discuss the work of Judith Shklar, romanticism for Shklar and Isaiah Berlin, Karl Popper and historicism, Hannah Arendt on liberalism, Lionel Trilling on Freud and Cold War liberalism, the future of liberalism, and many more topics. Samuel Moyn is Chancellor Kent Professor of Law and History at Yale University. He has his law degree from Harvard University and his PhD in modern European history from University of California, Berkeley. He is fellow at Quincy Institute for Responsible Statecraft and has received fellowships from the American Council of Learned Societies, the Berggruen Institute, and the John Simon Guggenheim Memorial Foundation. His main interests are in international law, human rights, and 20th century European moral and political theory. He was recently named one of Propsect Magazine's top thinkers in the world for 2024. He is the author of numerous books including his most recent, Liberalism Against Itself: Cold War Intellectuals and the Making of our Times. Website: https://campuspress.yale.edu/samuelmoyn/Twitter: @samuelmoyn Get full access to Converging Dialogues at convergingdialogues.substack.com/subscribe

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a long-time columnist for the New York Times. He's also a commentator on “PBS NewsHour,” NPR's “All Things Considered” and NBC's “Meet the Press.” Plus he teaches at Yale. His new book is How to Know a Person: The Art of Seeing Others Deeply and Being Deeply Seen.You can listen to the episode right away in the audio player above (or on the right side of the player, click “Listen On” to add the Dishcast feed to your favorite podcast app). For two clips of our convo — on how to be a better friend to suffering loved ones, and how loneliness leads to authoritarianism — pop over to our YouTube page.Other topics: his upbringing in Greenwich Village among intellectuals and gays; his beatnik Jewish parents; his father the NYU professor and his mother with a PhD from Columbia; “not the most emotionally intimate” family; how people shouldn't separate thinking from emotions; the French Enlightenment; Jungian/Burkean conservatism; Hume; nationalism and King Charles III; Orwell's “The Lion and the Unicorn”; Disraeli; conservatism and the current GOP as a nihilist cult; Isaiah Berlin; how you're an “illuminator” or “diminisher” when meeting new people; how most don't ask questions and instead broadcast themselves; Trump; how Trump supporters are “hard to hate up close”; Hamas and Israel; Hannah Arendt; how to encounter a super woke person; arguments as a form of respect; suppressing your ego for better conversations; Taylor Swift on narcissism; suicidal friends; the distortion of reality when depressed; the AIDS crisis and losing friends; marriage equality; one changing in midlife; Oakeshott; overprotective parents; the value of play; Gen Z's low social trust; boys growing up with poor flirting skills; casual dating and ghosting; the historical amnesia and unhappiness of young gays; the tension between individualism and belonging; extroverts vs. introverts; how Jesus disarmed people; and the loving kindness of Buddhism.Browse the Dishcast archive for another convo you might enjoy (the first 102 episodes are free in their entirety — subscribe to get everything else). Coming up: David Leonhardt on his new book about the American Dream, NYT columnist Pamela Paul, and the authors of Where Have All the Democrats Gone? — John Judis and Ruy Teixeira. Later on: Cat Bohannon and McKay Coppins. Please send any guest recs, pod dissent and other comments to dish@andrewsullivan.com.

In the United States, cash bail keeps hundreds of thousands of people behind bars, even when they are presumed to be innocent.Covered topics: Maurice Jimmerson, bail, bonds, Kalief Browder, liberty, Isaiah Berlin, positive liberty, negative liberty, Pretrial Fairness Act, Further Reading:https://www.walb.com/2021/01/04/murder-warrants-issued-albany-october-homicide/https://www.walb.com/story/33773305/kennedy-sentenced-in-connection-with-drive-by-shooting/https://abcnews.go.com/US/wireStory/hung-jury-means-georgia-man-jailed-10-years-101651291https://www.walb.com/2023/07/28/albany-shooting-victims-family-still-looking-justice-10-years-later/https://wfxl.com/news/local/indictments-in-fatal-drive-by-shooting-involving-a-babyhttps://www.atlantanewsfirst.com/2023/04/26/georgia-man-behind-bars-10-years-still-waiting-his-day-court/https://www.acluohio.org/en/news/brief-history-cash-bailhttps://en.wikipedia.org/wiki/Kalief_Browderhttps://www.nyclu.org/en/campaigns/facts-bail-reformhttps://www.forbes.com/sites/forbeseq/2021/10/01/money-bail-is-unjust-and-should-end/?sh=2dfa900b6f06https://www.vera.org/news/new-yorkers-have-known-bail-doesnt-work-for-60-years-why-are-we-still-debating-ithttps://en.wikipedia.org/wiki/Isaiah_Berlinhttps://en.wikipedia.org/wiki/Two_Concepts_of_Libertyhttps://www.youtube.com/watch?v=UCsfT2WsitEhttps://www.npr.org/2023/07/18/1188349005/illinois-ends-cash-bail-system-state-supreme-courthttps://www.aclu.org/news/criminal-law-reform/the-illinois-supreme-court-cash-bail-ruling-explained Hosted on Acast. See acast.com/privacy for more information.

Liberalism today is under attack, as it often has been. Samuel Moyn, the Chancellor Kent Professor of Law and History at Yale University, believes that liberalism's failures, and a path to its better future, can be discerned through a study of how liberal intellectuals reacted to the rise of fascism and Nazism during the World War II period, and especially to Soviet communism during the Cold War. Jack Goldsmith sat down to talk to Moyn about his new book on the topic, “Liberalism Against Itself: Cold War Intellectuals and the Making of Our Times.” They discussed how and why Cold War liberals such as Isaiah Berlin and Gertrude Himmelfarb transformed liberalism, and why he thinks the transformation has had deleterious effects on U.S. foreign and domestic policy. They also discussed the aims of intellectual history and the relationship between his project and recent anti-liberal projects from the right.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

In his provocative new book, Liberalism Against Itself, historian Samuel Moyn revisits the work of five key Cold War thinkers—Judith Shklar, Isaiah Berlin, Karl Popper, Gertrude Himmelfarb, and Lionel Trilling—to explain the deformation of liberalism in the middle of the twentieth century, a time when, in his telling, liberals abandoned their commitment to progress, the Enlightenment, and grand dreams of emancipation and instead embraced fatalism, pessimism, and a narrow conception of freedom. For Moyn, the liberalism that emerged from the Cold War is, lamentably, still with us—a culprit in the rise of Donald Trump, and a barrier to offering a compelling alternative to him. Sources:Samuel Moyn, Liberalism Against Itself: Cold War Intellectuals and the Making of Our Times (2023)Judith Shklar, After Utopia: The Decline of Political Faith (1957)Lionel Trilling, The Middle of the Journey (1947)Lionel Trilling, The Liberal Imagination (1950)Matthew Sitman, "How to Read Reinhold Niebuhr, After 9-11," Society, Spring 2012 ...and don't forget to subscribe to Know Your Enemy on Patreon for access to all of our bonus episodes!

On Wednesday's Mark Levin Show, the Democrats are a criminal's best friend. Looking at what they've done with our streets, with our border, and our government. Homeland Security Secretary Alejandro Mayorkas lies about the border security of this country in order to do the dirty work of Biden's Officials Susan Rice, and Ron Klain. They didn't hesitate to conjure up a narrative about racism back when border agents were charged with whipping Haitian immigrants, but the photographer (an eyewitness) has revealed that Mayorkas knew the photos were being taken out of context hours before making his initial statements and spreading Biden's big lie anyway. This was proved today by emails obtained by a Freedom Of Information Act request. Then, another bombshell revealed in open court in today's Danchenko trial was that the senior FBI officials traveled overseas to offer ex-spy Christopher Steele $1 million for the dossier that they knew was fake. Special Counsel Durham personally walked jurors through this phony information which was used by the FBI to obtain a FISA warrant to conduct surveillance on Trump and his campaign. The dossier was initially paid for by Hillary Clinton's campaign and the Democrat National Committee through a law firm they hired for opposition research. The Democrats within the FBI and the media are the real insurrectionists. Later, the convention of states must be grasped and enacted. Isaiah Berlin's thoughts on liberty are staples that must not be forgotten. Berlin's concept of positive and negative liberty is that negative liberty is the absence of obstacles, barriers, or constraints. Positive liberty is the possibility of acting — or the fact of acting — in such a way as to take control of one's life and realize one's fundamental purposes. Afterward, Don Bolduc from New Hampshire joins the show to discuss his campaign for the US Senate. Bolduc says that his opponent has outspent him by $23 million thus far spreading lies to smear his campaign. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Friday's Mark Levin Show, while Hitler burned through Europe and Tojo took over Japan and Mussolini controlled Italy and North Africa, world leaders from all over the globe urged the United States to not get involved. It was only after Japan attacked Pearl Harbor everyone stopped with the isolationist nonsense, but America started from behind. It took time to rev up our industry to create the weapons and equipment needed. As much as the US didn't want to get involved, we had no choice once we were attacked. We are following down this same path today with the appeasement towards Russia, China, and Iran. China and Russia combined to spend more than the US does on their national defense. These countries conceal their spending and growth so that they can criticize the US for warmongering.  Also, Democrats won't get rid of Joe Biden until they have a replacement lined up, and it isn't Kamala Harris. We have endless made up success stories about the Biden Administration, the latest being the passage of the Inflation Reduction Act, which does nothing to lower inflation but imposes the Democrat's green energy demands on us. Democrats are playing with fire when it comes to the economy. Later, Isaiah Berlin's thoughts on liberty are staples that must not be forgotten. Berlin's concept of positive and negative liberty is that negative liberty is the absence of obstacles, barriers, or constraints. Positive liberty is the possibility of acting — or the fact of acting — in such a way as to take control of one's life and realize one's fundamental purposes. Learn more about your ad choices. Visit podcastchoices.com/adchoices