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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=A3P5ROKL5A1OLE notes from wiki This article is about the novel. For the 1997 film, see Starship Troopers (film). For other uses, see Starship Troopers (disambiguation). Starship Troopers First edition hardcover Author Robert A. Heinlein Cover artist Jerry Robinson Language English Genre Military science fiction Philosophical fiction[1][2][3] Publisher G. P. Putnam's Sons Publication date November 5, 1959[4] Publication place United States Media type Print (hardcover and paperback) Pages 263 (paperback edition) Award Hugo Award for Best Novel (1960) ISBN 978-0450044496 Online Computer Library Center number"}]]}"> OCLC 2797649 Library of Congress Classification"}]]}"> LC Class PZ7.H368 Su Starship Troopers is a military science fiction novel by American writer Robert A. Heinlein. Written in a few weeks in reaction to the US suspending nuclear tests,[5] the story was first published as a two-part serial in The Magazine of Fantasy & Science Fiction as Starship Soldier, and published as a book by G. P. Putnam's Sons on November 5, 1959.[4] The story is set in a future society ruled by a human interstellar government called the Terran Federation, dominated by a military elite. Under the Terran Federation, only veterans of a primarily military Federal Service enjoy full citizenship, including the right to vote.[6] The first-person narrative follows Juan "Johnny" Rico, a young man of Filipino descent, through his military service in the Mobile Infantry. He progresses from recruit to officer against the backdrop of an interstellar war between humans and an alien species known as "Arachnids" or "Bugs". Interspersed with the primary plot are classroom scenes in which Rico and others discuss philosophical and moral issues, including aspects of suffrage, civic virtue, juvenile delinquency, and war; these discussions have been described as expounding Heinlein's own political views.[7] Identified with a tradition of militarism in US science fiction,[8] the novel draws parallels between the conflict between humans and the Bugs, and the Cold War.[9] It is also a coming-of-age novel, which criticizes the US society of the 1950s, arguing that a lack of discipline had led to a moral decline, and advocating corporal and capital punishment.[7][10] Starship Troopers brought to an end Heinlein's series of juvenile novels. It won the Hugo Award for Best Novel in 1960,[3] and was praised by reviewers for its scenes of training and combat and its visualization of a future military.[11][12] It also became enormously controversial because of the political views it seemed to support. Reviewers were strongly critical of the book's intentional glorification of the military,[13][14] an aspect described as propaganda and likened to recruitment.[15] The novel's militarism, and the fact that government service – most often military service – was a prerequisite to the right to vote, led to it being frequently described as fascist.[14][16][17] Others disagree, arguing that Heinlein was only exploring the idea of limiting the right to vote to a certain group of people.[18] Heinlein's depiction of gender has also been questioned, while reviewers have said that the terms used to describe the aliens were akin to racial epithets.[19] Starship Troopers had wide influence both within and outside science fiction. Ken MacLeod stated that "the political strand in [science fiction] can be described as a dialogue with Heinlein".[2] Science fiction critic Darko Suvin wrote that it is the "ancestral text of US science fiction militarism" and that it shaped the debate about the role of the military in society for many years.[20] The novel is credited with popularizing the idea of powered armor, which became a recurring feature in science fiction books and films, as well as an object of scientific research.[21] Heinlein's depiction of a futuristic military was also influential.[22] Later science fiction books, such as Joe Haldeman's 1974 anti-war novel The Forever War, have been described as reactions to Starship Troopers.[23] The story was adapted several times, including in a 1997 film version directed by Paul Verhoeven that satirized what the director saw as the fascist aspects of the novel.[24] Writing and publication The cover of The Magazine of Fantasy & Science Fiction (November 1959), illustrating Starship Soldier Robert Heinlein was among the best-selling science fiction authors of the 1940s and 1950s, along with Isaac Asimov and Arthur C. Clarke; they were known as the "big three" that dominated US science fiction. In contrast to the others, Heinlein firmly endorsed the anti-communist sentiment of the Cold War era in his writing.[25] Heinlein served in the US Navy for five years after graduating from the United States Naval Academy in 1929. His experience in the military profoundly influenced his fiction.[26] At some point between 1958 and 1959, Heinlein put aside the novel that would become Stranger in a Strange Land and wrote Starship Troopers. His motivation arose partially from his anger at US President Dwight Eisenhower's decision to suspend US nuclear tests, and the Soviet tests that occurred soon afterward.[5] Writing in his 1980 volume Expanded Universe, Heinlein would say that the publication of a newspaper advertisement placed by the National Committee for a Sane Nuclear Policy on April 5, 1958, calling for a unilateral suspension of nuclear weapons testing by the United States sparked his desire to write Starship Troopers.[27] Heinlein and his wife Virginia created the "Patrick Henry League" in an attempt to create support for the US nuclear testing program. Heinlein stated that he used the novel to clarify his military and political views.[28] Like many of Heinlein's books, Starship Troopers was completed in a few weeks. It was originally written as a juvenile novel for New York publishing house Scribner; Heinlein had previously had success with this format, having written several such novels published by that publisher. The manuscript was rejected, prompting Heinlein to end his association with that publisher completely, and to resume writing books with adult themes.[5][19][29] Scholars have suggested that Scribner's rejection was based on ideological objections to the content of the novel, particularly in its treatment of military conflict.[19][30] The Magazine of Fantasy & Science Fiction first published Starship Troopers in October and November 1959 as a two-part serial titled Starship Soldier.[29] A senior editor at Putnam's, Peter Israel, purchased the manuscript and approved revisions that made it more marketable to adults. Asked whether it was aimed at children or adults, he said at a sales conference "Let's let the readers decide who likes it."[31] The novel was eventually published by G. P. Putnam's Sons.[29] Setting Set approximately 700 years in the future,[19] the book depicts an Earth ruled by a world government run by military veterans.[6] The society is depicted as affluent, and futuristic technology shown as coexisting with educational methods from the 20th century.[19] The rights of a full citizen, to vote and hold public office, are not universally guaranteed, and rather must be earned through Federal Service.[18] Those who do not perform this service (of which only military service has been described) retain the rights of free speech and assembly, but can neither vote nor hold public office. People of either sex above the age of 18 are permitted to enlist; only those who complete their service receive the right to vote.[19][32] Important government jobs are reserved for federal service veterans.[6] This structure arose ad hoc after the collapse of the "20th century Western democracies", driven in part by an inability to control crime and juvenile delinquency, particularly in North America, and a war between an alliance of the United States, the United Kingdom and Russia, against the "Chinese Hegemony".[33] Two extraterrestrial civilizations are depicted, respectively, as the "Pseudo-Arachnids" (or "Bugs"), and the "Skinnies". The "Bugs" are described as communal beings originating from the planet of Klendathu, and consist of multiple castes; workers, warriors, brains, and queens, similar to those of ants and termites on Earth. The warriors are the only ones who fight, and are unable to surrender in battle.[34] It also is implied that the Bugs are technologically advanced, possessing such technologies as spaceships.[35] The "Skinnies" are depicted as less communal than the Arachnids, yet more so than humans.[36] The events of the novel take place during an interstellar war between the Terran Federation and the Arachnids.[37] At the opening of the story, Earth is not at war, yet such a declaration has come when Rico has completed his training.[5] The "Skinnies" are initially allies of the Pseudo-Arachnids, but switch to alliance with humans, midway through the novel.[36] Faster-than-light travel exists in this future: spacecraft use the "Cherenkov drive", and can travel "Sol to Capella, forty-six lightyears, in under six weeks".[38] Starship Troopers is narrated by the main protagonist Juan "Johnny" Rico, a member of the "Mobile Infantry". It is one of the few Heinlein novels which intersperses his typical linear narrative structure with a series of flashbacks.[5][37] These flashbacks are frequently to Rico's "History and Moral Philosophy" course in school, in which the teacher discusses the history of the structure of their society.[5][18] Rico is depicted as a man of Filipino ancestry. He is from a wealthy family, whose members had never served in the military.[5][19][32] Rico's ancestry is depicted as inconsequential, society having finally abandoned racial and gender-based prejudice.[19] Plot The novel opens with Rico aboard the corvette transport Rodger Young (named after real life Medal of Honor recipient Rodger Young),[39] serving with the platoon known as "Rasczak's Roughnecks". The platoon carries out a raid against a planetary colony held by Skinnies.[19] The raid is relatively brief: the platoon lands on the planet, destroys its targets, and retreats, suffering two casualties in the process. One of them, Dizzy Flores, is rescued by Rico but dies while returning to orbit.[40] The narrative then flashes back to Rico's graduation from high school. Rico and his best friend Carl are considering joining the Federal Service after graduation; Rico is hesitant, partly due to his father's attitude towards the military.[5] Rico makes his decision after discovering that his classmate Carmen Ibañez also intends to enlist.[41] Rico's choice is taken poorly by his parents, and he leaves with a sense of estrangement. He is assigned to the Mobile Infantry, and moves to Camp Arthur Currie (named for Sir Arthur Currie who rose through the ranks to command the Canadian Corps in World War I) on the Canadian prairie for his training under Sergeant Charles Zim.[42] The training is extremely demanding.[43] Rico receives combat training of all types, including simulated fights in armored suits.[44][45] A fellow recruit is court-martialed, flogged, and dismissed for striking a drill instructor who was also his company commander. Rico himself is given five lashes for firing a rocket during a drill with armored suits and simulated nuclear weapons without ensuring that no friendlies were within the blast zone, which in combat would have resulted in the death of a fellow soldier.[46] Another recruit, who murdered a baby girl after deserting the army, is hanged by his battalion after his arrest by civilian police.[46] Disheartened, Rico thinks of resigning when he receives a letter from Jean Dubois, who taught Rico History and Moral Philosophy.[47] Dubois reveals that he was once a lieutenant colonel in the Mobile Infantry, which gives Rico the motivation not to resign.[48] After further training at another camp near Vancouver, Rico graduates with 187 others, of the 2,009 who had begun training in that regiment.[49] The "Bug War" has changed from minor incidents to a full-scale war during Rico's training. An Arachnid attack that annihilates the city of Buenos Aires alerts civilians to the situation; Rico's mother is killed in the attack.[50] Rico participates in the Battle of Klendathu, an attack on the Arachnid's home world, which turns into a disastrous defeat for the Terran Federation.[51] Rico's ship, the Valley Forge, is destroyed, and his unit is decimated; he is reassigned to the Roughnecks on board the Rodger Young, led by Lieutenant Rasczak and Sergeant Jelal.[52] The unit carries out several raids, and Rico is promoted to corporal by Jelal after Rasczak dies in combat.[53] One of his comrades in the Roughnecks suggests that Rico go to officer training school and try to become an officer. Rico ends up going to see Jelal, and finds that Jelal already had the paperwork ready. Rico enters Officer Candidate School for a second course of training, including further courses in "History and Moral Philosophy".[54][55] En route from the Roughnecks to the school Rico encounters his father who has also enlisted and is now a corporal, and the two reconcile. He is also visited in school by Carmen, now an ensign and ship's pilot officer in the Navy, and the two discuss their friend Carl, who had been killed earlier in the war.[56] Rico is commissioned a temporary third lieutenant for his final test: a posting to a combat unit. Under the tutelage of his company commander, Captain Blackstone, and with the aid of his platoon sergeant, his boot camp drill instructor Fleet Sergeant Zim, Rico commands a platoon during "Operation Royalty", a raid to capture members of the Arachnid brain caste and queens.[57] Rico then returns to the officer school to graduate. The novel ends with him holding the rank of second lieutenant, in command of his old platoon in the Rodger Young, with his father as his platoon sergeant. The platoon has been renamed "Rico's Roughnecks", and is about to participate in an attack on Klendathu.[58] Themes Robert Heinlein in 1976 Commentators have written that Starship Troopers is not driven by its plot, though it contains scenes of military combat. Instead, much of the novel is given over to a discussion of ideas.[59] In particular, the discussion of political views is a recurring feature of what scholar Jeffrey Cass described as an "ideologically intense" book.[16] A 1997 review in Salon categorized it as a "philosophical novel".[1] Critics have debated to what extent the novel promotes Heinlein's own political views. Some contend that the novel maintains a sense of irony that allows readers to draw their own conclusions; others argue that Heinlein is sermonizing throughout the book, and that its purpose is to expound Heinlein's militaristic philosophy.[16][18] Militarism Starship Troopers has been identified as being a part of a tradition in American science fiction that assumes that violent conflict and the militarization of society are inevitable and necessary.[8] Although the Mobile Infantry, the force to which Rico is assigned, is seen as a lowly post by the characters in the story, the novel itself suggests that it is the heart of the army and the most honorable unit in it.[43] In a commentary written in 1980, Heinlein agreed that Starship Troopers "glorifies the military ... Specifically the P.B.I., the Poor Bloody Infantry, the mudfoot who places his frail body between his loved home and the war's desolation – but is rarely appreciated ... he has the toughest job of all and should be honored."[13] The story is based on the social Darwinist idea of society as a struggle for survival based on military strength. It suggests that some conflicts must be resolved by force: one of the lessons Rico is repeatedly taught is that violence can be an effective method of settling conflict.[19] These suggestions derive in part from Heinlein's view that in the 1950s the US government was being too conciliatory in its dealings with communist China and the Soviet Union.[17][59][60][61] Heinlein draws an analogy between the human society in the novel, which is well-to-do but needs to be vigilant against the imperialist threat of the Arachnids, and US society of the 1950s. Reviewers have suggested that the Arachnids are Heinlein's analogue for communists. Traits used to support this include the communal nature of the Arachnids, which makes them capable of a much higher degree of coordination than the humans. Bug society is once explicitly described as communist, and is moreover depicted as communist by nature; this has been read as implying that those with a different political ideology are analogous to alien beings.[9][19][62] The related motifs of alien invasion, patriotism, and personal sacrifice during war, are present, as are other aspects of US popular culture of the 1950s.[17] Commentators have argued that Heinlein's portrayal of aliens, as well as being a reference to 1950s communist countries, aims to "reinscribe the ideologies of America's mythic frontier history". The concept of the frontier includes a social-Darwinist argument of constantly fighting for survival, even at the expense of indigenous people or, in the case of Starship Troopers, of aliens. Heinlein suggests that without territorial expansion involving violent conquest of other races, humans would be destroyed.[63] Scholar Jamie King has stated that Heinlein does not address the question of what the military government and Federal Service would do in peacetime, and argues that Heinlein has set up a society designed to be continuously at war, and to keep expanding its territory.[64] Coming of age Starship Troopers has been referred to as a bildungsroman or "coming-of-age" story for Rico, as he matures through his tenure in the infantry. His training, both at boot camp and at officer candidate school, involves learning the value of militarism, thus inviting the reader to learn it as well.[43] This is especially true of the parts of his training that involve indoctrination, such as the claim by one of his instructors that rule by military veterans is the ideal form of government, because only they understand how to put collective well-being above the individual.[43] The story traces Rico's transformation from a boy into a soldier, while exploring issues of identity and motivation,[18] and traces his overall moral and social development, in a manner identified by commentators as similar to many stories about German soldiers in World War I.[65] Rico's transformation has been likened to the common narrative within stories with military themes by scholar H. Bruce Franklin. This typical narrative is that of a sloppy and unfit civilian being knocked into shape by tough officers, whose training is "calculated sadism" but is depicted as fundamentally being on the right side.[32] The letter Rico receives from Dubois, partly responsible for Rico "crossing the hump" with his training, is shown as a turning point in his development.[19] The classroom scenes embedded in the story serve to explain Rico's adventures, and highlight his reactions to events around. A notable example is the execution Rico is forced to witness after a deserter from his unit murders a young girl; Rico is uncertain of his own reaction until he remembers a lecture by Dubois in which the latter argues that "moral sense" derives entirely from the will to survive.[19][66] The concept of the American frontier is also related to the coming-of-age theme. Young protagonists across Heinlein's novels attain manhood by confronting a hostile "wilderness" in space; coming-of-age in a military, alien context is a common theme in Heinlein's earlier works as well.[67] Rico's coming-of-age has also been described as being related to his relationship with his father; the journey "outward" through the novel also contains a search for Rico's childhood and a reunion with his estranged parent.[68] Moral decline Starship Troopers also critiques US society of the 1950s, suggesting that it led young people to be spoiled and undisciplined. These beliefs are expressed through the classroom lectures of Dubois, Rico's teacher for History and Moral Philosophy. Dubois praises flogging and other types of corporal punishment as a means of addressing juvenile crimes. It has been suggested that Heinlein endorsed this view, although the fact that Dubois also compares raising children to training a puppy has been used to argue that Heinlein was making use of irony.[10] The story is strongly in favor of corporal punishment and capital punishment, as a means of correcting juvenile delinquents, part of a trend in science fiction which examines technology and outer space in an innovative manner, but is reactionary with respect to human relationships.[7][23] As with other books by Heinlein, traditional schools are denigrated, while learning "on the spot" is extolled: Rico is able to master the things required of him in military training without undue difficulty.[19] Dubois also ridicules the idea of inalienable rights, such as "Life, Liberty and the pursuit of Happiness", arguing that people have only the rights that they are willing to fight and die for to protect.[33][66][69] The novel appeals to scientific authority to justify this position; Dubois repeatedly states that his argument is mathematically demonstrable, statements which have led scholars to label the novel "hard science fiction", despite its social and political themes.[70] The "moral decline" caused by this situation is depicted as having caused a global war between an alliance of the US, Britain, and Russia against the "Chinese Hegemony" in the year 1987. Despite the alliance between the US and Russia, this war has been described as demonstrating Heinlein's anti-communist beliefs, which saw "swarming hordes" of Chinese as a bigger threat. The novel draws some comparisons between the Chinese and the Arachnids, and suggests that the lessons of one war could be applied to the other.[69] Reception To Heinlein's surprise,[71] Starship Troopers won the Hugo Award for Best Novel in 1960.[72] It has been acknowledged as one of the best-known and most influential works of science fiction.[2][21] The novel is considered a landmark for the genre, having been described by a 1960 review as one of the ten best genre books of 1959,[73] in a 2009 review as a key science fiction novel of the 1950s,[14] and as the best-known example of military science fiction.[74] The novel has been described as marking Heinlein's transition from writing juvenile fiction to a "more mature phase" as an author.[3] Reviewing the book with others written for children, Floyd C. Gale of Galaxy Science Fiction wrote in 1960 that "Heinlein has penned a juvenile that really is not. This is a new and bitter and disillusioned Heinlein". Rating it 2.5 stars out of five for children, 4.5 stars for adults, and "?" for civilians, he believed that the novel would be "of exceptional interest to veterans with battle experience ... but youngsters will find it melancholy and verbose".[75] Conversely, Michael Moorcock described it as Heinlein's last "straight" science fiction, before he turned to more serious writing such as Stranger in a Strange Land.[76] By 1980, twenty years after its release, Starship Troopers had been translated into eleven languages and was still selling strongly. Heinlein nevertheless complained that, despite this success, almost all the mail he received about it was negative and he only heard about it "when someone wants to chew me out".[71] The novel is highly contentious.[3] Controversy surrounded its praise of the military and approval of violence, to the extent that it has frequently been described as fascist, and its implication that militarism is superior to traditional democracy.[3][77] Heinlein's peers were among those who argued over the book; a comparison between a quote in Starship Troopers that "the noblest fate that a man can endure is to place his own mortal body between his loved home and war's desolation"[78] and the anti-war poem "Dulce et Decorum Est" by Wilfred Owen began a two-year discussion in the Proceedings of the Institute for Twenty-First Century Studies from 1959 to 1961, with James Blish, Poul Anderson, Philip José Farmer, Anthony Boucher, John Brunner, Brian Aldiss, among those debating Starship Troopers's quality of writing, philosophy, and morality.[79] The writing in Starship Troopers has received varied responses, with the scenes of military training and combat receiving praise. In a 2009 retrospective, science-fiction writer Jo Walton wrote that Starship Troopers was "military SF done extremely well".[18] She went on to argue that "Heinlein was absolutely at his peak when he wrote this in 1959. He had so much technical stylistic mastery of the craft of writing science fiction that he could [tell the story] 'backwards and in high heels' and get away with it."[18] Others referred to it as very readable, and found the military scenes compelling.[3][11][12] Heinlein's descriptions of training and boot camp in the novel, based on his own experiences in the military, have been described as being rendered with remarkable skill.[17] A 1960 review in the New York Herald Tribune praised the "brilliantly written" passages describing infantry combat, and also called attention to the discussion of weapons and armor,[80] which, according to other reviewers, demonstrated Heinlein's "undiminished talent for invention".[19] Scholar George Slusser described the book in 1986 as the "ultimately convincing space-war epic", praising in particular the "precisely imagined" weapons and tactics,[68] while a 1979 science fiction encyclopedia referred to it as the "slickest" of Heinlein's juvenile books.[19] Criticism of the style of the book has centered on its political aspects. Heinlein's discussions of his political beliefs were criticized as "didactic",[11][80][81] and the novel was derided for "exposition [that was] inserted in large indigestible chunks".[80] Author Ken MacLeod's 2003 analysis of the political nature of Starship Troopers stated that it was "a book where civics infodumps and accounts of brutal boot-camp training far outweigh the thin and tensionless combat scenes".[12] Scientist and author Brunner compared it to a "Victorian children's book",[82] while the Science Fiction Handbook published in 2009 said that the novel provided "compelling images of a futuristic military" and that it raised important questions, even for those who disagree with its political ideology. However, it stated that the story was weak as a tale of an alien encounter, as it did not explore alien society in any detail, but presented the Arachnids as nameless and faceless creatures that wished to destroy humanity.[22] Boucher, founder of The Magazine of Fantasy & Science Fiction, remarked in 1960 that Heinlein had "forgotten to insert a story".[80] A 1979 summary said that though Heinlein's vision might verge on fascism, his tightly controlled narrative made his ideology seem "vibrantly appealing".[19] Criticism of militarism Starship Troopers is generally considered to promote militarism, the glorification of war and of the military.[14] Scholar Bruce Franklin referred to it in 1980 as a "bugle-blowing, drum-beating glorification" of military service, and wrote that militarism and imperialism were the explicit message of the book.[15][83] Science fiction writer Dean McLaughlin called it "a book-length recruiting poster".[84] In 1968 science fiction critic Alexei Panshin called Starship Troopers a militaristic polemic and compared it to a recruiting film, stating that it "purports to show the life of a typical soldier, with a soundtrack commentary by earnest sincere Private Jones who interprets what we see for us." Panshin stated that there was no "sustained human conflict" in the book: instead, "All the soldiers we see are tough, smart, competent, cleancut, clean-shaven, and noble."[85] Panshin, a veteran of the peacetime military, argued that Heinlein glossed over the reality of military life, and that the Terran Federation-Arachnid conflict existed simply because, "Starship troopers are not half so glorious sitting on their butts polishing their weapons for the tenth time for lack of anything else to do."[85] Literature scholar George Slusser, in describing the novel as "wrong-headed and retrogressive", argued that calling its ideology militarism or imperialism was inadequate, as these descriptions suggested an economic motive. Slusser instead says that Heinlein advocates for a complete "technological subjugation of nature", of which the Arachnids are a symbol, and that this subjugation itself is depicted as a sign of human advancement.[83] A 1997 review of the film in Salon stated that the novel could almost be described as propaganda, and was terrifying as a result, particularly in its belief that the boot camp had to be an ingredient of any civilization. This was described as a highly unusual utopian vision.[1] Moorcock stated that the lessons Rico learns in boot camp: "wars are inevitable, [and] that the army is always right".[76] In discussing the book's utility in classroom discussions of the form of government, Alan Myers stated that its depiction of the military was of an "unashamedly Earth-chauvinist nature".[11] In the words of science fiction scholar Darko Suvin, Starship Troopers was an "unsubtle but powerful black-and-white paean to combat life", and an example of agitprop in favor of military values.[81] Other writers defended Heinlein. George Price argued that "[Heinlein] implies, first, that war is something endured, not enjoyed, and second, that war is so unpleasant, so desolate, that it must at all costs be kept away from one's home."[86] Poul Anderson also defended some of the novel's positions, arguing "Heinlein has recognized the problem of selective versus nonselective franchise, and his proposed solution does merit discussion."[87] Complaints were made against Heinlein for the lack of conscription in Starship Troopers. When he wrote the novel, the military draft was still in effect in the US.[88] Allegations of fascism The society within the book has frequently been described as fascist.[14][16][17] According to the 2009 Science Fiction Handbook, it had the effect of giving Heinlein a reputation as a "fanatical warmongering fascist".[6] Scholar Jeffrey Cass has referred to the setting of the book as "unremittingly grim fascism". He has stated that the novel made an analogy between its military conflict and those of the US after World War II, and that it justified American imperialism in the name of fighting another form of imperialism.[89] Jasper Goss has referred to it as "crypto-fascist".[17] Suvin compares Heinlein's suggestion that "all wars arise from population pressure" to the Nazi concept of Lebensraum or "living space" for a superior society that was used to justify territorial expansion.[90] Some reviewers have suggested that Heinlein was simply discussing the merits of a selective versus a nonselective franchise.[18] Heinlein made a similar claim, over two decades after Starship Troopers's publication, in his Expanded Universe and further claimed that 95 percent of "veterans" were not military personnel but members of the civil service.[91] Heinlein's own description has been disputed, even among the book's defenders. Heinlein scholar James Gifford has argued that a number of quotes within the novel suggest that the characters within the book assume that the Federal Service is largely military. For instance, when Rico tells his father that he is interested in Federal Service, his father immediately explains his belief that Federal Service is a bad idea because there is no war in progress, indicating that he sees Federal Service as military in nature. Gifford states that although Heinlein's intentions may have been that Federal Service be 95 percent non-military, in relation to the actual contents of the book, Heinlein "is wrong on this point. Flatly so."[5] Dennis Showalter, writing in 1975, defended Starship Troopers, stating that the society depicted in it did not contain many elements of fascism. He argues that the novel does not include outright opposition to Bolshevism and liberalism that would be expected in a fascist society.[89] Others have responded by saying Showalter's argument is based on a literal reading of the novel, and that the story glorifies militarism to a large extent.[89] Ken Macleod argues that the book does not actually advocate fascism because anybody capable of understanding the oath of Federal Service is able to enlist and thereby obtain political power.[12] Macleod states that Heinlein's books are consistently liberal, but cover a spectrum from democratic to elitist forms of liberalism, Starship Troopers being on the latter end of the spectrum.[2] It has been argued that Heinlein's militarism is more libertarian than fascist, and that this trend is also present in Heinlein's other popular books of the period, such as Stranger in a Strange Land (1961) and The Moon Is a Harsh Mistress (1966). This period of Heinlein's writing has received more critical attention than any other, although he continued to write into the 1980s.[14] Apparent utopianism The setting of the book is presented by Heinlein as utopian; its leaders are shown as good and wise, and the population as free and prosperous.[6][19] Slusser wrote in 1987 that Starship Troopers depicts a world that is "hell for human beings", but nonetheless celebrates the ideology of its fictional society.[83] The rulers are claimed to be the best in history, because they understand that human nature is to fight for power through the use of force.[43] The suggestion of utopia is not explored in depth, as the lives of those outside the military are not shown in any detail.[19][22] The novel suggests that the militarist philosophy espoused by many of the characters has a mathematical backing, though reviewers have commented that Heinlein does not present any basis for this.[18][43] Writers such as Farmer, Robert A. W. Lowndes, and Michael Moorcock have criticized the novel for being a hypothetical utopia, in the sense that while Heinlein's ideas sound plausible, they have never been put to the test. Moorcock wrote an essay entitled "Starship Stormtroopers" in which he attacked Heinlein and other writers over similar "Utopian fiction".[76] Lowndes accused Heinlein of using straw man arguments, "countering ingenuous half-truths with brilliant half-truths".[92] Lowndes further argued that the Terran Federation could never be as idealistic as Heinlein portrays it to be because he never properly addressed "whether or not [non-citizens] have at least as full a measure of civil redress against official injustice as we have today".[92] Farmer agreed, arguing that a "world ruled by veterans would be as mismanaged, graft-ridden, and insane as one ruled by men who had never gotten near the odor of blood and guts".[93] Race and gender Authors and commentators have stated that the manner in which the extraterrestrial beings are portrayed in Starship Troopers has racist aspects, arguing that the nicknames "Bugs" and "Skinnies" carry racial overtones. John Brunner compared them to calling Koreans "gooks".[82] Slusser argued that the term "Bugs" was an "abusive and biologically inaccurate" word that justified the violence against alien beings, a tendency which, according to Slusser, the book shared with other commercially successful science fiction.[62] Some of Heinlein's other works have also been described as racist, though Franklin argues that this was not unique to Heinlein, and that he was less racist than the US government of the time.[94] Heinlein's early novel Sixth Column was called a "racist paean" to a white resistance movement against an Asian horde derived from the Yellow Peril.[95] In 1978, Moorcock wrote that Starship Troopers "set the pattern for Heinlein's more ambitious paternalistic, xenophobic" stories.[76] Robert Lowndes argues that the war between the Terrans and the Arachnids is not about a quest for racial purity, but rather an extension of Heinlein's belief that man is a wild animal. According to this theory, if man lacks a moral compass beyond the will to survive, and he was confronted by another species with a similar lack of morality, then the only possible moral result would be warfare.[92] The fact that all pilots in the novel are women (in contrast to the infantry, which is entirely male) has been cited as evidence of progressive gender politics within the story, although the idea expressed by Rico that women are the motivation for men to fight in the military is a counter-example to this.[18][22] A 1996 science fiction encyclopedia said that like much of Heinlein's fiction, Starship Troopers exemplified "macho male culture".[96] The prosthetically enhanced soldiers in the novel, all of whom are men, have been described as an example of the "hyper-masculinity" brought on by the proximity of these men to technology.[97] The story portrays the Arachnids as so alien that the only response to them can be war. Feminist scholars have described this reaction as a "conventionally masculinist" one.[98] Steffen Hantke has described the mechanized suits in the novel, which make the wearer resemble a "steel gorilla," as defining masculinity as "something intensely physical, based on animal power, instinct, and aggression". He calls this form of masculinity "all body, so to speak, and no brain".[99] Thus, in Hantke's reading, Starship Troopers expresses fears of how masculinity may be preserved in an environment of high technology.[100] This fear is exacerbated by the motifs of pregnancy and birth that Heinlein uses when describing how the soldiers in suits are dropped from spaceships piloted by women.[101] Though Rico says he finds women "marvelous", he shows no desire for sexual activity; the war seems to have subsumed sex in this respect.[19] A 1979 summary argued that despite the gestures towards women's equality, women in the story were still objects, to be protected, and to fight wars over.[19] Influence A real-life concept of powered armor, an idea popularized by Starship Troopers[102] Heinlein's books, and Starship Troopers in particular, had an enormous impact on political science fiction, to the extent that author Ken MacLeod has stated that "the political strand in [science fiction] can be described as a dialogue with Heinlein," although many participants in this dialogue disagree with Heinlein.[2] Science fiction critic Darko Suvin states that Starship Troopers is the "ancestral text of US science fiction militarism" and that it shaped the debate about the role of the military in society for many years.[20] In addition to his political views, Heinlein's ideas about a futuristic military as depicted in the novel were deeply influential among films, books, and television shows in later years.[22] Roger Beaumont has suggested that Starship Troopers may some day be considered a manual for extraterrestrial warfare.[103] Suvin refers to Juan Rico as the "archetypal Space Soldier".[104] Starship Troopers included concepts in military engineering which have since been widely used in other fiction, and which have occasionally been paralleled by scientific research. The novel has been cited as the source of the idea of powered armor exoskeletons, which Heinlein describes in great detail.[83][105][106][107] Such suits became a staple of military science fiction. Franchises that have employed this technology include Iron Man, Exo Squad, Halo, District 9, Elysium, and Edge of Tomorrow.[21] During the shooting of the science fiction film Aliens, director James Cameron required the actors playing space marines to read Starship Troopers to understand their parts, and also cited it as an influence for the space drop, terms like "bug hunt", and the cargo-loader exoskeleton.[108] Starship Troopers had a direct influence on many later science fiction stories. John Steakley's 1984 novel Armor was, according to the author, born out of frustration with the small amount of actual combat in Starship Troopers and because he wanted this aspect developed further.[109] The "Mobile Suits" from the 1979 Nippon Sunrise anime series Mobile Suit Gundam were inspired by the powered armor from Starship Troopers.[110] The 1988 Gainax OVA series Gunbuster has plot elements similar to Starship Troopers, depicting humanity arrayed against an alien military.[107] Scholars have identified elements of Heinlein's influence in Ender's Game, by Orson Scott Card, as well. Hantke, in particular, compares the battle room in Ender's Game to Heinlein's prosthetic suits, stating that they both regulate but also enhance human agency.[111] Suvin suggests parallels between the plots of the two novels, with human society in both stories at war against insect-like aliens, but states that the story of Ender Wiggin takes a very different direction, as Ender regrets his genocidal actions and dedicates his efforts to protecting his erstwhile targets.[104] Conversely, Joe Haldeman's 1974 anti-war, Hugo- and Nebula-winning science fiction novel The Forever War is popularly thought to be a direct reply to Starship Troopers, and though Haldeman has stated that it is actually a result of his personal experiences in the Vietnam War, he has admitted to being influenced by Starship Troopers.[112][113][114] Haldeman said that he disagreed with Starship Troopers because it "glorifies war", but added that "it's a very well-crafted novel, and I believe Heinlein was honest with it".[112] The Forever War contains several parallels to Starship Troopers, including its setting. Commentators have described it as a reaction to Heinlein's novel, a suggestion Haldeman denies; the two novels are very different in terms of their attitude towards the military. The Forever War does not depict war as a noble pursuit, with the sides clearly defined as good and evil; instead, the novel explores the dehumanizing effect of war, influenced by the real world context of the Vietnam War.[23] Haldeman received a letter from Heinlein, congratulating him on his Nebula Award, which "meant more than the award itself".[115] According to author Spider Robinson, Heinlein approached Haldeman at the awards banquet and said the book "may be the best future war story I've ever read!"[116] Harry Harrison's 1965 novel Bill, the Galactic Hero has also been described as a reaction to Starship Troopers,[6] while Gordon R. Dickson's 1961 novel Naked to the Stars has been called "an obvious rejoinder" to Starship Troopers.[117] Ring of Swords, written by Eleanor Arnason in 1993, also depicts a war between two highly aggressive species, of which humans are one. The story deliberately inverts several aspects of Starship Troopers: the story is told from the point of view of diplomats seeking to prevent war, rather than soldiers fighting it, and the conflict is the result of the two species being extremely similar, rather than different.[118] Adaptations 1997 film Main article: Starship Troopers (film) Further information: Starship Troopers (franchise) The film rights to the novel were licensed in the 1990s, several years after Heinlein's death. The project was originally entitled Bug Hunt at Outpost Nine, and had been in production before the producers bought the rights to Starship Troopers.[119][120][121] The film was directed by Paul Verhoeven (who found the book too boring to finish), and released in 1997.[122] The screenplay, by Ed Neumeier, shared character names and some plot details with the novel.[123] The film contained several elements that differed from the book, including a military that is completely integrated with respect to sex. It had the stated intention of treating its material in an ironic or sarcastic manner, to undermine the political ideology of the novel.[17][124] The mechanized suits that featured prominently in the novel were absent from the film, due to budget constraints.[99] The film used fascist imagery throughout, including portraying the Terran Federation's personnel wearing uniforms strongly reminiscent of those worn by the SS, the Nazi paramilitary.[125] Verhoeven stated in 1997 that the first scene of the film – an advertisement for the Mobile Infantry – was adapted shot-for-shot from a scene in Leni Riefenstahl's Triumph of the Will (1935), specifically an outdoor rally for the Reichsarbeitsdienst. Other references to Nazism include the Albert Speer-style architecture and the propagandistic dialogue ("Violence is the supreme authority!").[126] According to Verhoeven, the references to Nazism reflected his own experience in the Nazi-occupied Netherlands during World War II.[24][127] The film reignited the debate over the nature of the Terran society in Heinlein's world, and several critics accused Verhoeven of creating a fascist universe. Others, and Verhoeven himself, have stated that the film was intended to be ironic, and to critique fascism.[77][128] The film has also been described as criticizing the jingoism of US foreign policy, the military industrial complex, and the society in the film, which elevates violence over sensitivity.[129] It received several negative critical reviews, reviewers suggesting that it was unsophisticated and targeted a juvenile audience, although some scholars and critics have also supported its description as satirical.[21][24][124][129] The absence of the powered armor technology drew criticism from fans.[21][99] The success of the film's endeavor to critique the ideology of the novel has been disputed.[24] Four sequels, Starship Troopers 2: Hero of the Federation (2004),[130] Starship Troopers 3: Marauder (2008),[131] Starship Troopers: Invasion (2012)[132] and Starship Troopers: Traitor of Mars (2017) were released as straight-to-DVD films. In December 2011, Neal H. Moritz, producer of films such as the Fast & Furious series and I Am Legend, announced plans for a remake of the film that he claims will be more faithful to the source material.[133] In 2016 Mark Swift and Damian Shannon were reported to be writing the film.[134][needs update] Animated series Main article: Roughnecks: Starship Troopers Chronicles An animated TV series was also released based both on the novel and 1997 film called Roughnecks: Starship Troopers Chronicles, it follows the exploits of the Mobile Infantry squad, "Razak's Roughnecks", during the SICON–Bugs War between a newly united humanity and an extraterrestrial race, known as the "Bugs," also sometimes referred to as Arachnids. The show focuses mainly on the Roughnecks' missions, rather than addressing the larger war. Paul Verhoeven served as an executive producer.[135] The show ran for one season from August 1999 to April 2000. Other media From October to December 1988, Sunrise and Bandai Visual produced a six-episode Japanese original video animation locally titled Uchū no Senshi with mobile infantry power armor designs by Kazutaka Miyatake, based on Starship Troopers.[136] Dark Horse Comics, Mongoose Publishing and Markosia hold the license to produce comic books based on Starship Troopers, written by authors including Warren Ellis, Gordon Rennie and Tony Lee.[137][138] Avalon Hill published Robert Heinlein's Starship Troopers in 1976, a map-and-counter board wargame featuring a number of scenarios as written in the novel.[139] In 1998, Mythic Entertainment released Starship Troopers: Battlespace. The web-based interactive game, in which players battled each other in overhead space combat, allowed players to assume either Klendathu or Federation roles, was developed alongside the film adaptation.[24][140] Starship Troopers: The Miniatures Game was released by Mongoose Publishing in 2005, a miniature wargame which used material from the novel, film, and animated TV series.[141] Spectre Media released Starship Troopers: Invasion Mobile Infantry, a game for PCs, in 2012.[142] Offworld Industries developed and published the 2023 game Starship Troopers: Extermination, a cooperative multiplayer first-person shooter available for PC.[143]

The cellphone was lying near Rachael Koloroutis. At 3:12 that afternoon, she had tried to call 911. But help never reached her in time.  It was the afternoon of July 18, 2003, and four young people in a comfortable suburban home near Houston were caught completely off guard. The television was still playing. Tiffany Rowell and Adelbert Sanchez were seated on the sofa and apparently never had time to stand. Investigators believed Rachael had answered the door and then attempted to run when the attack began.  Whoever entered that house had been welcomed inside. Then two guns opened fire. Twenty-one shots were fired in a matter of seconds. Seventeen struck their targets. Eighteen-year-old Tiffany Rowell never made it off the sofa. Neither did twenty-one-year-old Adelbert Sanchez. Nearby were Tiffany's nineteen-year-old boyfriend, Marcus Precella, and her close friend and roommate, eighteen-year-old Rachael Koloroutis. All four had been shot repeatedly. Marcus had also been struck in the head with a gun. But Rachael had survived the first barrage. Badly wounded, she had somehow begun moving toward her cellphone. She was still conscious. Still trying to summon help. Before she could finish the call, one of the attackers returned. Rachael knew the person standing over her. According to testimony, Rachael looked up at someone she had once considered a close friend and asked: Why are you doing this to me? There would be no answer. Join Cam and Jen on this episode of Our True Crime Podcast entitled ‘From Miss Irresistible to Murder: Christine Paolilla.' Listener Discretion @octoberpodVHS All music by our EP/ editors @theinkypawprint Sources: Phelps, M. William Never See Them Again. Pinnacle Books. p. 403. ISBN 978-0-786-03055-2.  https://abcnews.go.com/2020/miss-irresistible-high-school-murders/story?id=8612993 https://abc13.com/archive/6447569/ https://inmate.tdcj.texas.gov/InmateSearch/viewDetail.action?sid=07188577 http://offender.tdcj.texas.gov/OffenderSearch/offenderDetail.action?sid=07188577 http://www.chron.com/neighborhood/baytown-news/article/Paolilla-gets-life-in-4-Clear-Lake-slayings-1675610.php http://www.chron.com/default/article/Investigator-Clear-Lake-killings-a-gory-scene-1645068.php http://www.chron.com/neighborhood/baytown-news/article/Husband-shocked-by-wife-s-tale-of-killings-1566661.php http://www.chron.com/default/article/Two-charged-in-2003-Clear-Lake-slayings-1570530.php http://www.chron.com/default/article/500-000-bail-set-for-slaying-suspect-1808863.php https://news.google.com/newspapers?nid=1980&dat=20060806&id=fJIiAAAAIBAJ&pg=1716,565499 http://www.chron.com/default/article/Cold-case-file-Persistent-Houston-police-1643845.phphttp://www.oxygen.com/snapped/photos/episode-5-christine-paolilla https://www.tvguide.com/tvshows/killer-kids/episode-3-season-3/frenemies-the-reject/506493/ http://www.forensicfiles.com/social-circle.html http://www.investigationdiscovery.com/tv-shows/deadly-women/videos/deadly-women-best-friends-betrayal/ https://www.ovguide.com/tv_episode/redrum-season-3-episode-1-the-in-crowd-5165633 Learn more about your ad choices. Visit megaphone.fm/adchoices

The Testimony ©2026 ISBN978-976-98069-9-3.mp3 As a polymath, I find that a single disciplinary lens often leaves us with a flat, two-dimensional reading. To truly appreciate the depth of Acts 26, I employ seven distinct perspectives: the authorial, the publishing, the photojournalistic, the cinematographic, the media arts, the cultural theoretical, and the religious. Each lens, like a different filter on a camera, reveals aspects of the narrative that others might miss becomes a fascinating premise. I've coined the term "Aperture Theology." For the uninitiated, let me explain how a photographic concept like aperture applies to a theological analysis of Paul's story?Episode 321 — _The Testimony: Paul Stands Trial and Shares His Testimony Before King Agrippa in Acts 26 — A Multidimensional Textual Analysis Through the Seven-Lens Methodology_ — ©2026 ISBN 978-976-98069-9-3 — DevGro Media Arts Services Publishing® 2015.Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Episode 321 — _The Testimony: Paul Stands Trial and Shares His Testimony Before King Agrippa in Acts 26 — A Multidimensional Textual Analysis Through the Seven-Lens Methodology_ — ©2026 ISBN 978-976-98069-9-3 — DevGro Media Arts Services Publishing® 2015.RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 494 E-Publications and 321 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.Episode 320 — _The Testimony: Paul Stands Trial and Shares His Testimony Before King Agrippa in Acts 26 — A Multidimensional Textual Analysis Through the Seven-Lens Methodology_ — ©2026 ISBN 978-976-98069-9-3 — DevGro Media Arts Services Publishing® 2015.REFERENCES Episode 320 — For ISBN 978-976-98069-9-3Beckles, H. — 2006. _A history of Barbados: From Amerindian settlement to Caribbean single market_ — 2nd ed. Cambridge University Press.Blomberg, C. L. — 1992. _Matthew_. Broadman & Holman.Bruce, F. F. — 1978. _The canon of scripture_. InterVarsity Press.Cartier-Bresson, H. — 1952. _The decisive moment_. Simon and Schuster.Glissant, É. — 1997. _Poetics of relation_ — B. Wing, Trans. University of Michigan Press. — Original work published 1990 —Gittens, W. A. — 2020. _When the sun meets culture_ — Vol. 1 — ISBN 978-976-96531-4-6. DevGro Media Arts Services Publishing.Gittens, W. A. — 2026. _Aperture and speed: How technology does not erase values, it exposes them_ — ISBN 978-976-98069-6-2. DevGro Media Arts Services Publishing.Gittens, W. A. — 2026. _From landmark to lineage: The Gittens in Barbados_ — ISBN 978-976-98069-7-9. DevGro.Henderson, S. — 2021. _Commendation of 491 publications — Gittens corpus_. New Jersey City University.Kahneman, D. — 2011. _Thinking, fast and slow_. Farrar, Straus and Giroux._King James Version_. — 2017. Cambridge University Press. — Original work published 1611 —Kress, G., & van Leeuwen, T. — 2006. _Reading images: The grammar of visual design_ — 2nd ed. Routledge.Luke. — 60–62 CE. _Acts of the Apostles_ — In _King James Version_, 1611/2017.McDonald, L. M. — 2017. _The formation of the biblical canon_ — Vol. 2. T&T Clark.McLuhan, M. — 1964. _Understanding media: The extensions of man_. McGraw-Hill.Metzger, B. M. — 1987. _The canon of the New Testament: Its origin, development, and significance_. Oxford University Press.Moo, D. J. — 2000. _The letter of James_. Eerdmans.Norton, D. — 2011. _The King James Bible: A short history from Tyndale to today_. Cambridge University Press.Rushdoony, R. J. — 1973. _The institutes of biblical law_. Presbyterian and Reformed.Sheller, M. — 2003. _Consuming the Caribbean: From Arawaks to zombies_. Routledge.Sugirtharajah, R. S. — 2001. _The Bible and the third world_. Cambridge University Press.Turkle, S. — 2011. _Alone together: Why we expect more from technology and less from each other_. Basic Books.© 2026 Dr. William Anderson Gittens. All rights reserved. DevGro Media Arts Services Publishing®. This material may not be reproduced without permission.Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

Hendrik Bolz schreibt über einen jungen Mann in der Krise, über eine Ankunft in Berlin am Ende der Nullerjahre und über die scheiternde Anpassung an ein rätselhaftes Wertesystem. Nach seinem erfolgreichen Debütroman "Nullerjahre" schreibt Hendrik Bolz die Geschichte in "Aus Ruinen" weiter. Auf radio3 spricht er über sein neues Buch. Hendrik Bolz: "Aus Ruinen. Junger Mann in Krisenzeiten" | Verlag: Kiepenheuer & Witsch, 2026 | Seiten: 272, gebunden | ISBN 978-3-462-00866-1 | Preis: 22,00 Euro

Am kommenden Montag wird der Deutsche Buchpreis 2026 vergeben, die Wahl der Jury dürfte spannend werden. Für Diskussionen hatte im Vorfeld bereits die Shortlist gesorgt – auch weil große Autorennamen fehlen. Einer, der auf der Liste steht, könnte in jedem Fall groß werden: Elias Hirschl. Sein Roman "Schleifen" ist das bisher längste Werk des österreichischen Poetry-Slammers, Musikers und Autors – und sein experimentellstes. Es geht um nichts weniger als eine Neuerfindung der Sprache. radio3-Redakteurin Susanne Lang verrät, ob das Experiment aufgeht. Elias Hirschl: "Schleifen" | Verlag: Zsolnay, 2026 | Seiten: 416, gebunden | ISBN: 978-3-552-07588-7 | Preis 26,00 Euro; eBook 19,99 Euro

Gesprek met Nikolaas Sintobin op basis van de spirituele autobiografie van Ignatius van Loyola "De weg van de pelgrim". het boek is een uitgave van KokBoekencentrum uitgevers in Utrecht. (Nicolaas Sintobin, Het verhaal van de pelgrim. Spirituele autobiografie van Ignatius van Loyola. Uitgeverij: Utrecht, KokBoekencentrum Uitgevers, 2026. 192 pp. € 22,99. ISBN 9789043545020) Nikolaas voorzag het boek van een commentaar.

Servicio publicar un libro en Amazon ➡️ https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 RESUMEN: Descubre cuánto cuesta autopublicar un libro en 2026 y qué servicios necesitas para conseguir un resultado profesional. Repasamos precios de corrección, maquetación, portada, ISBN, depósito legal, publicación en Amazon KDP, distribución y promoción. Además, comparamos tres presupuestos y calculamos cuántos libros necesitas vender para recuperar tu inversión. ⏲MARCAS DE TIEMPO: ▶️00:00 Cuánto cuesta autopublicar en 2026 ▶️01:25 Servicios esenciales para tu libro ▶️03:11 Corrección profesional y precios ▶️05:13 Qué incluye una corrección completa ▶️07:19 Maquetación profesional del libro ▶️10:09 Maquetación específica para ebook ▶️11:20 Precio y diseño de la portada ▶️12:48 Cómo usar IA para crear portadas ▶️15:50 Portadas para ebook, papel y tapa dura ▶️16:40 Pack de publicación en Amazon KDP ▶️18:00 ISBN y depósito legal ▶️20:49 Precio del pack de publicación ▶️22:51 Distribución y promoción del libro ▶️24:04 Tres presupuestos para autopublicar ▶️25:16 Regalías por cada libro vendido ▶️26:11 Cuántas ventas recuperan la inversión ▶️26:43 Dónde ahorrar y dónde no recortar ▶️28:00 Inversión recomendada para publicar ▶️28:23 Servicios de Editorial Letra Minúscula ▶️29:32 Calidad, experiencia y contacto

Podcast 320 Literature Review: The King James Version of the Bible, Apocrypha, and 1 Enoch ISBN 978-976-98069-8-6 © 2026 DevGro Media Arts Services Publishing® Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 320 Literature Review: The King James Version of the Bible, Apocrypha, and 1 Enoch ISBN 978-976-98069-8-6 © 2026 DevGro Media Arts Services Publishing® RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 493 E-Publications and 320 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.Podcast 320 Literature Review: The King James Version of the Bible, Apocrypha, and 1 Enoch ISBN 978-976-98069-8-6 © 2026 DevGro Media Arts Services Publishing® ReferencesAlleyne, W. (2018). Barbados records and the 1831 hurricane. Barbados National Archives.Aristotle. (1999). Nicomachean ethics (T. Irwin, Trans.). Hackett Publishing. (Original work published c. 350 BCE)Bauckham, R. J. (1983). Jude, 2 Peter. Word Biblical Commentary. Word Books.Beckles, H. (2006). A history of Barbados: From Amerindian settlement to nation-state. Cambridge University Press.Blomberg, C. L. (1992). Matthew. New American Commentary. Broadman Press.Bruce, F. F. (1978). The canon of Scripture. InterVarsity Press.Charles, R. H. (1912). The Book of Enoch or 1 Enoch. Clarendon Press.Charlesworth, J. H. (1983). The Old Testament pseudepigrapha (Vols. 1–2). Doubleday.Cowley, R. W. (1974). The Ethiopian canon of Scripture. Journal of Ethiopian Studies, 12(2), 45–62.Daniell, D. (2003). The Bible in English: Its history and influence. Yale University Press.deSilva, D. A. (2002). Introducing the Apocrypha: Message, context, and significance. Baker Academic.Figley, C. R. (1995). Compassion fatigue: Coping with secondary traumatic stress disorder in those who treat the traumatized. Brunner/Mazel.Gittens, W. A. (2023). Unfamiliar made clear. DevGro Media Arts Services Publishing.Gittens, W. A. (2026). Apocrypha, 1 Enoch, and the King James Version Bible [Literature review]. DevGro Media Arts Services Publishing. ISBN 978-976-98069-8-6.Gittens, W. A. (2026). Why I am so fond of the KJV. DevGro Media Arts Services Publishing. ISBN 978-976-98069-5-5.Glissant, É. (1997). Poetics of relation (B. Wing, Trans.). University of Michigan Press.Grabbe, L. L. (2010). An introduction to Second Temple Judaism. T&T Clark.Hengel, M. (1974). Judaism and Hellenism: Studies in their encounter in Palestine during the early Hellenistic period. Fortress Press.Isaac, E. (1983). 1 Enoch. In J. H. Charlesworth (Ed.), The Old Testament pseudepigrapha (Vol. 1, pp. 5–89). Doubleday.Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux.Kress, G., & van Leeuwen, T. (2006). Reading images: The grammar of visual design (2nd ed.). Routledge.McDonald, L. M. (2017). The formation of the biblical canon (Vols. 1–2). Bloomsbury T&T Clark.McGrath, A. E. (2001). In the beginning: The story of the King James Bible. Hodder & Stoughton.McLuhan, M. (1964). Understanding media: The extensions of man. McGraw-Hill.Merleau-Ponty, M. (2012). Phenomenology of perception (D. A. Landes, Trans.). Routledge. (Original work published 1962)Milik, J. T. (1976). The books of Enoch: Aramaic fragments of Qumrân Cave 4. Clarendon Press.Moo, D. J. (2000). The letter of James. Pillar New Testament Commentary. Eerdmans.Nickelsburg, G. W. E. (2001). 1 Enoch 1: A commentary on the Book of 1 Enoch. Hermeneia. Fortress Press.Nicolson, A. (2003). God's secretaries: The making of the King James Bible. HarperCollins.Nora, P. (1989). Between memory and history: Les lieux de mémoire. Representations, 26, 7–24.Norton, D. (2011). The King James Bible: A short history from Tyndale to today. Cambridge University Press.Postman, N. (1985). Amusing ourselves to death: Public discourse in the age of show business. Viking Penguin.Rushdoony, R. J. (1973). The institutes of biblical law. Presbyterian and Reformed Publishing.Sheller, M. (2003). Consuming the Caribbean: From Arawaks to zombies. Routledge.Sugirtharajah, R. S. (2001). The Bible and the third world: Precolonial, colonial and postcolonial encounters. Cambridge University Press.Sundberg, A. C. (1992). The Old Testament of the early church. Harvard Theological Review, 85(4), 407–432.Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other. Basic Books.VanderKam, J. C. (1995). Enoch: A man for all generations. University of South Carolina Press.VanderKam, J. C. (2001). The book of Enoch: A translation and commentary. Oxford University Press.Venuti, L. (1995). The translator's invisibility: A history of translation. Routledge.© 2026 Dr. William Anderson Gittens. All rights reserved. DevGro Media Arts Services Publishing®. This material may not be reproduced without permission.Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

Geschwister haben oft eine enge Beziehung, die von der Kindheit bis ins hohe Alter reichen kann. Doch was, wenn man sich auseinanderlebt? Das erkundet der neue Roman des Autors und Journalisten Andreas Wunn. Das Buch heißt: "Die Brüder, die wir waren" und ist vor ein paar Tagen erschienen. Auf radio3 spricht Frank Meyer mit Andreas Wunn über sein Buch. Andreas Wunn: "Die Brüder, die wir waren" | Verlag: Pfaueninsel, 2026 | Seiten: 256, gebunden | ISBN: 978-3-69131-027-6 | Preis: 24,00 Euro

Understanding British Secret Intelligence with Dr. M Hanif Majothi (Part 3)      Black Spy Podcast number 266 Season 27, Episode 0004   THE BLACK SPY PODCAST — SPECIAL THREE-PART SERIES Who really created Britain's secret intelligence system? In this compelling three-part series, Carlton King is joined by Dr. Mohamed Hanif Majothi to examine the origins of one of the least understood — yet most important — institutions in British national security: Metropolitan Police Special Branch. The conventional history places its creation in 1883. Dr. Majothi challenges that accepted date, arguing that 1887, when funding was provided for the organisation, is the more meaningful starting point. But the discussion goes much further than dates. Carlton and Dr. Majothi trace the extraordinary chain of development from Special Branch to MI5, MI6 and ultimately the wider intelligence architecture incorporating military intelligence and GCHQ — examining how these organisations evolved, overlapped and operated alongside one another. And there is a crucial question at the heart of the series: Why is the police role in British secret intelligence so rarely acknowledged today? Special Branch was not simply another police department. For generations, it sat at the intersection of policing, intelligence, counter-subversion, terrorism and national security, investigating and monitoring organisations and individuals considered threats to the British state. From the late 19th century, through the First World War and beyond, Carlton and Dr. Majothi explore how those early intelligence practices helped shape the organisations that followed — and how Special Branch personnel and expertise contributed to the development of Britain's emerging intelligence services. The story also reaches far beyond Britain. At the height of the British Empire, Britain possessed an extraordinary global reach, giving its intelligence and security organisations an international dimension unlike almost any other system of the period. The series considers how the British model developed — and how it differed from systems emerging in countries such as France and, later, the United States. Finally, the discussion brings the story into the 21st century, examining what happened when Metropolitan Police Special Branch disappeared in 2006 and only some of its functions were poorly absorbed into the modern Counter Terrorism Command, albeit this later history will be looked more closely in future episodes. Was something more than a name changed? Has the policing contribution to Britain's secret intelligence history effectively disappeared from public consciousness? And what does that mean for the way we understand Britain's national security machine today? So listen now to The Black Spy Podcast to be educated in a manner that the mainstream media is failing to do so. If you wish to discuss this episode or any other with Carlton, or other regular members of the Black Spy Podcast team, feel free to do so. And please don't forget to subscribe in order to never miss another episode. To contact Firgas Esack of the DAPS Agency go to Linked In To contact Dr Rachel Taylor go to Substack account To contact Carlton King utilise any of the following: Patreon.com/TheBlackSpyPodcast Email: carltonking2003@gmail.com Facebook: The Black Spy Podcast Facebook: Carlton King Author Twitter@Carlton_King Instagram@carltonkingauthor To read Carlton's latest biographical memoir: Seeking Jerry The Untold Story Of Scotland Yard's Secret Mission To Baghdad, During The 2003 US Led Invasion Of Iraq Go to Amazon:  https://www.amazon.co.uk/SEEKING-JERRY-Scotland-mission-invasion/dp/B0H9CJ21XC/ref=tmm_pap_swatch_0#detailBullets_feature_div   ISBN-13           979-8196219863 To read Carlton's full autobiography: "Black Ops – The incredible true story of a (Black) British secret agent" Click the link below: https://www.amazon.co.uk/dp/BO1MTV2GDF/ref=cm_sw_r_cp_awdb_WNZ5MT89T9C14CB53651  If you are interested to know about the Male Menopause or fear you or a loved one is suffering for unknown reasons please consider reading Dr Rachel's & Carlton's book on the how the Menopause effects men - search Amazon Books for:  The Male Menopause - The Hidden Crisis  (ASIN: B0G5M78PSZ)  

From Landmark to Lineage: The Gittens in Barbados Copyright2026.mp3PODCAST 319 — THE GITTENS IN BARBADOS: FROM LANDMARK TO LINEAGE © 2026 ISBN 978-976-98069-7-9Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present PODCAST 319 — THE GITTENS IN BARBADOS: FROM LANDMARK TO LINEAGE © 2026ISBN 978-976-98069-7-9RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 492 E-Publications and 319 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.PODCAST 319 ISBN 978-976-98069-7-9Alleyne, M. — 2018. _Archival fragmentation in Barbados: Climate, colonialism, and the 1831 hurricane_. Barbados National Archives Press.Beckles, H. — 2006. _A history of Barbados: From Amerindian settlement to Caribbean single market_ — 2nd ed. Cambridge University Press.Berger, J. — 1972. _Ways of seeing_. British Broadcasting Corporation & Penguin Books.Blomberg, C. L. — 1992. _Matthew_. Broadman & Holman.Branford, R. — 2021. _Barbadian surnames: A dictionary of creolized origins_. University of the West Indies Press.Cricinfo. — 2024. _Stanton Gittens — Barbados cricketer 1911–1994_. ESPN.Ellis, C., Adams, T. E., & Bochner, A. P. — 2011. Autoethnography: An overview. _Historical Social Research, 36_—4—, 273–290.Freeman, M. — 2017. _The photographer's eye: Composition and design for better digital photos_. Focal Press.Gittens, W. A. — 2026. _Aperture and speed: How technology does not erase values, it exposes them_ — ISBN 978-976-98069-6-2. DevGro Media Arts Services Publishing.Gittens, W. A. — 2026. _From landmark to lineage: The Gittens in Barbados_ — ISBN 978-976-98069-7-9. DevGro Media Arts Services Publishing.Glissant, É. — 1997. _Poetics of relation_ — B. Wing, Trans. —. University of Michigan Press. — Original work published 1990 —Handler, J. S., & Reilly, M. C. — 2017. _Barbados in the seventeenth century: An archival history of indenture and land grant_. UWI Press.Handler, J. S., & Sio, A. A. — 1991. _Barbados 1715 census: Quaker presence and Anglican conformity_. _Journal of Caribbean History, 25_—1—, 21–45.Hanks, P., Coates, R., & McClure, P. — Eds. — 2016. _The Oxford dictionary of family names in Britain and Ireland_. Oxford University Press.Henderson, S. — 2021. _Commendation of 491 publications — Gittens corpus_. New Jersey City University.Kahneman, D. — 2011. _Thinking, fast and slow_. Farrar, Straus and Giroux._King James Version_. — 2017. Cambridge University Press. — Original work published 1611 —Kress, G., & van Leeuwen, T. — 2006. _Reading images: The grammar of visual design_ — 2nd ed. Routledge.Landon, R. — 2011. _Windrush and Bajan diaspora: GIS mapping of post-1955 migration_. UWI Press.McLuhan, M. — 1964. _Understanding media: The extensions of man_. McGraw-Hill.Nora, P. — 1989. Between memory and history: Les lieux de mémoire. _Representations, 26_, 7–24. https://doi.org/10.2307/2928520Plantinga, A. — 2000. _Warranted Christian belief_. Oxford University Press.Postman, N. — 1985. _Amusing ourselves to death: Public discourse in the age of show business_. Viking.Rogin, M. — 1998. _Blackface, white noise: Jewish immigrants in the Hollywood melting pot_. University of California Press.Rushdoony, R. J. — 1973. _The institutes of biblical law_. Presbyterian and Reformed.Sheller, M. — 2003. _Consuming the Caribbean: From Arawaks to zombies_. Routledge.Tuan, Y.-F. — 1977. _Space and place: The perspective of experience_. University of Minnesota Press.Turkle, S. — 2011. _Alone together: Why we expect more from technology and less from each other_. Basic Books.Waltke, B. K. — 2005. _The book of Proverbs: Chapters 1–15_. Eerdmans.World Athletics. — 2024. _Ramon Gittens — Barbados sprinter — London 2012, Rio 2016_.Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

Bright on Buddhism - Research Project Series - The Yakuza - Part 2Resources: Adelstein, Jake (2009). Tokyo Vice: An American Reporter on the Police Beat in Japan. New York: Pantheon Books. ISBN 978-0-307-37879-8. OCLC 699874898.—— (2023). The Last Yakuza: A Life in the Japanese Underworld. Minneapolis, Minn.: Scribe Publications. ISBN 9780307908384. OCLC 1376495818.Adelstein, Jake (2024). Tokyo Noir: In and Out of Japan's Underworld. Minneapolis, Minn.: Scribe. ISBN 9781957363912. OCLC 1415747543.Baradel, Martina. 2026. 21st Century Yakuza: Death of Japanese Organised Crime. Oxford University Press.Whiting, Robert (1999). Tokyo Underworld: The Fast Times and Hard Life of an American Gangster in Japan (First ed.). New York: Pantheon Books. ISBN 9780679419761. OCLC 45344213_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

If I say "British spy," you picture a man: James Bond, George Smiley, Kim Philby. And the one woman most people can name from that world is fictional — Miss Moneypenny, sitting outside M's office, quietly in love with 007. But Miss Moneypenny was real, or at least the woman who inspired her was. Her name was Kathleen Pettigrew, personal assistant to three consecutive chiefs of MI6, and every secret in the wartime service passed across her desk. When someone asked whether she'd been the real Moneypenny, she replied: "I was Miss Moneypenny, but with more power." In this episode, Jonathan Thomas is joined by Dr. Claire Hubbard-Hall, historian of secret intelligence, honorary associate professor of intelligence history, and author of Secret Servants of the Crown: The Forgotten Women of British Intelligence (published in the UK as Her Secret Service). Claire explains how she found the pencil-crossed "Miss Pettaval" in Fleming's first draft of Casino Royale; how Pettigrew and one colleague received every decrypted Enigma message sent from Bletchley Park to MI6; why the word "secretary" was a perfect cover for agent running, code work and courier duty; and how she tracked down women trained to leave no trace — reading margin notes and paper chits, then turning family historian and writing some 200 letters to surviving relatives. Plus: Rita Windsor, the MI6 officer in wartime Lisbon who got July Plot survivor Otto John out of Europe; the post-war "travel agency" she ran with Ina Molesworth; an incendiary briefcase carried by train to Bletchley Park and blown up on the lawn; the long zigzag road to the first female heads of MI5, GCHQ and MI6; and why Slow Horses gets it right. Links The Book Secret Servants of the Crown — Amazon US Secret Servants of the Crown — Penguin Random House Secret Servants of the Crown — Barnes & Noble Secret Servants of the Crown — Blackwell's Her Secret Service — UK Edition — Amazon UK US edition published by Citadel (Kensington). ISBN 9780806543710. Published in the UK as Her Secret Service: The Forgotten Women of British Intelligence. Claire Hubbard-Hall Claire on Instagram — @thespyhistorian Claire on the Spybrary Podcast Places to Visit Bletchley Park The National Archives, Kew — Intelligence Records Imperial War Museum — Oral History Collections Mentioned in the Episode MI6: The History of the Secret Intelligence Service 1909–1949 by Keith Jeffery Casino Royale by Ian Fleming Slow Horses — Apple TV+ Related Anglotopia Episodes Mark Dunton & Dr. Stephen Twigge on The MI5 Archive: Official Secrets Dr. Chris Smith on the Cambridge Five and The Last Cambridge Spy Friends of Anglotopia Club Takeaways Kathleen Pettigrew served MI6 from the late 1920s to the 1950s as personal assistant to three consecutive chiefs. In Ian Fleming's first draft of Casino Royale, the character we know as Miss Moneypenny was originally called "Miss Pettaval" — crossed out in pencil and renamed. Fleming, a wartime naval intelligence officer, would have walked past Pettigrew's desk outside Stewart Menzies's office at 54 Broadway. Pettigrew's power was real. She helped set up MI6's communications team at Bletchley Park in 1939, and back at headquarters she and a colleague, Miss Jones, personally received every decrypted Enigma message passed from Bletchley to MI6 — the gatekeeper deciding where intelligence went. She also accompanied Menzies to Churchill's famous late-night meetings to take notes. She came from nothing like Moneypenny's polished upper-class background. Born in industrial East Bermondsey to a seal fur dresser, she grew up in a two-room flat above her parents' shop off the Strand. Technical college, secretarial training and elocution lessons got her into Special Branch in the First World War — and from there, "through the looking glass." Career women like Pettigrew paid a steep price. Marriage bars meant choosing the job meant giving up marriage and children. MI5 dropped its marriage bar shortly after the Second World War; the Foreign Office and MI6 kept theirs until the early 1970s. "Secretary" was the perfect cover. Behind the job title, women translated, encrypted and decrypted, ran agents, acted as agents and couriers, made secret inks, and produced photography for fake passes and disinformation. Women were there from the very beginning — MI6 employed its first female agent in 1909, the year it was founded. Popular culture — and especially the endlessly retold, heavily sexualized Mata Hari legend — typecast women in espionage as seductresses and "Bond girls," which helped erase the women doing the real work. Claire notes that the effort to write them back in has gathered real momentum over the past decade. Researching women trained to leave no trace meant thinking like a counterintelligence officer. Because women created and handled the files rather than making the decisions recorded in them, Claire looked past the content to margin notes, pencilled initials and paper chits — then worked like a family historian, using wills, genealogy, the electoral roll and around 200 handwritten letters to surviving relatives, most of whom had no idea. Rita Windsor, stationed at MI6's Lisbon station in neutral Portugal, organized agent infiltrations, exfiltrations and defections. When Britain broke off contact with German resistance contact Otto John before D-Day, and the July 1944 plot against Hitler then failed, it was Windsor who got him out through Portugal and Spain to Britain. John dedicated his memoir to her. After the war, Windsor and her colleague Ina Molesworth set up a high-end travel agency, International Services, taking small groups of well-connected travelers to Afghanistan, Moscow and — one of the first agencies allowed in — China. Claire's research makes clear it was an MI6 cover. The details are in the book. The road from Kathleen Pettigrew to the first female heads of Britain's intelligence services was anything but straight: Jane Sissmore became MI5's first female officer in 1929; Millicent Bagot became deputy director in the 1950s; Stella Rimington became the first female director general of MI5 in 1992; Anne Keast-Butler became the first female director of GCHQ in 2023; and Blaise Metreweli became the first female chief of MI6 in 2025. Soundbites "I was Miss Moneypenny, but with more power." — Kathleen Pettigrew, as quoted in Jonathan's introduction. "These women in the book have absolutely fantastic names, written for spy stories." — Claire on her cast of characters. "Let's not forget, these women were trained to evade everybody — even the historian coming later in the twenty-first century." — Claire on the challenge of researching MI6 women. "The first draft of that first Bond novel — the woman we now know as Miss Moneypenny was actually given a different name to start off with: Miss Pettaval. And you can instantly see the similarities between Pettaval and Pettigrew." — Claire on the discovery that clinched it. "All of the decrypted German Enigma messages coming out of Bletchley Park had to pass through MI6. MI6 was the gatekeeper, essentially. And the two women that received them were Miss Pettigrew and Miss Jones." — Claire on the true scale of Pettigrew's role. "Secretary was this wonderful catch-all phrase that women in the Secret Services could use as cover, as camouflage. It was perfect, because nobody would suspect that they were doing anything different." — Claire on the job title that hid everything. "I did transform into a counterintelligence officer myself, in terms of the methodologies I had to adopt to try and get at these women." — Claire on her research method. "I probably sent out two hundred letters over the course of the project to family and relatives, and most of them wrote back — because they had no idea that Great Aunt Ethel had worked in any capacity within that clandestine world." — Claire on turning family historian. "The guy walked to the very edge of the lake, popped the briefcase down — and what do you think happened to the briefcase then? It blew up. It was an incendiary device, and a very unstable one. Can you imagine that going off on the train?" — Claire on Lois Hamilton and MI6's Section D at Bletchley Park. "When you take these historical moments, they are absolutely fantastic — hooray. But what we now need to see is that change continues, and that we actually see more female heads. Not with another massive gap before another woman is appointed." — Claire on the first female chiefs of Britain's intelligence services. Chapters 00:21 Introduction — Miss Moneypenny was real, and the women written out of the spy story 01:28 Meet Dr. Claire Hubbard-Hall — Secret Servants of the Crown 01:46 KATHLEEN PETTIGREW — Why the book opens with her 02:18 The Hardest Women to Research — MI6 has never released its archive 03:25 Keith Jeffery's Official History — Scouring it for breadcrumbs 04:01 Two Mentions — And years spent excavating one woman 05:08 What Secrets Passed Her Desk? — The Second World War and the Cambridge Five 05:39 Waiting for the Next Bond — And the case for a ginger 007 05:59 THE MONEYPENNY DISCOVERY — "Miss Pettaval" in the first draft of Casino Royale 06:53 Fleming, 54 Broadway, and the Desk Outside Menzies's Office 07:46 HOW MUCH POWER DID SHE HAVE? 08:11 Bletchley Park Began as an MI6 Operation 08:52 Setting Up MI6 Communications in the Mansion 10:09 Back at Broadway — Personal assistant to Stewart Menzies 10:36 Every Enigma Decrypt — Pettigrew and Miss Jones as MI6's gatekeepers 12:22 Late Nights With Churchill — Taking notes for the chief 13:23 WHAT IT COST THEM — Career women and the marriage bar 14:04 When the Marriage Bars Finally Fell — MI5 after the war, MI6 not until the 1970s 15:05 Going Against the Social Norms 16:04 Not Lois Maxwell — The real Moneypenny's humble origins 17:10 East Bermondsey, a Seal Fur Dresser, and a Shop off the Strand 18:48 Secretarial College, Elocution, and Special Branch in the First World War 19:48 "Through the Looking Glass" — Into the secret world 19:55 THE WORD "SECRETARY" — The perfect cover 20:45 What They Actually Did — Translation, encryption, agent running, couriers, secret inks 21:45 Labour Shortages and Liberation — Opportunity in two world wars 22:44 WOMEN WERE THERE FROM THE START — MI6's first female agent in 1909 23:11 Why They Were Forgotten — Popular culture, Bond, and bikinis 24:28 The Mata Hari Problem — How one sexualized legend infected everything 25:59 Writing Them Back In — A decade of recovering forgotten women 27:04 The Perfect Cover — Jonathan's theory 27:20 HOW DO YOU RESEARCH WOMEN TRAINED TO LEAVE NO TRACE? 27:43 Becoming a Counterintelligence Officer 29:03 The Women Created the Files — Reading past the content 30:10 Margin Notes, Pencil Initials and Paper Chits 31:33 Turning Family Historian — Genealogy, wills and the electoral roll 32:19 Kathleen's Parrots — A love of birds that began in a Strand pub window 33:06 Did the Parrot Have Security Clearance? 33:25 Two Hundred Letters — And families who had no idea 35:12 THE WOMEN WHO CHANGED OUTCOMES 35:40 Rita Windsor and Ina Molesworth — MI6's duo, late 1920s to early 1970s 36:35 Rita Windsor in Lisbon — Infiltrations, exfiltrations and defectors 37:28 Otto John and the German Resistance 38:34 Britain Breaks Off Contact — And the plot goes ahead without them 39:18 The July Plot Fails — And Rita Windsor gets Otto John out 40:00 "He Owed His Life to Miss Rita Windsor" — The memoir dedication 40:56 Ina Molesworth — German specialist, and Rita's lifelong friend 42:16 THE POST-WAR TRAVEL AGENCY — Afghanistan, Moscow, China, and an MI6 cover 43:52 What Did MI6 Think of the Book? — A signed copy for the former chief 45:07 The Official Secrets Act — Why these women would never have talked 46:04 BLETCHLEY PARK BEYOND THE CODEBREAKERS 47:09 Telling the Stories Not Yet Told 47:50 MI6 Women in the Mansion — Runners, German specialists and code makers 49:04 Making Codes, Not Breaking Them 49:32 Section D — The destruction section in the stables 50:41 Lois Hamilton's Briefcase — Carried by train, blown up by the lake 52:58 Given the Shove — Section D finds another country house 53:31 FROM PETTIGREW TO STELLA RIMINGTON — Not a straight line 54:21 Jane Sissmore — MI5's first female officer, 1929 54:45 The Second World War — Section heads and agent handlers, without the rank or pay 55:32 Millicent Bagot — First female deputy director of MI5 55:55 Stella Rimington, 1992 — And the rest of the firsts 56:05 Anne Keast-Butler at GCHQ and Blaise Metreweli at MI6 57:04 Firsts Are Fantastic — Now keep it going 57:26 WHERE TO GO — Places for Anglophiles to connect with these stories 57:50 Bletchley Park's Intelligence Factory Exhibition 58:55 Read the Book 59:20 What to Watch — Slow Horses and Catherine Standish 01:00:14 Incompetence in the Intelligence Services — And how it all works out 01:00:30 Wrap-Up — Secret Servants of the Crown, Her Secret Service, and Friends of Anglotopia Video Version

In dieser Folge von InSpektren widmen Finn und Chris sich den Listen von historischen Personen, die möglicherweise auf dem A*spec gewesen sind. Sie sprechen darüber, was die Schwierigkeiten dabei sind, historische Personen oder Persönlichkeiten des öffentlichen Lebens als A*spec zu labeln und warum wir oft gar nicht so leicht sagen können, wer eigentlich auf dem A*spec war. Danach gehen sie genauer auf die potenzielle Asexualität von Queen Elizabeth I. (1533-1603) und die mögliche Aromantik von Leonard Cohen (1934-2016) ein. Zwei Personen, die häufiger auf den Listen von historischen Personen auf dem A*spec zu finden sind.Moderation: Finn, ChrisGastperson(en): /Produktionsleitung: FinnRedaktion: Sal, Chris, Finn, Delfin, DasTennaSchnitt: MelleQualitätssicherung: Katharina, Finn, Delfin This work is licensed under a Creative Commons Attribution 4.0 International License Content NotesAnmerkung: Je nach verwendetem Player können die Zeitstempel leicht von der tatsächlichen Zeit in der Folge abweichen.Ganze Folge: Fremdlabeln von historischen Personen (also bereits verstorbenen Personen), Fremdlabeln von lebenden Personen (insbesondere Promis), Falschbehauptungen zu Labeln von Personen00:04:18 – 00:05:43 | Formulierung, die Asexualität / Ace*spec-Identität als “Lebensstil” oder temporär beschreibt00:05:53- 00:06:25 | Druck auf Personen öffentlichen Lebens, sich zu outen und Spekulationen über die Sexualität von dieser00:07:00 – 00:16:14 | Spekulation über queere Identität von Personen und direkte Nachfrage nach deren Labeln, inkl. konkreter Beispiele, Druck auf Personen öffentlichen Lebens, sich zu outen, Zwangsouting, Queerbaitingvorwürfe, Queer-/LGBTQIANP+feindlichkeit, Gefahr durch Outings00:22:20 – 00:49:02 | Erwähnung von historischen Geschehnissen zu Zeiten Queen Elizabeths I. (inkl. Erwähnung von Krieg, Kolonialisierung), Konzept der Jungfräulichkeit und vermeintlicher (sexueller) Reinheit, Konzept von Natürlichkeit, Shaming von außerehelichem Sex, Slut Shaming, Gerüchte und politische Diskreditierung, Vorwürfe aufgrund von fehlendem Ehemann und Kinder, Religion, Gott00:27:37 – 00:30:41 | Sexueller Missbrauch, binäre Sprache (“Teenager”)00:52:51- 00:59:42 | Penetrante hetero-amato-allonormative Nachfrage zu Beziehungen, Bezeichnung von mono* Paarbeziehung als Performance (kann so gedeutet werden), vermeintliche Geschlechterbinarität, Heteronormativität, Amatonormativität, Allonormativität, Geschlechterperformance, Binäre Geschlechterrollenbilder und -klischees, “Kriegstanz”-Vergleich, problematische Männlichkeitsbilder00:55:36 – 00:57:14 | Allonormativität, Heteronormativität, Bioessentialismus, Verknüpfung von Nacktheit und evolutionärem / biologischen Reproduktionsdrang00:59:42 – 01:17:46 | Amatonormativität und deren Auswirkungen01:01:12 – 01:03:48 | Deutung von Liedtexten als romantisch01:04:09 – 01:05:37 | Ableistische Sprache01:21:23 – 01:23:08 | Binäre Sprache01:24:20 – 01:24:29 | Gleichsetzen von romantische / sexuelle Liebhaber*innen haben mit romantische / sexuelle Anziehung erleben 01:24:53 – 01:25:04 | ableistische Sprache01:25:04 – 01:28:06 | Cherry Picking (sich passende Stellen rauspicken, die die eigene Meinung stützen, unabhängig davon, ob sie korrekt sind und die Stellen, diese in ihrem Kontext tatsächlich stützen) Kapitelmarken 00:00:00 | Cold Open00:00:15 | Intro00:00:38 | Begrüßung und Einleitung00:02:26 | Schwierigkeiten beim Labeln historischer Personen00:07:00 | Problematik des Femdlabelns anderer (öffentlicher) Personen00:16:15 | Kritik an den Listen und Falschbehauptungen zu Labeln von Personen00:19:37 | Politische Asexualität 00:22:20 | Potenzielle A*spec-Person im Portrait: Queen Elizabeth I. 00:34:09 | Einschub: Kritik am Fokus auf Sex und romantische Beziehungen in Bezug auf Fremdlabeln00:49:11 | Potenzielle A*spec-Person: Leonard Cohen01:17:56 | Mehr von diesem Format?01:19:41 | Lexikon: Loveless01:21:23 | Kulturecke: Gynäkologie und Asexualität – ein Leitfaden (Flyer von A*specMed)01:23:18 | Was nehmen wir mit?01:29:11 | Verabschiedung, Dank und Kontaktmöglichkeiten01:31:44 | Outro LexikonLoveless – Der Begriff Loveless bedeutet so viel wie “lieblos” oder “ohne Liebe” und wird von Personen zur Selbstbeschreibung verwendet, die entweder keine Liebe empfinden, zwischen sich und dem Konzept von Liebe eine Distanz empfinden, mit dem Konzept Liebe einfach nichts anfangen können, dieses ablehnen oder sich unsicher sind, ob sie Liebe empfinden oder nicht. Liebe meint dabei nicht nur romantische Liebe sondern auch auf andere Formen von Liebe. Personen, die sich als loveless bezeichnen, können unterschiedliche Arten von Anziehung empfinden, setzen diese aber nicht mit Liebe gleich. KultureckeGynäkologie und Asexualität – ein Leitfaden (Flyer von A*specMed), https://aspecmed.de/flyer/Flyer_Aspecmed_Gyn_Besuch.pdf Erwähnte InSpektren-FolgenInSpektren, Folge 1 – Coming Outs, https://inspektren.eu/episode-1-coming-outsInSpektren, Folge 23 – 23 – Geschichte der Ace-Community Teil I (Anfänge bis 1950er), https://inspektren.eu/episode-23-geschichte-der-ace-community-teil-i-anfaenge-bis-1950er InSpektren, Folge 24 – Geschichte der Ace-Community Teil II (1960er bis 1990er), https://inspektren.eu/episode-24-geschichte-der-ace-community-teil-ii-1960er-bis-1990er InSpektren, Folge 25 – Geschichte der Ace-Community Teil III (2000er bis heute), https://inspektren.eu/episode-25-geschichte-der-ace-community-teil-iii-2000er-bis-heute InSpektren, Folge 33 – Geschichte der Aro-Community, https://inspektren.eu/33-geschichte-der-aro-community Erwähnte Lieder, Gedichte und Bücher von Leonard CohenLeonard Cohen, I long to hold some lady, in: The Spice Box of Earth (1968), https://allpoetry.com/poem/13778350-I-Long-to-Hold-Some-Lady-by-Leonard-Cohen (Zuletzt eingesehen am 15. August 2026)Leonard Cohen, Spice Box of Earth, Gedichtband, Englisch, 96 Seiten, ISBN: 978-0771024566 (Toronto: McClelland & Stewart 1961)Weitere Gedichte von Leonard Cohen auf All Poetry: https://allpoetry.com/Leonard_CohenLeonard Cohen, Chelsea Hotel #2 (1974), https://www.youtube.com/watch?v=WmbFZA16nrELeonard Cohen, Hallelujah, 1984, https://www.youtube.com/watch?v=gRsnjNt_RhwLeonard Cohen, Everybody knows, 1988, https://www.youtube.com/watch?v=xu8u9ZbCJgQ Leonard Cohen, Waiting for The Miracle, 1992, https://www.youtube.com/watch?v=LXvG0SMP7tw QuellenAllgemeinLernplatform für offenen Geschichtsunterricht, Methode | Textquellen untersuchen, https://segu-geschichte.de/textquellen/ Universität Basel, Department Geschichte, Quellenanalyse, https://dg.philhist.unibas.ch/de/studium/werkzeugkasten-geschichte/wissenschaftliches-arbeiten/quellenanalyse/ Zu Kit Connor„Heartstopper“-Star Kit Connor: Zum Coming-out gezwungen, https://www.diepresse.com/6209905/heartstopper-star-kit-connor-zum-coming-out-gezwungen (Zuletzt eingesehen am 15. August 2026)Emma Saunders, Heartstopper’s Kit Connor says he was ‘forced’ to come out as bisexual, https://www.bbc.com/news/entertainment-arts-63469444, 01. November 2022 (Zuletzt eingesehen am 15. August 2026)Hannah Madlener, “Heartstopper”: Netflix-Star Kit Connor spricht über sein unfreiwilliges Outing und den traurigen Hintergrund, https://www.glamour.de/artikel/heartstopper-netflix-kit-connor-unfreiwilliges-coming-out-grund, 05. Juli 2023 (Zuletzt eingesehen am 15. August 2026)Sriti JhaSriti Jha reveals viral poem about being asexual is NOT about her: ‘It was cathartic to me’, https://www.freepressjournal.in/television/sriti-jha-reveals-viral-poem-about-being-asexual-is-not-about-her-it-was-cathartic-to-me, 18. Juni 2022 (Zuletzt eingesehen am 15. August 2026)Vinay MR Mishra, Sriti Jha on people assuming her to be asexual: I'm too old to bother about log kya kahenge (Exclusive), https://timesofindia.indiatimes.com/tv/news/hindi/sriti-jha-on-assumptions-about-her-being-asexual-and-evolving-nature/articleshow/110402805.cms, 25. Mai 2024 (Zuletzt eingesehen am 15. August 2026)Queen Elizabeth I.David Starkey, Elizabeth. Apprenticeship, Englisch, 400 Seiten, ISBN: 978-0099286578 (London: Vintage Books 2001)David Starkey, Elizabeth. The Struggle for the Throne, Englisch, 384 Seiten, ISBN: 9780061367434 (New York: Harper Perennial 2007)Elizabeth I./Leah Sinanoglou Marcus (Hg.)/Janel Mueller et al., Elizabeth I. Collected Works, Englisch, 470 Seiten, ISBN: 9780226504650 (Chicago: University of Chicago Press 2002)Emily Jane Lewis, “The word of a Prince”: Representations of Virginity in the Speeches of Queen Elizabeth I, in: AZE journal, https://azejournal.com/article/2019/3/21/the-word-of-a-prince-representations-of-virginity-in-the-speeches-of-queen-elizabeth-i, 23. Mai 2019 (Zuletzt eingesehen am 15. August 2026)Martin Andrew Sharp Hume (Hg.), Calender of Letters and State Papers Relating to English Affairs: Preserved Principally in the Archives of Simancas, Volume 1 (1558-1567), Englisch, London 1892–1899, Bd. I, S. 57–58Martin Andrew Sharp Hume, The Courtships of Queen Elizabeth. A history of the various negotiations for her marriage, Englisch, 416 Seiten, ISBN: 978-0766132153, https://www.gutenberg.org/ebooks/53559 (London: Kessinger Publishing Co 2016), S. 90-104Professor Suzannah Lipscomb, Did Thomas Seymour sexually abuse the teenage Princess Elizabeth?, https://www.historyextra.com/period/tudor/did-thomas-seymour-sexually-abuse-the-teenage-princess-elizabeth/, 13. Juni 2022, CN: Sexueller Missbrauch (Zuletzt eingesehen am 15. August 2026)Wikipedia: Elisabeth I., https://de.wikipedia.org/wiki/Elisabeth_I. (Zuletzt eingesehen am 15. August 2026), S. 68–72Leonard CohenSighs North, Leonard Cohen Interview – Part 3 of 3, https://www.youtube.com/watch?v=HmTM-HAZu1U, Video veröffentlicht am 25.04.2014Wikipedia: Leonard Cohen, https://en.wikipedia.org/wiki/Leonard_Cohen (Zuletzt eingesehen am 15. August 2026)Arocalypse, Famous People who are aromantic, Beitrag von NullVektor vom 22. November 2016, https://www.arocalypse.com/topic/655-famous-people-who-are-aromantic/#findComment-21369 (Zuletzt eingesehen am 15. August 2026) Shout-OutsIntrosprecher: KijargoIntro/Outro: John Bartmann – Jazzy DetectiveAudio-Player Uns findet ihr außerdem hierinspektren.euinstagram: inspektren_podcastfacebook: InSpektren.Podcasttwitch: InSpektren_Podcasttwitter: InSpektrenMastodon: chaos.social/@inspektrenDiscord: aspecgerman.deMail: info@inspektren.euYouTubeSpotifyAmazon MusicApple PodcastGoogle PodcastA*spec Vibes zum Anhören findet ihr auf unserer Spotify Playlist

We can be heroes - more than one day!Schreib deine eigene Geschichte.Was, wenn du aufhörst, darauf zu warten, dass jemand anderes deine Geschichte schreibt?In dieser Folge spreche ich mit Michaela Veit-Wailzer über Wendepunkte, mutige Entscheidungen und darüber, die eigene Stimme zu finden und sichtbar zu werden. Eine Einladung, die eigene Geschichte selbst in die Hand zu nehmen. beruflich wie persönlich.Passend dazu hat Michaela das Buch „Female Self-Marketing. Wie du im Beruf klar kommunizierst und dich stark positionierst“ geschrieben.Eine Folge, die Mut macht und die Frage stellt: Welche Geschichte willst DU über dein Leben erzählen?Viel Freude beim Hören!https://www.morawa.at/detail/ISBN-2244094042852/Veit-Wailzer-Michaela/Female-Self-Marketing#allesliebeerika#SelfLeadership#ConsciousLeadership#HörAufZuFunktionieren#FührenBeginntInDir#LeadershipMitHaltung#KlarStattHarmonisch#Loslassen#InnereKlarheit#FührungNeuDenken#Leadership #BeTheOne #Mut #Offenheit #Vertrauen #Persönlichkeitsentwicklung #Führung #Inspiration #PodcastNähere Informationen zu Dr. Erika Maria Kleestorfer:Website: www.kleestorfer.comInstagram: https://www.instagram.com/erikamariakleestorfer/?hl=deLinkedIn: https://www.linkedin.com/in/dr-erika-maria-k-a18426/Buch: Purpose: How Decisions in Life are Shaping Leadership JourneysLove-Cards: https://produkte.kleestorfer.com/love-cardsEmail: office@kleestorfer.com

"I'm about five years old and I'm so tired. I say, Abba, which is what I call my father, can you carry me? I'm so tired. And I remember him saying, Deanch, I can't carry you, but I'll carry you with my stories."— Dena SchustermanABOUT THIS EPISODEDena Schusterman was about five years old, walking a mile and a half to synagogue on Shabbat, too tired to go another step. She asked her father to carry her. He told her he couldn't — but he'd carry her with his stories, and by the time he finished she was at the synagogue door with no memory of the walk. Forty years later, sitting in a room with two thousand women while someone told one of her father's stories without using his name, she decided those stories needed to be reclaimed. What started as a plan to write her father's memoir became something else entirely, because you cannot write someone else's life. In this conversation, Dena and Mike talk about the oral tradition both of them grew up inside, what happens when a writer traces a coping mechanism back four generations and finds it still running in her own kitchen, why rejection never derailed her, and what it costs to look at the people who came before you with compassion instead of judgment.KEY TAKEAWAYS1. You cannot write somebody else's memoir. Dena set out to write her father's story and discovered fairly quickly that the form wouldn't allow it — a memoir has to be told from inside a life, and the only life she could write from inside of was her own. The book that resulted still holds her father's stories, but the person carrying them is her.2. Writing a memoir will crack you open, and you should expect that. Her husband warned her before she started that it would take her places she hadn't gone. She waved him off. It took her places she hadn't gone. Knowing the punchline of a family story turned out to be very different from asking her parents how they felt about what happened.3. Inherited coping mechanisms don't announce themselves. Dena's grandmother survived the Holocaust in part by trading food for slivers of soap to stay clean. Two generations later, Dena found herself raging at her kids about a messy house and realized she was running a script she'd never consciously received: a clean house is how you stay alive. Naming it was what let her stop.4. Bringing something into the light makes it smaller, not bigger. The energy spent keeping a difficult thing stuffed down is what generates the anxiety around it. Put it on the page and it turns out to be survivable — and, in Dena's experience, one sentence on paper pulls the next one out behind it.5. Start at the end and rewind. Dena's process is to know the ending first and then work backwards asking how she got there. The ending, she points out, is rarely the interesting part. The route is.6. A "smooth path" to publication can still include every rejection. She never found an agent. She got the rejections. She was ready to pay a hybrid publisher until a lawyer told her not to sign, which sent her to Mercer University Press — where her editor had been telling her to go for eight years. She kept a reminder in her pocket that The Queen's Gambit was rejected for thirty-two years, and treated every no as proof she was closer to a yes.7. Compassion for the people who came before you is out of fashion, and worth doing anyway. Dena's read on the moment is that we've gotten very good at being kind to ourselves and very quick to judge our parents and grandparents. Her hope for readers is that they look at their own inherited stories the way she learned to look at hers — not to excuse anything, but because every family story eventually becomes a choice about how you show up.GET THE BOOKStories Carry: We All Carry Them. Some Even Carry Us by Dena Schusterman- Publisher: Mercer University Press- Release date: (to confirm)- ISBN: 979-8897360475- Buy on Amazon: https://www.amazon.com/Stories-Carry-Memoir-Dena-Schusterman/dp/B0H4W37YZV?tag=rettocasgra-20&linkCode=ll2&linkId=2b2e63cfbc88a23cfd4a646441b02601&language=en_US&ref_=as_li_ss_tl- Buy on Bookshop.org: https://bookshop.org/a/54587/9798897360475On the episode Dena noted that Amazon was delaying availability, and that the best place to buy right now is the Mercer University Press website, with Barnes & Noble carrying it online as well.Support your local indie bookstore — if it's not on the shelf, ask them to order it.CONNECT WITH DENA- Website: https://www.denaschusterman.com/- Instagram: https://www.instagram.com/denads/ (@denads)CONNECT WITH YOUR HOSTMike Carlon | Uncorking a Story- Website: https://uncorkingastory.com- YouTube: https://www.youtube.com/@uncorkingastory- Instagram: https://www.instagram.com/uncorkingastory/- Facebook: https://www.facebook.com/uncorkingastory- TikTok: https://www.tiktok.com/@uncorkingastory- Twitter/X: https://twitter.com/uncorkingastorySubscribe & Leave a Review — It helps more readers and writers find the show!- Apple Podcasts: https://podcasts.apple.com/us/podcast/uncorking-a-story/id563636205- Spotify: https://open.spotify.com/show/5HZiAEtFlhAzk60Z4eAkhYUncorking a Story is produced by Mike Carlon. New episodes drop every Tuesday. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

No episódio do Podcast do PublishNews desta semana conversamos com Paulo Roberto, gerente editorial da Devir, editora de Quadrinhos, RPGs e Tabuleiros e Mariana Viana uma das fundadoras do Fora do plástico, um veículo de referência quando o assunto é jornalismo sobre quadrinhos. e os dois estão com malas prontas para a Feira de Frankfurt. Mariana é a vencedora do Prêmio Jovens Talentos 2026 e Paulo, escolhido no programa Frankfurt Global Network. Eles compartilham suas experiências em quadrinhos, suas expectativas para a feira de Frankfurt, destacando oportunidades, desafios e o crescimento dos quadrinhos e mangás no mercado global. Indicações:LIVRARIA DA TARDE CONVIDA PARA O SEGUNDO ENCONTRO "A VOZ FEMININA NO MERCADO DE LIVROS""O ecossistema do livro: inovações e desafios” uma conversa com Cecília Arbolave, jornalista, editora e livreira, Simone Paulino, fundadora e editora da Nós e Luciana Gil, sócia-fundadora e livreira da bibla Livraria. Mediação da jornalista Tatiana Vasconcellos.O evento acontecerá no dia 24 de setembro de 2026, às 19hs, na Livraria da Tarde, R. Cônego Eugênio Leite, 956, Pinheiros, São Paulo, SPFilme - Your name - CrunchrollManga - Your name - Makoto Shinkai (roteiro) e Ranmaru Kotone (mangá) - JBC Manga - Neste canto do mundo - Fumiyo Kouno (Taverna do Rei)Série - 100 anos de solidãoQuadrinhos - Sopa de lágrimas - Gilbert Hernandez (Veneta)Perfil - Fora do plásticoMangá - O Gourmet Solitário - Jiro Taniguchi (Devir)Quadrinhos -  Despedida - Bruno Drummond (Bloco Narrativo)O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro, Gráfica Viena e Nielsen BookData — referência mundial em dados que impulsionam estratégias Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

Understanding British Secret Intelligence with Dr. M Hanif Majothi (Part 2)      Black Spy Podcast number 265 Season 27, Episode 0003   THE BLACK SPY PODCAST — SPECIAL THREE-PART SERIES Who really created Britain's secret intelligence system? In this compelling three-part series, Carlton King is joined by Dr. Mohamed Hanif Majothi to examine the origins of one of the least understood — yet most important — institutions in British national security: Metropolitan Police Special Branch. The conventional history places its creation in 1883. Dr. Majothi challenges that accepted date, arguing that 1887, when funding was provided for the organisation, is the more meaningful starting point. But the discussion goes much further than dates. Carlton and Dr. Majothi trace the extraordinary chain of development from Special Branch to MI5, MI6 and ultimately the wider intelligence architecture incorporating military intelligence and GCHQ — examining how these organisations evolved, overlapped and operated alongside one another. And there is a crucial question at the heart of the series: Why is the police role in British secret intelligence so rarely acknowledged today? Special Branch was not simply another police department. For generations, it sat at the intersection of policing, intelligence, counter-subversion, terrorism and national security, investigating and monitoring organisations and individuals considered threats to the British state. From the late 19th century, through the First World War and beyond, Carlton and Dr. Majothi explore how those early intelligence practices helped shape the organisations that followed — and how Special Branch personnel and expertise contributed to the development of Britain's emerging intelligence services. The story also reaches far beyond Britain. At the height of the British Empire, Britain possessed an extraordinary global reach, giving its intelligence and security organisations an international dimension unlike almost any other system of the period. The series considers how the British model developed — and how it differed from systems emerging in countries such as France and, later, the United States. Finally, the discussion brings the story into the 21st century, examining what happened when Metropolitan Police Special Branch disappeared in 2006 and only some of its functions were poorly absorbed into the modern Counter Terrorism Command, albeit this later history will be looked more closely in future episodes. Was something more than a name changed? Has the policing contribution to Britain's secret intelligence history effectively disappeared from public consciousness? And what does that mean for the way we understand Britain's national security machine today? So listen now to The Black Spy Podcast to be educated in a manner that the mainstream media is failing to do so. If you wish to discuss this episode or any other with Carlton, or other regular members of the Black Spy Podcast team, feel free to do so. And please don't forget to subscribe in order to never miss another episode. To contact Firgas Esack of the DAPS Agency go to Linked In To contact Dr Rachel Taylor go to Substack account To contact Carlton King utilise any of the following: Patreon.com/TheBlackSpyPodcast Email: carltonking2003@gmail.com Facebook: The Black Spy Podcast Facebook: Carlton King Author Twitter@Carlton_King Instagram@carltonkingauthor To read Carlton's latest biographical memoir: Seeking Jerry The Untold Story Of Scotland Yard's Secret Mission To Baghdad, During The 2003 US Led Invasion Of Iraq Go to Amazon:  https://www.amazon.co.uk/SEEKING-JERRY-Scotland-mission-invasion/dp/B0H9CJ21XC/ref=tmm_pap_swatch_0#detailBullets_feature_div   ISBN-13           979-8196219863 To read Carlton's full autobiography: "Black Ops – The incredible true story of a (Black) British secret agent" Click the link below: https://www.amazon.co.uk/dp/BO1MTV2GDF/ref=cm_sw_r_cp_awdb_WNZ5MT89T9C14CB53651  If you are interested to know about the Male Menopause or fear you or a loved one is suffering for unknown reasons please consider reading Dr Rachel's & Carlton's book on the how the Menopause effects men - search Amazon Books for:  The Male Menopause - The Hidden Crisis  (ASIN: B0G5M78PSZ)  

Bright on Buddhism - Research Project Series - The Yakuza - Part 1Resources: Adelstein, Jake (2009). Tokyo Vice: An American Reporter on the Police Beat in Japan. New York: Pantheon Books. ISBN 978-0-307-37879-8. OCLC 699874898.—— (2023). The Last Yakuza: A Life in the Japanese Underworld. Minneapolis, Minn.: Scribe Publications. ISBN 9780307908384. OCLC 1376495818.Adelstein, Jake (2024). Tokyo Noir: In and Out of Japan's Underworld. Minneapolis, Minn.: Scribe. ISBN 9781957363912. OCLC 1415747543.Baradel, Martina. 2026. 21st Century Yakuza: Death of Japanese Organised Crime. Oxford University Press.Whiting, Robert (1999). Tokyo Underworld: The Fast Times and Hard Life of an American Gangster in Japan (First ed.). New York: Pantheon Books. ISBN 9780679419761. OCLC 45344213_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

In October 2013, a young Dane named Thor Pedersen set off from his home with a single, slightly mad rule: he wanted to visit every country on earth — all of them — in one continuous journey, and to do it without ever once setting foot on an airplane. Container ships, trains, buses, and a great deal of waiting around. He thought it might take three or four years. It took almost ten. He crossed closed borders and war zones, ran out of money more than once, was stranded for two years by the global pandemic, and served the whole time as a Goodwill Ambassador for the Red Cross. In 2023 he became the first person in history to do it. In this episode, Jonathan Thomas talks to Thor about the whole extraordinary decade — and, this being the Anglotopia Podcast, spends a good while on Britain, which came remarkably early in the itinerary. Thor recounts crossing from Calais to Dover after meeting Syrian refugees at the port, being awestruck by Bristol's maritime heritage, a memorable host in Wales whose front garden contained a toilet lying on its side, a Red Cross officer in Belfast who felt like the James Bond of the Red Cross, falling for the Scottish countryside, buying dodgy Les Misérables tickets in London, a desperate dash for seasickness pills in Immingham, and Hogmanay in Inverness courtesy of a kind bartender. But the deeper story is the one Thor tells in an unusual way: he doesn't sell it as a triumph. He's honest about the loneliness, the setbacks, the cerebral malaria, the migraines, the moments at gunpoint, the two years stuck in Hong Kong — and about the thing that actually got him around the world, which turned out not to be toughness at all, but the kindness of strangers. Links The Book The Impossible Journey — Amazon US The Impossible Journey — Amazon UK The Impossible Journey — Waterstones The Impossible Journey — Barnes & Noble The Impossible Journey — Hachette Australia ⠀Published by Robinson. ISBN 9781472149763 (hardback) / 9781472149770 (paperback). Thor Pedersen Thor Pedersen — Official Website The Impossible Journey — Thor's Site Once Upon A Saga — The Original Project Blog Thor Pedersen on Instagram Thor Pedersen on Facebook Speaking Engagements & Talks ⠀Mentioned in the Episode The Danish Red Cross International Committee of the Red Cross (ICRC) British Red Cross The Adventurers' Club of Denmark The Explorers Club, New York Hong Kong Tourism Board The Danish Seamen's Church, Hong Kong The California Zephyr — Amtrak ⠀Anglotopia Friends of Anglotopia Club ⠀ Takeaways 1 The idea arrived by email. Thor's father sent him a link about the world's most-travelled people, and Thor — then 34, twelve years into a career in shipping and logistics, and having visited around 50 countries — discovered that roughly 200 people had reached every country, but nobody had done it entirely without flying. He describes it striking him "like lightning." 2 His definition of "every country" was deliberately generous. The UN recognizes 193 sovereign states plus two observer states (the Vatican and Palestine). Thor built on that, splitting the Danish kingdom into Denmark, the Faroes and Greenland, and splitting the UK into England, Wales, Scotland and Northern Ireland — arriving at 203 — precisely so nobody could come back afterward and say "but what about Kosovo?" 3 Britain came very early — country numbers seven through ten, in late 2013, just weeks after leaving Denmark. He crossed Calais to Dover after meeting Syrian refugees camped by the rail tracks, was refused as a foot passenger, and got across by knocking on car windows until a driver calling himself Rambling Rat let him ride along. 4 Travelling only overland and by sea teaches you something you cannot learn from an airplane: how enormous the world actually is, and how gradually it changes. Thor points out that at borders, people wear the same clothes, eat the same food, often share a language — and the plants and animals don't care which side they're on. The real changes happen further inland. 5 He became a Red Cross Goodwill Ambassador early on, which transformed the project. Within weeks he realized it wasn't a country project but a people project. Meeting national Red Cross societies gave him rapid, genuine insight into each country — its economy, its government, whether it was a strong or weak society — and gave balance to a social media feed that otherwise risked being relentlessly, artificially upbeat. 6 Two years in, in Central Africa, everything collapsed at once: he lost financial backing, his long-distance relationship was falling apart, he was recovering from cerebral malaria, he was suffering debilitating migraines for the first time in his life, and his life was at risk more than once. It was the point at which he genuinely broke — and the point at which he first wanted to go home. He still had eight years left. 7 The pandemic stranded him in Hong Kong for two years. He'd arrived expecting a four-day transit stop. Immigration eventually told him he couldn't stay indefinitely as a visitor and offered three options: marry someone, study, or work. He ended up employed by the Danish Seamen's Church as "junior assistant to a reverend who wasn't there," shopping for seafarers trapped aboard their ships and unable to come ashore. 8 Hong Kong was both the worst and best chapter. CNN picked up his story, which went viral and transformed his profile. The Hong Kong Tourism Board nicknamed him "Hong Kong's only tourist." By the end he had two apartments, two cars, a driver's licence, a temporary ID card and a dentist. It remains the place in the world he misses most. 9 He felt no joy at all on reaching the final countries. Sri Lanka, then the Maldives on 23 May 2023 — everything had become "automated and mechanic," and he was working through interviews while everyone else scuba dived and drank martinis. The project was successful in the Maldives, but it was completed when he got home to Aarhus, 31 days later by container ship — 40 container ships in total across the decade. 10 Thor's strongest observation about travel is that most of the world is deeply ordinary. People go to work, go to school, spend time with family, follow their sports teams. He travelled through the Game of Thrones years and found everyone everywhere talking about it. He saw a boy in Libya spinning a Captain America shield fidget spinner. We are, he argues, far more connected than we think. ⠀ Soundbites 1 "I found out no one had accomplished it completely without flying. For most people that would be an uh-huh kind of moment, and then people would move on. But it struck me like lightning." — Thor on the email from his father that started everything. 2 "There's a common phrase where people say it's a small world. It really isn't. If it was a small world, I think I would have been back home a lot sooner." — Thor on what a decade overland teaches you. 3 "Around most border areas, people wear the same clothes. You get the same food on either side. The plants and the animals in the area do not care which side of the border they're on." — Thor on seeing where countries actually meet. 4 "Within weeks I realized that this wasn't a country project, that this was a people project." — Thor on the shift that changed everything. 5 "I was in Central Africa and I was deep in over my head. I lost financial backing. My long-distance relationship was falling apart. I was recovering from cerebral malaria. My life was at risk several times. And I just lost the motivation to continue." — Thor on the moment it broke him, two years in. 6 "If there was a competition within hospitality globally, like the Olympics, we would be on the bench watching the other countries. We are kind and helpful and friendly — but we have no idea how friendly we could be." — Thor comparing Northern European and global hospitality. 7 "I made an excuse that I was going to the bathroom, but really what I wanted to do was go and pay for all of us. And on my way there, they already knew what I was up to and shouted to the cashier — don't let him pay, we will take care of it." — Thor on his host Dafala in Sudan. 8 "So I was hired to be the junior assistant to a reverend who wasn't there." — Thor on how he solved his Hong Kong immigration problem. 9 "I arrived with my hat and my backpack, and when I was at my highest I had two apartments, I had two cars, I had access to the port, I had my driver's licence, I had a dentist. I had a life in Hong Kong." — Thor on two years stranded. 10 "The real story here is that most of the world is such an ordinary place. It is just people getting by in life, making the best of the situations that they have. Going to work, going to school, spending time with family, falling in love, following their sports teams." — Thor on what a decade on the road actually revealed. ⠀ Chapters 00:21 Introduction — One continuous journey, every country on earth, and no airplanes 01:48 Where Does an Idea Like That Come From? — Twelve years in shipping, and an email from his father 03:46 The Lightning Bolt — Discovering nobody had done it without flying 04:30 Did He Know What He Was Signing Up For? — Four years becomes ten 04:54 Two Years In, Central Africa — Where it all fell apart the first time 06:30 THE NO FLYING RULE — What travelling overland and by sea actually gives you 07:20 How Big the World Really Is — Denmark, Texas, Greenland and the skewed world map 08:47 Where Countries Meet — Same clothes, same food, and animals that don't care about borders 09:36 Watching the Landscape Change — Desert to bushes to forest to mountains 10:17 Which Definition of a Country? — 193 UN states, and why Thor's list runs to 203 12:24 THE RED CROSS — How being a Goodwill Ambassador changed the journey 12:50 A People Project, Not a Country Project 13:22 What the Red Cross Gave Him — Rapid, genuine insight into every country he entered 15:08 Balance — Why it mattered to post things that weren't relentlessly positive 16:05 BRITAIN — Country numbers seven through ten, in late 2013 16:44 Calais — Meeting Syrian refugees by the rail tracks before crossing 17:28 Rambling Rat — Refused as a foot passenger, and getting across by knocking on windows 17:58 Bristol — An open-air museum of seafaring history 18:38 Wales — A kind host, a house with grass to the windows, and a toilet in the front yard 19:11 Minimum 24 Hours Per Country — And how fast the early legs moved 19:24 Northern Ireland — The James Bond of the Red Cross, and a city of walls 20:00 "It's Raining a Wee Bit" — Thor's accent problem 20:32 Scotland — Awestruck by the west coast, and on to Glasgow and Edinburgh 21:08 Edinburgh — His girlfriend, now wife, visits two weeks after he left home 21:34 London — Les Misérables, dodgy tickets, and an unexpectedly happy ending 22:48 Back to the UK — A missed ship to Iceland, and an unplanned return via Immingham 23:42 The Pharmacy Dash — Crawling under the shutters for seasickness pills 24:26 Scrabster — And a devastating email about a ship that isn't coming 25:04 Edinburgh Again, Then Inverness — Hogmanay with a bartender who takes in strangers 26:15 CULTURAL DIFFERENCE — Reading what people really think of you 26:50 The Hospitality Olympics — Why Northern Europe would be on the bench 27:40 Dafala in Sudan — Not being allowed to pay for anything 29:07 Poland and Hong Kong — Strangers who cook for you at midnight, and four days that became five months 29:54 "The Guest Is God" — Hospitality in India and Pakistan 31:02 The Arab World — Why you may never know what someone truly thinks of you 31:41 Denmark, Britain and America — Three different ways of masking contempt 33:12 THE UNITED STATES — How he got there and what happened 33:26 Iceland to Greenland to Canada — Crossing the Atlantic by ship 34:21 Immigration at Buffalo — Colin Farrell, a German form, and a very unimpressed officer 35:37 New York at 4 AM — Sleeping under a tree in Central Park 36:39 A Bird, a Beard and Free Wi-Fi — Central Park as a budget traveller's dream 37:04 Washington DC — Free museums, and more homelessness than the movies show 37:56 THE CALIFORNIA ZEPHYR — The train that changed the trip 38:09 Meeting Art — A chance conversation in the queue 38:45 Four Hours in Chicago — A grandfather's grave and a different ticket 40:06 The First Class Surprise — Art's private cabin, bunk beds and meals included 41:00 Communal Dining — Strangers, awkward seating, and solving global politics three times a day 42:18 San Francisco and Onward — To Mexico, Central and South America, the Caribbean 43:19 WHEN IT GOT HARD — The end of the good energy days 43:32 Naive Expectations — CNN, BBC and Nike were not, in fact, calling 44:49 Central Africa — "That is just a different level of hardship" 45:40 An Astonishing Part of the World — Beautiful, lush, friendly, and extremely hard to travel 46:34 Losing the Thread — Forgetting why any of it mattered 47:24 Migraines and Malaria — What his body did in response 48:40 At Gunpoint — And the moment he grabbed a steering wheel at speed 49:18 Where an Ambulance Might Not Come — The reality of a medical emergency in that region 50:03 MOST OF THE WORLD IS ORDINARY — Game of Thrones, fidget spinners and a Captain America shield in Libya 51:52 THE PANDEMIC — Two weeks' delay in the Solomon Islands, then the Marshall Islands 52:45 Four Days in Hong Kong Becomes Two Years 53:31 Down to the Last Nine Countries — And desperate to go home 54:24 Five Months With One Family — And the need for personal space 55:03 CNN Finds Him — The article that went viral and changed everything 55:38 Hong Kong's Only Tourist — Working with the Hong Kong Tourism Board 56:28 Immigration Runs Out of Patience — Marry, study, or work 57:35 THE DANISH SEAMEN'S CHURCH — Junior assistant to an absent reverend 58:27 Seafarers Trapped Aboard — Suicide rates, shipboard dentistry, and captains who died at sea 59:32 Shopping for the Ships — What Thor actually did for a year 01:00:17 Forty Container Ships — And the satisfaction of giving something back 01:00:27 The Luck of the Delay — Why being stuck in Hong Kong was better than the alternatives 01:01:20 A Life in Hong Kong — Two apartments, two cars, a dentist, and the place he misses most 01:02:04 THE END OF THE JOURNEY — Sri Lanka, then the Maldives 01:02:47 Bureaucratic Obstacles to the Finish Line — Not allowed to leave the ship 01:03:33 Flags, Friends and a Resort Island — And Gunnar Garfors breaking the story 01:04:14 No Joy At All — Working through interviews while everyone else celebrated 01:05:20 Successful in the Maldives, Completed at Home — And why he refused to fly back 01:06:06 The Milan Maersk — 31 days from Malaysia to Aarhus 01:06:46 Windmills in the English Channel — The slow return home 01:07:20 Homecoming — Rain, a crowd at the portside, and his wife 01:07:59 WHAT NOW? — The Adventurers' Club and a secret expedition 01:08:48 Africa, Camels, Volcano — Three clue words and nothing more 01:09:09 Life Today — Speaking engagements, film festivals and book events 01:09:34 Emirates Business Class vs Ryanair — A memorable downgrade 01:10:06 Wrap-Up — The Impossible Journey, out now, and Friends of Anglotopia Video Version

Spotify for Authors is rolling out free AI audiobook creation for self-published authors using ElevenLabs, while Canada changes its ISBN rules around AI-generated books and the U.S. Justice Department enters OpenAI's copyright fight with The New York Times. We also revisit the controversial library e-book study after new questions about its methodology, plus several updates from Tertulia for Authors. Publisher Rocket - https://DaleLinks.com/PublisherRocket (affiliate link) AP News: Trump administration backs OpenAI in New York Times' copyright case over training of chatbots - https://apnews.com/article/justice-department-new-york-times-openai-copyright-dbb22e8e02c660ee5a8644915dec39a4 Tania's Writing Realm: ATTENTION CANADIAN AUTHORS / Changes with ISBNs - https://youtu.be/0ijU_tXSgwA?si=q7z_aHe95I7NL84D Government of Canada: About ISBNs - https://www.canada.ca/en/library-archives/services/publishers/isbn/about.html Spotify for Authors: Turn Your Book Into an Audiobook in Minutes with Spotify for Authors - https://authors.spotify.com/blog/creationtools Jane Friedman's The Bottom Line (subscription required) - https://janefriedman.com/subscribe-paid-newsletter/ Publishers Weekly: Study Says Library E-book Lending Hurts Industry Sales - https://www.publishersweekly.com/pw/by-topic/industry-news/libraries/article/101167-study-says-library-e-book-lending-hurts-industry-sales.html Words & Money: Publishing Industry 'Study' Says Digital Library Lending Is Cannibalizing Retail Sales—Librarians Say It Reveals Something Else - https://www.wordsandmoney.com/publishing-industry-study-suggests-digital-library-lending-is-cannibalizing-retail-sales-librarians-say-it-reveals-something-else/ Readers First: Significant flaw in new library eBook study - https://www.readersfirst.org/news/2026/9/3/significant-flaw-in-new-library-ebook-study Tertulia for Authors - https://DaleLinks.com/TertuliaForAuthors (affiliate link) Tertulia for Authors on Substack - https://tertuliaforauthors.substack.com/ Build a Professional Author Website Easily | Tertulia for Authors - https://youtu.be/F6q_ZvluXLE?si=aI1ziRarimpesKZl Rapid-Fire Newsflash GetCovers - https://DaleLinks.com/GetCovers (affiliate link) Kindlepreneur: 25+ Best Podcasts for Writers & Self Publishers in 2026 - https://kindlepreneur.com/best-podcasts-for-writers-and-self-publishers Kickstarter: A Book In Hand: Optimizing Print Book Sales - https://www.kickstarter.com/projects/markleslie/a-book-in-hand-optimizing-print-book-sales Spoken - https://Spoken.press Authors Guild: Copyright & AI: Best Practices for Authors & Narrators - https://authorsguild.org/event/copyright-ai-best-practices-for-authors-narrators/ Indie Author Training: From First Draft to Launch Day - https://webinars.indieauthortraining.com/talks/from-first-draft-to-launch-day/ The Alliance of Independent Authors: The Future of Self-Publishing: What's Working Now & What's Next - https://selfpublishingadvice.org/selfpubcon2026/ Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

Bonjour, nous sommes Thomas, Pierre et Arnaud.Avec Mélanie, nous revenons sur la quête du Prince Charmant et sur ce qu'elle raconte de nos attentes amoureuses. Entre idéalisation, peur de l'échec, applications de rencontre, ghosting, critères, lâcher-prise et pression sociale autour du couple, nous cherchons surtout à comprendre ce qui change quand on arrête d'attendre quelqu'un de parfait.Au fil de la discussion, on parle aussi de ce que les contes, les films et les réseaux sociaux projettent sur l'amour, de la difficulté à se laisser surprendre, de la façon dont nos blessures façonnent nos choix, et de ce que devient une relation quand elle n'est plus pensée comme une réparation.« Au Cœur des Hommes », ce sont trois amis, Thomas, Pierre et Arnaud, qui ont décidé de poser à des copains des questions concernant les rapports amoureux.À chaque épisode, nous recevons un nouvel invité et nous abordons un nouveau thème avec bienveillance.Avertissement : il se peut qu'on dise des choses qui ne plairont pas à tout le monde… mais on va les dire quand même.Un jeudi sur deux, écoutez-nous sur Apple Podcasts, Spotify, Deezer, Podcast Addict, Amazon Music, YouTube (sur le compte de Compagnie Club) et Acast.https://linktr.ee/aucoeurdeshommespodcastMerci de nous écouter, abonnez-vous, commentez-nous et partagez-nous !Instagram — @aucoeurdeshommespodcast https://www.instagram.com/aucoeurdeshommespodcast/Mail — aucoeurdeshommespodcast@gmail.comRéférences citées dans l'épisode :Les Gentils Hommes — Mélanie y avait consacré plusieurs épisodes à la figure du Prince Charmant. Ces épisodes sont évoqués dans la conversation.Single Jungle — podcast de Louisa Amara consacré au célibat et à la place du couple dans la société. https://singlejungle.lepodcast.fr/Au Cœur des Hommes — épisode 7 : « Le ghosting », avec Swan, cité dans l'épisode.Dénouer les conflits insolubles — William Ury, Seuil, 2026. ISBN 978-2-02-157688-7Facile — Le guide pratique de la vie d'adulte — Margaux Motin, Casterman, 2026. ISBN 978-2-203-28980-2Au Cœur des Hommes est un podcast de Compagnie Club.Épisode enregistré dans les studios de RSTLSS.Question subsidiaire : Est-ce qu'on trouve mieux l'amour quand on arrête de chercher le Prince Charmant ?Réponds sur Instagram @aucoeurdeshommespodcast Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In the second half of this double episode of Sustainability Matters, we explore the rise of the Post-Enlightenment Society. What happens when opinion travels faster than knowledge? How do digital communication, education, and mass politics affect democracy? And is the erosion of Enlightenment values a failure of citizens, institutions, or both?All this and more with Prof. Dr. Markus Tiedemann, author of Post-Enlightenment-Society: What we are losing and what lies ahead, published by De Gruyter Brill.Host: Ramzi NasirGuest: Prof. Dr. Markus TiedemannShownotes:John McWhorter: Woke Racism: How a New Religion Has Betrayed Black America. Portfolio, New York 2021 ISBN 978-0-593-42306-6.Susan Neiman: Left Is Not Woke, Polity, 2023.Samuel L Jackson on the N-Word:https://www.google.com/search?client=firefox-b-d&sca_esv=595731386&q=Samuel+P+Jackson+N+Wort+Interview+Hamilton:&tbm=vid&source=lnms&sa=X&ved=2ahUKEwiIhsjXs8SDAxXERvEDHchvCHcQ0pQJegQIDRAB&biw=1920&bih=947&dpr=1#fpstate=ive&vld=cid:5b38504f,vid:cOlNHXQCT_4,st:0

Thu, 17 Sep 2026 17:15:00 +0000 https://jungeanleger.podigee.io/3334-books-from-friends-12-die-selbstsetzung-des-menschen-gernot-blumel c47746bb0e9f83807e25b1f8852d95e7 Mein Buch "Ein Fanboy über die jüngere Geschichte der Wiener Börse im Remix mit Sport, Musik und (m)einer Biografie" ist erschienen, alle Infos unter christian-drastil.com. Im Buch spielt die Zahl 42 eine grosse Rolle und so werde ich 42 Werke anderer Autoren hier präsentieren, zu denen ich inhaltlichen Bezug habe. Ich nenne die Serie Books from Friends. Und es gibt zwei Möglichkeiten im Rahmen dieser Podcastreihe. a) ein Podcasttalk b) eine Leseprobe Folge 12 mit Gernot Blümel wurde ein Podcasttalk. Gernot war österreichischer Finanzminister und zuvor Kanzleramts- sowie Kulturminister. Der studierte Philosoph ist Managing Director des Mare TechnoPark - eines internationalen Innovationszentrums für digitale Medizin und Künstliche Intelligenz in Venedig - und führt Philosophie und modernste Technologie zusammen. Das Buch "Die Selbsetzung des Menschen" ist eine philosophische Orientierung für eine der größten Umwälzungen unserer Zeit: den Aufstieg der Künstlichen Intelligenz. Gernot vertritt die These, dass die wahre Herausforderung der KI nicht in einer existenziellen Bedrohung, sondern in einer fundamentalen Kränkung unseres menschlichen Selbstverständnisses liegt. Indem die KI uns die bis dato exklusive Domäne der Vernunft streitig macht, zwingt sie uns, die Grundlagen unserer Gesellschaft - Demokratie, Menschenrechte und unsere eigene Würde - neu zu denken. Das Buch führt den Leser durch historische Fortschrittsdebatten, philosophische Gedankenexperimente und aktuelle technologische Entwicklungen. Es mündet in dem provokanten, aber hoffnungsvollen Plädoyer für einen neuen, radikalen Humanismus. Und natürlich geht es auch um Kant, Commander Data und vieles mehr. Buch bestellen: https://www.morawa.at/detail/ISBN-9783689320980/Blümel-Gernot/Die-Selbstsetzung-des-Menschen Das Fanboy-Buch: http://www.christian-drastil.com Mehr Books from Friends: http://www.audio-cd.at/booksfromfriends About: "Books from Friends" wird 42 Folgen umfassen und ist via http://www.audio-cd.at (über den Podcast "Audio-CD.at Indie Podcasts" (http://www.audio-cd.at/spotify , http://www.audio-cd.at/apple) abrufbar. Bewertungen bei Apple (oder auch Spotify) machen Freude. Du möchtest deine Werbung in diesem und vielen anderen Podcasts schalten? Kein Problem!Für deinen Zugang zu zielgerichteter Podcast-Werbung, klicke hier.Audiomarktplatz.de - Geschichten, die bleiben - überall und jederzeit! 3334 full no Christian Drastil Comm. (Agentur für Investor Relations und Podcasts) 1286

Aperture and Speed © 2026.mp3 ISBN: 978-976-98069-6-2Podcast 318 APERTURE AND SPEED: HOW TECHNOLOGY EXPOSES VALUES RATHER THAN ERASES THEM Dr. William Anderson Gittens, Doctor of Divinity DevGro Media Arts Services Publishing® 2015, Bridgetown, Barbados © 2026 ISBN: 978-976-98069-6-2Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 318 APERTURE AND SPEED: HOW TECHNOLOGY EXPOSES VALUES RATHER THAN ERASES THEM Dr. William Anderson Gittens, Doctor of Divinity DevGro Media Arts Services Publishing® 2015, Bridgetown, Barbados © 2026 ISBN: 978-976-98069-6-2Presented by Dr. William Anderson Gittens, Doctor of DivinityRECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 489E-Publications and 317 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.ReferencesAristotle. (1999). Nicomachean ethics (W. D. Ross, Trans.). Batoche Books. (Original work published ca. 350 B.C.E.)Berger, J. (1972). Ways of seeing. British Broadcasting Corporation.Blomberg, C. L. (1992). Matthew (Vol. 22). Broadman & Holman.Brueggemann, W. (1984). The message of the Psalms. Augsburg.Buber, M. (1937). I and thou (R. G. Smith, Trans.). T. & T. Clark.Carr, N. (2010). The shallows: What the Internet is doing to our brains. W. W. Norton.Figley, C. R. (1995). Compassion fatigue: Coping with secondary traumatic stress disorder in those who treat the traumatized. Brunner/Mazel.France, R. T. (2007). The Gospel of Matthew. Eerdmans.Freeman, M. (2017). The complete guide to photography: Techniques, materials, and applications. ILEX Press.Gittens, W. A. (2026). Aperture and speed: A philosophical framework for understanding human behaviour through the lens. DevGro Media Arts Services Publishing.Glissant, É. (1997). Poetics of relation (B. Wing, Trans.). University of Michigan Press.Goldingay, J. (2008). Psalms (Vol. 2). Baker Academic.Gross, J. J. (1998). The emerging field of emotion regulation: An integrative review. Review of General Psychology, 2(3), 271–299.Heidegger, M. (1962). Being and time (J. Macquarrie & E. Robinson, Trans.). Harper & Row. (Original work published 1927)James, W. (1890). The principles of psychology. Henry Holt.Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux.Kant, I. (1993). Grounding for the metaphysics of morals (J. W. Ellington, Trans.). Hackett. (Original work published 1785)Kress, G., & van Leeuwen, T. (2006). Reading images: The grammar of visual design (2nd ed.). Routledge.Landon, C. (2011). The photographer's eye: Composition and design for better digital photos. Focal Press.McCrae, R. R., & Costa, P. T. (1997). Personality trait structure as a human universal. American Psychologist, 52(5), 509–516.McLuhan, M. (1964). Understanding media: The extensions of man. McGraw-Hill.Merleau-Ponty, M. (2012). Phenomenology of perception (D. A. Landes, Trans.). Routledge. (Original work published 1962)Moo, D. J. (2000). The letter of James. Eerdmans.Plato. (1995). Phaedrus (A. Nehamas & P. Woodruff, Trans.). Hackett. (Original work published ca. 370 B.C.E.)Postman, N. (1985). Amusing ourselves to death: Public discourse in the age of show business. Viking.Sheller, M. (2003). Consuming the Caribbean: From Arawaks to zombies. Routledge.Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other. Basic Books.Waltke, B. K. (2005). The book of Proverbs (Vol. 1). Eerdmans.Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

No episódio do Podcast do PublishNews desta semana, fomos até o Papo de mercado,by Chambril Avena, espaço dedicado à discussão de alguns dos principais desafios, tendências e oportunidades que movimentam o setor do livro no Brasil e no mundo. Teve a curadoria de Talita Facchini, conhecida de nosso podcast, jornalista especializada no mercado editorial. E vamos ouvir a mesa: Preço do livro em debate: experiências internacionais e o caso brasileiro. Mais de 20 países adotam algum tipo de regulação para o preço do livro como forma de fortalecer livrarias, ampliar a bibliodiversidade e equilibrar a concorrência no mercado editorial. Enquanto o Brasil discute a Lei Cortez, outros mercados vivem realidades distintas — da consolidação de modelos como os da França e da Espanha aos debates recentes na Argentina. O painel reúne especialistas internacionais para discutir os impactos dessas políticas e o que a experiência de outros países pode acrescentar ao debate brasileiro.Com María José Galvéz, Diretora-Geral de Livros, Quadrinhos e Leitura no Ministério da Cultura da Espanha. Christian Rainone, Presidente e CEO da Editorial Guadal (Argentina, Brasil e Chile). Aglaé De Chalus (Adida para o livro e o debate de ideias na Embaixada da França no Brasil), Fernanda Garcia Diretora Executiva da Câmara Brasileira do Livro, Beto Ribeiro Sócio-fundador da Livraria SimplesO podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro,  Gráfica Viena e Nielsen BookData — referência mundial em dados que impulsionam estratégias Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

Last year 4.2 million books were published in the United States with an ISBN. Three and a half million of them were self-published. Traditional publishers put out 642,000. So for every book that came through the old machine, more than five came through the side door, and this year almost a third of new titles on Amazon's platform arrive with a disclosure that a machine wrote some of it.I'm not here to tell you the sky is falling. I run a press and I'm betting my working life on people wanting books. But if you're sitting on a manuscript and wondering what it costs to put it into the world, you're asking in a year when the shelf got very crowded very fast. So this episode is the arithmetic, line by line: editing, cover, typesetting, audio, ISBNs, the roughly eighteen thousand dollars you can spend before anyone knows your book exists. And then the question underneath the numbers, which is what you're actually buying when you work with a publisher, and whether you need one at all.The difficulty in life is the choice. In this episode:* Why 4.2 million ISBNs in a year is not the end of the world, and what it does change* The printer-and-ink problem: what “free to publish” leaves out* The three-year Amazon picture: catalog, sellers, and revenue growing at very different speeds* The line-by-line cost of a sixty-thousand-word nonfiction book, from developmental edit to ISBNs* Why print-on-demand hardcovers cost a self-publisher more than they cost a big house, and what to do about it* Audio: what it takes to record, edit, and upload your own audiobook, and why Crossroads is baking it in for the founding cohort* What a publisher is actually selling: representation, selection, and a partner in the room* The nonprofit-press volume play, the vanity-press TV commercial, and the difference between a book and a zine* Three questions before you decide: do you already have readers, could you hire every service separately, and do you want to run the account yourself* Why I'm in this at allIf you're an author with a fine nonfiction book and you're wondering where to take it, send a submission inquiry through the press site and let's have a conversation about whether this is a fit, for you and for us. Deciding against it is a real answer, and I'd rather you decide clearly than sign up for something you didn't want.If you know a writer who's sitting on a manuscript and doing this arithmetic right now, forward them this episode. That helps more than anything I can do on my own.Subscribe at chadprevost.substack.com, or listen on Apple Podcasts or Spotify.The Difficulty is produced by Crossroads Publishing Group, a message-and-meaning press. Show page: crossroadspublishing.group/the-difficulty. More at chadprevost.com. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Understanding British Secret Intelligence with Dr. M Hanif Majothi (Part 1)      Black Spy Podcast number 264 Season 27, Episode 0002 THE BLACK SPY PODCAST — SPECIAL THREE-PART SERIES Who really created Britain's secret intelligence system? In this compelling three-part series, Carlton King is joined by Dr. Mohamed Hanif Majothi to examine the origins of one of the least understood — yet most important — institutions in British national security: Metropolitan Police Special Branch. The conventional history places its creation in 1883. Dr. Majothi challenges that accepted date, arguing that 1887, when funding was provided for the organisation, is the more meaningful starting point. But the discussion goes much further than dates. Carlton and Dr. Majothi trace the extraordinary chain of development from Special Branch to MI5, MI6 and ultimately the wider intelligence architecture incorporating military intelligence and GCHQ — examining how these organisations evolved, overlapped and operated alongside one another. And there is a crucial question at the heart of the series: Why is the police role in British secret intelligence so rarely acknowledged today? Special Branch was not simply another police department. For generations, it sat at the intersection of policing, intelligence, counter-subversion, terrorism and national security, investigating and monitoring organisations and individuals considered threats to the British state. From the late 19th century, through the First World War and beyond, Carlton and Dr. Majothi explore how those early intelligence practices helped shape the organisations that followed — and how Special Branch personnel and expertise contributed to the development of Britain's emerging intelligence services. The story also reaches far beyond Britain. At the height of the British Empire, Britain possessed an extraordinary global reach, giving its intelligence and security organisations an international dimension unlike almost any other system of the period. The series considers how the British model developed — and how it differed from systems emerging in countries such as France and, later, the United States. Finally, the discussion brings the story into the 21st century, examining what happened when Metropolitan Police Special Branch disappeared in 2006 and only some of its functions were poorly absorbed into the modern Counter Terrorism Command, albeit this later history will be looked more closely in future episodes. Was something more than a name changed? Has the policing contribution to Britain's secret intelligence history effectively disappeared from public consciousness? And what does that mean for the way we understand Britain's national security machine today? So listen now to The Black Spy Podcast to be educated in a manner that the mainstream media is failing to do so. If you wish to discuss this episode or any other with Carlton, or other regular members of the Black Spy Podcast team, feel free to do so. And please don't forget to subscribe in order to never miss another episode. To contact Firgas Esack of the DAPS Agency go to Linked In To contact Dr Rachel Taylor go to Substack account To contact Carlton King utilise any of the following: Patreon.com/TheBlackSpyPodcast Email: carltonking2003@gmail.com Facebook: The Black Spy Podcast Facebook: Carlton King Author Twitter@Carlton_King Instagram@carltonkingauthor To read Carlton's latest biographical memoir: Seeking Jerry The Untold Story Of Scotland Yard's Secret Mission To Baghdad, During The 2003 US Led Invasion Of Iraq Go to Amazon:  https://www.amazon.co.uk/SEEKING-JERRY-Scotland-mission-invasion/dp/B0H9CJ21XC/ref=tmm_pap_swatch_0#detailBullets_feature_div  ISBN-13           979-8196219863 To read Carlton's full autobiography: "Black Ops – The incredible true story of a (Black) British secret agent" Click the link below: https://www.amazon.co.uk/dp/BO1MTV2GDF/ref=cm_sw_r_cp_awdb_WNZ5MT89T9C14CB53651  If you are interested to know about the Male Menopause or fear you or a loved one is suffering for unknown reasons please consider reading Dr Rachel's & Carlton's book on the how the Menopause effects men - search Amazon Books for:  The Male Menopause - The Hidden Crisis  (ASIN: B0G5M78PSZ)

For over a century, in a building most of us could not name, an organization known only by its post office box number — PO Box 500, London — has been quietly reading other people's letters, following other people's footsteps, and keeping the realm's most closely guarded secrets. MI5, the British Security Service, was founded in 1909 in the nervous run-up to the First World War under the motto Regnum Defende — Defend the Realm. James Bond and George Smiley are the fictions. This is the real thing. In this episode, Jonathan Thomas is joined by Mark Dunton, Principal Records Specialist at the National Archives and lead curator of their hit MI5: Official Secrets exhibition, and Dr. Stephen Twigge, former Head of Modern Collections at the National Archives and a historian of the Cold War and code breaking. Together they've written The MI5 Archive: Official Secrets, a remarkable visual record drawn from the 6,000 files MI5 has released since 1997. They explain what it actually feels like to hold these documents, how MI5 differs from MI6 and GCHQ, how a secret becomes an archive, and how historians work with a record that is deliberately incomplete. Then come the stories: the German spy hanged by a lemon, the last man executed at the Tower of London, the astonishing Double Cross system that invented 27 fictional agents to deceive Hitler about D-Day, the surveillance transcript that records atomic spy Klaus Fuchs stoking his own fire, the truth about MI5's limited role in the Profumo affair, and the handwritten note authorizing a tap on the King's telephone during the abdication crisis. Links The Book The MI5 Archive: Official Secrets — Thames & Hudson The MI5 Archive: Official Secrets — The National Archives Shop The MI5 Archive: Official Secrets — Thames & Hudson USA The MI5 Archive: Official Secrets — Waterstones The MI5 Archive: Official Secrets — Amazon UK The MI5 Archive: Official Secrets — Amazon USA Published by Thames & Hudson in association with The National Archives. 368 pages. Foreword by Nick Harkaway. ISBN 9780500030455. Our Guests Mark Dunton at The National Archives The National Archives, Kew Related Reading Double Cross: The True Story of the D-Day Spies by Ben Macintyre Agent Zigzag by Ben Macintyre Tinker Tailor Soldier Spy by John le Carré Places Mentioned The Tower of London — Historic Royal Palaces MI5 — Official Website GCHQ — Official Website Bletchley Park Anglotopia Friends of Anglotopia Club Related episode: Dr. Chris Smith on the Cambridge Five and The Last Cambridge Spy Takeaways MI5 has transferred over 6,000 files to the National Archives since 1997, and while most government departments operate under a twenty-year rule, MI5 works to an unofficial fifty-year rule. Strictly speaking they are not obliged to transfer anything at all — they choose to. MI5, MI6 and GCHQ are, as Stephen puts it, "brothers from the same mother." All emerged from the Secret Service Bureau created in 1909, which had a domestic side and a foreign side. The two heads shared an office for about a month before going their separate ways. MI5 catches other people's spies at home; MI6 runs Britain's spies abroad; GCHQ, which began as the Government Code and Cypher School under MI6, provides signals intelligence to both. Unlike the famously fractious CIA/FBI relationship in the US, the British agencies get on reasonably well — largely because they're staffed by lifetime civil servants rather than political appointees, and because people move between them (Dick White ran MI5 and then MI6). Less turf war, less budget anxiety. The exhibition MI5: Official Secrets — which ran April to November 2025 and drew over 55,000 visitors — was the first time MI5 has ever collaborated with another institution to tell its own history. The book contains a great deal that wouldn't fit in the exhibition space. Karl Muller, a First World War German agent, was caught because his invisible ink was lemon juice. Two lemons were found — one in his dressing table drawer wrapped in cotton wool, one in his overcoat pocket. He claimed they were for dental treatment. He was executed at the Tower of London. MI5 then kept writing letters in his name, asked the Germans for more money, received a handsome sum, and bought a staff car with it — which they nicknamed "the Muller." The Treasury told them off for unauthorized expenditure. The car was later stolen from outside MI5 headquarters. Josef Jakobs, parachuted into Huntingdonshire in January 1941, broke his ankle on landing and fired his revolver into the air to summon help. He was found with a German torch containing a German battery, a road map of Great Britain, a forged ID card, and a torn-up cipher wheel. Uncooperative under interrogation at Camp 020, he could not be turned — and became the last man ever executed at the Tower of London. The Double Cross System — officially the Twenty Committee, because XX in Roman numerals is twenty — turned virtually every German agent sent to Britain. MI5 then had to invent entire fictional networks of sub-agents to feed the Germans plausible material. Agent Garbo, a Spanish former chicken farmer who hated both chickens and Nazis, worked with his handler Thomas Harris to create around 27 wholly fictional sub-agents, all reporting on a non-existent army group massing in southeast England. Agent Tate convinced the Germans there was a large minefield south of Ireland. On 1 January 1945 British intelligence intercepted a message to all U-boat commanders warning them to avoid the area. That deception kept the Atlantic convoy route safe and saved countless lives. Tate also misled the Germans about where V1 and V2 rockets were landing, causing them to adjust trajectories so the missiles fell in open countryside rather than urban areas. On the Profumo affair, the files actually deflate the conspiracy theories. Contrary to the widespread impression that Stephen Ward was working for MI5 and was then abandoned by them, the files show MI5's involvement was genuinely limited — Ward met an MI5 officer two or three times, and was warned to be wary of Ivanov, not recruited. Director General Roger Hollis wrote that MI5 didn't get involved in that sort of "call girl racket." Stephen's most striking find is a handwritten note from the Prime Minister's office to the head of the GPO during the abdication crisis, authorizing the monitoring of King Edward VIII's communications at Fort Belvedere — alongside Special Branch maps tracking Wallis Simpson's daily movements. Nobody, it turns out, is above surveillance. Soundbites "You're never sure what's going to come next when you turn the page. You get a letter, and it can be quite mundane at times — how are the kids doing from so and so. And it takes you to places you don't necessarily go to in normal life." — Stephen on reading the files. "You get a very real sense that these were records which were not meant for public consumption. It's a bit like the title of the James Bond film — For Your Eyes Only." — Mark on handling MI5 documents. "MI5 and MI6 are, I suppose, brothers from the same mother. The two heads of those organizations shared an office for about a month and then went their own ways." — Stephen on the origins of British intelligence. "It's the first time that MI5 have ever collaborated with another institution to tell its history in this way." — Mark on the exhibition and the book. "There's this riveting transcript derived from a listening device placed in the home of Klaus Fuchs. And it records him moving about, with little details like 21:07, Fuchs stoked the fire. It gives you an almost voyeuristic feeling that you're looking in on this person's life and listening in with the MI5 listeners." — Mark on the atomic spy surveillance logs. "They asked him, what's this lemon for? And he claimed it was for dental treatment for his teeth. Which didn't necessarily go down well." — Stephen on Karl Muller's defence. "MI5 kept sending letters in his name, and in one of them asked for some money. They received quite a handsome amount, and then they bought a staff car with it, which was then called the Muller. Which, even more embarrassing, was stolen outside MI5 headquarters in the 1920s." — Stephen on the most delightful footnote in MI5's history. "He'd been a chicken farmer before the war, but apparently hated chickens. And he also hated the Nazis. And he had such a fertile imagination — together with his MI5 handler they cooked up about 27 fictional sub-agents." — Mark on Agent Garbo. "You get this bizarre wilderness of mirrors, where the German intelligence authorities think they're doing wonderfully well. They've got all these agents around the country feeding them information — but little do they know it's all bogus." — Stephen on the Double Cross system. "There's a letter that authorizes the tapping of the King's phone, which you wouldn't necessarily imagine to be released. It's a handwritten note from the Prime Minister's office. It's a fascinating idea that no one is above the law — everybody is capable of being monitored." — Stephen on the file that stayed with him. Chapters 00:21 Introduction — PO Box 500, Regnum Defende, and the real thing behind the fiction 01:17 Meet the Guests — Mark Dunton and Dr. Stephen Twigge of the National Archives 01:44 What Does It Feel Like to Hold These Files? 02:56 For Your Eyes Only — Mark on a window into a hidden world 04:13 How the Book and the Exhibition Came About — Approaching MI5, and their surprising response 06:11 The Exhibition — April to November, 55,000 visitors, and why the book holds more 07:04 Where MI5 Fits — MI5, MI6, GCHQ and the Joint Intelligence Committee explained 09:51 Do They Actually Get Along? — Comparing British and American intelligence culture 11:19 PO Box 500 — The anonymous address, and how a secret becomes an archive 12:16 What MI5 Has Been Called — Secret Service Bureau, MO5, Security Service, and Military Intelligence Section 5 13:12 Opening Up in the 1990s — Regular transfers and 6,000 files 14:14 Working with a Deliberately Incomplete Archive — Redactions, gaps, PF numbers and the jigsaw 16:11 The 50-Year Rule — Why MI5 files are often less redacted than other departments' 17:49 Outside the Normal Framework — They're not obliged to transfer anything at all 18:37 Do They Only Release What They Want Us to See? — Mark on the Cambridge Spies 19:04 What Makes a Good Exhibit? — Turning a dry surveillance report into something you can feel 20:06 Klaus Fuchs Stokes the Fire — The listening device transcript that lingers 21:33 THE FATAL LEMON — Karl Muller and the First World War 22:11 An Ill-Trained Agent — Latvia, Antwerp, and a very short course in secret inks 23:37 A.E. Free — Lemon juice, a compromised post box, and a German baker in Deptford 25:12 Caught in Russell Square — Lemons, German clothing, and a story about dental treatment 25:58 Execution at the Tower — And what MI5 did next 26:26 The Muller — Asking the Germans for money, buying a staff car, and getting told off by the Treasury 27:07 Two Lemons — Black, shrivelled, and in the collection 27:33 THE SIEGE OF SIDNEY STREET, 1911 27:55 Refugees, Radicals and the East End — The context for a gunfight 28:53 The Gun Battle — Scots Guards, machine guns, and a building burnt to the ground 30:57 Why It Matters — MI5's shift from military counter-espionage to civilian subversion 32:01 Enter Winston Churchill — The Home Secretary who turned up for the cameras 32:47 JOSEF JAKOBS — THE LAST MAN EXECUTED AT THE TOWER 33:03 A Broken Ankle in Huntingdonshire — And a revolver fired into the air 33:42 Camp 020 at Ham Common — Where the parachuted spies were interrogated 34:06 Who Was He? — A dentist, and an exploitative role in Jewish emigration 34:43 Uncooperative Under Interrogation — Why he couldn't be turned 35:38 Shot by Firing Squad — The last execution at the Tower of London 35:59 The Objects — A German torch with a German battery, a road map, a forged ID and a torn-up cipher wheel 36:40 THE DOUBLE CROSS SYSTEM 36:58 How It Worked — An offer they couldn't refuse, and inventing entire fictional networks 38:38 Chicken Feed and Burning Aerodromes — Making the deception plausible 39:15 A Wilderness of Mirrors — And Operation Fortitude 39:47 Why "Twenty Committee"? — XX in Roman numerals 40:28 Operation Fortitude in Detail — Distracting the Germans from Normandy toward the Pas de Calais 41:44 AGENT GARBO — A Spanish chicken farmer who hated chickens and hated Nazis 42:15 27 Fictional Sub-Agents — And a non-existent US Army group in southeast England 42:51 Agent Treasure and Agent Tate 43:26 The Minefield South of Ireland — The U-boat warning of 1 January 1945 44:32 Saving the Convoy Route — And countless lives 44:36 The V1 and V2 Deception — Redirecting missiles into open countryside 45:04 What Happened to Them Afterwards? — Garbo's shop in South America, an MBE, and Ben Macintyre's research 46:18 THE COLD WAR — How MI5's job changed after 1945 46:38 Atomic Spies at Harwell — And higher stakes after 1949 47:20 From War Footing to Peacetime — Reduced budgets and a new focus on subversion 48:18 The Communist Party of Great Britain — An inordinate amount of attention 48:30 A Shadow War — Intelligence as back channel, and why sex scandals made the front pages 50:05 THE PROFUMO AFFAIR, 1963 50:25 The Cast — John Profumo, Christine Keeler, Stephen Ward and Eugene Ivanov 51:40 What the Files Actually Show — MI5's involvement was limited 52:36 Stephen Ward and the Man Called Woods — Warned about Ivanov, not recruited 53:15 Ward Reported Back Conscientiously — And was not working for MI5 53:52 Roger Hollis on the "Call Girl Racket" — And what the files do to the conspiracy theories 54:54 FICTION AND REALITY — Nick Harkaway's foreword, le Carré and Fleming 55:18 What le Carré Got Right — Moles, lamplighters, honey traps, and a vocabulary that entered common usage 55:53 It's Not James Bond — It's people sitting there watching people and writing down what they did 57:09 The Doris Lessing File — Why she was on MI5's radar, and how rounded these portraits are 57:46 Fleming and Naval Intelligence — Special Operations Executive and the daring-do end of the business 58:29 THE FILE THAT STAYED WITH THEM 58:42 Stephen's Choice: The Abdication Crisis — Tapping the King's phone at Fort Belvedere 59:28 Special Branch and Wallis Simpson — Maps of her daily routine 59:56 Mark's Choice: The Lemon — And a "license to peel" 01:01:04 All the Little Twists and Turns — Why the Karl Muller story is the perfect MI5 story 01:01:34 Wrap-Up — The book, publication details, and Friends of Anglotopia Video Version

How can you use AI to research, edit and handle admin and marketing tasks while still writing every single word yourself? How can you double down on being human and reach readers on a personal level? Anna McPhee shares her perspective as a software engineer, author and creative technologist. In the intro, How to Write, Publish, and Market Short Stories out now. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing code is creative work, and what it shares with writing books How AI changed Anna's job as a software engineer without taking her employment The difference between AI assistance and generation How to use custom skills for editing reports, research and repeatable tasks Why the rise of AI makes us crave slow, imperfect, physical things Responding to a negative review by showing up as a human You can find Anna at Anna.kiwi and her new book at WhatMachinesCantReplace.com. Transcript of the interview with Anna McPhee Jo: Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. So welcome to the show, Anna. Anna: Hi, Joanna. Thank you so much for having me. Jo: Oh, this is going to be a fun conversation. First up— Tell us a bit more about you and your background in technology, as well as how you got into writing. Anna: I have been in all of these things my whole life, as long as I can remember. When I was just a little girl, writing was my favourite thing, writing stories. It was the whole reason I went to school, to be honest. I always pictured myself as a writer before anything else. My dad was a lecturer in software development, so when I was little, he would teach me how to code. So I've always done both, for as long as I can remember, and my mum is an artist. That's been my upbringing, at the intersection of technology and art, and then writing is my own personal passion. It's naturally flowed throughout my life. I've been in and out of some other careers and chased all the things that have made me feel interested and passionate, but writing has always been there in the background. It's something I do, whether it's been for a hobby or for a profession, so it's always been there. Jo: But you work in software, right? Anna: I do. I work in software, which came to me by chance. I set out as a digital nomad about 15 years ago now. I sold everything I owned and started travelling. The way I thought I was going to fund this was through freelance writing, which I was very optimistic about. We all know now that's a very challenging way to make an income, especially when you don't have a background in it or a portfolio. I did have this childhood background in software engineering and coding. So I set out to be a writer and travel the world as a writer, and actually what I ended up doing was building websites and writing software, because that's what people would pay me to do. So I fell into both at the same time through this chance I took. Jo: I think sometimes people think that programming and software development and these more technical fields are not creative. My husband was a programmer for a long time, and essentially programming is a language. Well, there are lots of languages, but you are creating in a language with computers, right? So is there that much difference? How do you fix these two things in your mind separately, or are they the same thing? Anna: They're so related. Many people might put writing into more of an art, and computer development and programming more into a maths or a science, but I just think there's so much creativity in writing code, in how you choose to structure things, in the language you select for something, the way you approach it. It's very similar to writing a book, I think. I've found a lot of things that are very similar about it, to do with architecture even. When you look at the basics, some people might write a book with no idea where it's going and see where it ends. It's the same with software. People might go into it and not have a plan. Most people will architect their software, or they'll architect their story in the same way. I think there's a lot of crossover between the two. Jo: And there's editing, and doing the “does this do what I want it to do?” I think with software perhaps it's more obvious when something doesn't do what you want it to do than with a book. Anna: Perhaps. Although with AI now, it's becoming a little more vague, because you can think your software's doing what you want it to, but it might not be. It might just look like it is. I think those lines are getting a bit blurrier as technology changes. There's a lot of things in software development that are very similar to writing. We don't have an editor, but we will have unit tests or code reviews, and maybe the CI tests, and we've got all these structures in place that are very similar to writing. Jo: I also think what's interesting, and this has been in the last maybe decade really, is that it used to be you would get a job in the old way, but— Now it seems like your GitHub page, which is almost like your author platform, your programmer platform, can make a real difference in how people find you and your work. So maybe talk a bit about that, because you have a GitHub page, don't you? Anna: I do have a GitHub page, and I've spent a lot of time on it, because you can set up your README file and make it a bit like a website, and introduce all of your projects and what you're working on. Just to combine it a little bit, actually, I use GitHub for my writing. I use it for version control so that I can go back and see the changes that I've made to the things that I'm writing. Even with my book, I had a copy of it backed up in a private repository on GitHub where I could track changes and never lose a backup. I have so much faith in GitHub that it extends beyond the software I write and into everything I do. I keep a copy backed up in GitHub. Jo: That's actually quite funny because, coming into AI in the author community, one of the things that's now talked about is how do you prove that your book is not a one-click generated book? And what you've actually got there is evidence of your process. Anna: Exactly. Jo: Which is kind of hilarious in many ways. Well, let's get into this, because there's so much fear and witch hunting right now and negativity in the author community. As somebody who's grown up with both art and the software side, where do you think those attitudes come from, and how have they changed in different ways? Anna: Oh, people are really afraid. I've got a very moderate perspective, and I think I sit in a very similar position to you. A large number of people that I hear from are either incredibly pro-AI, let it do everything for them, everything, everything, do it for absolutely everything you can think of. Or they're completely terrified and very, very negative about it, and won't use it for anything at all. I can only assume this is going to stabilise with time. There's been a huge amount of outrage against other technologies in the past, even calculators. All technology has come with scepticism and people scared that it's going to take their jobs. I think there's a lot of misinformation out there as well, people who think that AI is trained on books, which it is, and that's a totally valid concern with the copyright and things. I think there's a lot of misunderstanding around what training an AI model actually means in that regard. It's not taking someone's prose and reusing it. It's looking at the underlying mathematical probability of, if you have this word, what is the probability of the next word being this? It's broken down into numbers. I'm not 100 percent sure, but from my perspective of seeing it, the witch hunt comes from a place of fear. I saw an author in a group I'm in recently who said, “Oh, I've written so many novels, and I've run out of ideas for names for my characters. I've used every person I've ever met, I've used their name. That's how many books I've written. How do I get more names?” Someone suggested, “Well, why don't you ask AI for some other names?” “Oh, no, no, no. I could never let AI take over my work like that.” And it was just over the idea of using it to ask a question. So I think there's a feeling that if you let it do one thing, next thing it's going to be doing everything, and it's going to erase you, and your ideas, and your way of doing things. Jo: Just on that, it is interesting, though, isn't it? Because I am trying to use it, like I use Claude Code, and I'm trying to use it for more, and more, and more. I started off using ChatGPT the day it came out in 2022, and have increasingly tried to give the AI tools all the things that will free me up to do the things I love to do. Making lists of names is not on my list of things I love to do. Anna: Yes, exactly. I feel the same way. Jo: So that's the thing, isn't it? The fear is really interesting because we all have fear. One very visceral time I remember feeling very scared was in the pandemic, in those early days when there wasn't a vaccine. That's really the only reference I think I have for it, because like you, I feel like I've grown up with technology, and so I've never felt it that way. I'm hoping that as with COVID, as with things developing over time, and obviously again, misinformation is rampant, but— I guess we got used to it. Is that the best we can hope for with AI? Anna: I hope it's better than that. I hope we can hope for better, that people can learn how to use it in a way that supports them. As people become less fearful, like with COVID, they experiment a little bit here or there and start to see that there are ways to not let it take over. In general, people are really bad at identifying AI-generated content. There are so many studies done on it, and it's 50/50 at best. Good AI now produces stuff that a lot of people don't recognise. So it's more about the idea than the reality of it. There's this whole idea around it that AI will take our jobs, and I get asked all the time, “Well, when do you think AI's going to take your job? You work on a computer.” Well, it can take my job, and it has. I used to write code all the time, and now I write almost no code. I work for a very large software company, and we use a lot of AI in our development protocols, and I don't write any code now, more or less, and a few years ago I did all day. So my job has changed completely, and AI has taken my job, but it hasn't taken my employment. I found a new way of being, which is I'm more of a project manager. I review code. I make sure nothing bad gets put out into the world. My role has changed, but it hasn't been taken away. I hope that as people start to see that this new technology is not taking their jobs, it's taking the parts of their jobs off them that are so repeatable, and giving them more room to do more with the things that they are uniquely good at. Jo: Absolutely. So let's get into that, because you did just say there that you're not writing any code, which is different to your writing for books. In your book, What Machines Can't Replace, you talk about how you used AI assistance and how you did things in different ways. I've been explicit about being AI-assisted since May 2023, so I absolutely am on board with the difference between what is assistance and what is generation. One-click generation of a complete book, while some people might choose to do that, that's not what you and I are talking about. So tell us— How did you use AI tools and these assisted processes for this book? Anna: Right. So I used AI extensively for this book. However, I wrote every single word. I don't want AI to take over my voice, and that is one area where it differs from writing code in a big way. One-click generation, maybe one day AI will actually be very good at it, and we won't be able to tell the difference. But currently, I definitely can. If I start reading something that is one-click generated, it becomes very obvious to me very quickly. I use AI extensively in my day. I use a Claude plan which is the Max 20x, the biggest allowance plan, and I run out of limit every week. So I spend a lot of time seeing how it forms sentences and the kind of thing it says, so I think I'm quite sensitive to when I see it. So for now, it's not good for that, and I don't think I ever want it to be. When I put something out in the world that is software, the thing that's uniquely me is the concepts behind it or the way it functions. It's not the code itself. When I put writing out there, when I put a book out there, the words are the thing that's me. They're my signature, they're my style. So I used AI assistance for everything else. I used it to help me research, but then I would verify the sources myself, but it was so good at finding things. I used it to transcribe my words. I would go out for long walks, and my ideas come to me when I'm out walking, like so many people. So I'd just pick up my phone and voice record, “Oh, hey, I was thinking, years ago I heard about this study, and I think that would be really interesting, but I don't really know the details of it. Can you make a note of this?” Then my AI could go and research it, come back and say, “Oh, I think you're talking about this research paper, and here's a link to it.” It could add it into my notes, and I could still verify it and read it, but it saved me hours of manual trawling through Google Scholar looking for things. So as a first step I used it for research, but I also used it all the way through the writing process. I've set up a lot of custom skills for all the different editor types. I've got a developmental editor, a line editor, a copy editor. None of them are allowed to make any changes. They are only allowed to create reports of what they find. So I could check for consistency, or did I reference the right thing for this chapter? Does this flow okay? I could ask it questions about my work without it actually touching the words. Another way I used it is I'd make more voice recordings, and then it would transcribe them and suggest where in my book they would fit best, and then copy and paste my exact words, word for word, into the right spot, and then I could edit it in. So I used it for almost everything except the actual words, which remain mine, and the design as well. I value designers a lot, so I paid a cover designer to design my cover. Jo: Yes, and all those things you were talking about, I also do. How do you explain skills? Because I have like 100 skills now. I do skills for everything. I'm struggling to explain what that is to people who don't really understand. Anna: Yes, skills are amazing, and it is difficult to explain. It's like a little package, and it can contain prompts, it can contain scripts, it can contain information, and it can be called only when needed. So if I created, for example, my developmental editor skill, it might be a folder that's consumed by Claude and Claude Code, and only when it's asked for, then it uses all of the stuff in its context and follows a set of instructions. They're just more powerful than a prompt because they're reusable, and they live there, and it can be clever and know when to use ones without you invoking them directly as well. I have another skill that's just me, about me, and I keep it up to date with information about what I'm working on and who I am. If I'm doing something, I can say, “Well, don't forget, check the About Me before you answer this.” Or, “I'm working on this project I haven't worked on in a while, but I created a skill to reference it. Before we start work on this, can you go and check in with the skill?” Kind of like a library. Jo: It's interesting, you're talking about quite expansive skills, and I do have some of those, but a lot of my skills are really quite specific. Like, do a Shopify product in the way that we did Shopify products last time. Or, this is how Joanna Penn wants the sales description for Amazon, so write the Amazon sales description for this. And then, say, on ChatGPT it'll be like, right, do A+ content for this book. That kind of thing. So it can be really, really specific, almost like a little program, right? Then it can be, as you say, with memory and all this different stuff. Anything you want to do more than once, I think. Anna: That's a really good way to describe it. Also, because of my technical background, I trust code a lot more than I trust AI at the moment. I really love AI, but the results vary, and you can run the same thing five times and get five different results, whereas if you run a code function five times, you will always get the same result if it's a well-written function. So for anything like that, I add code into my skills so that I can say, “When this is called, run this script,” and I know it's always run the same way. You can get quite complex with skills and build some real programs inside them, or it can be just a few lines. Do this, this way. I've got one I really enjoy at the moment I created called Research Me. I have so many ideas, always hundreds of ideas. So many of them are terrible. Some of them are good, and some of them are already done. I just type Research Me, and then I just put my thought. It might be a word. It might be a line. It might be more than that. Then it goes away and looks it up and sees if someone's done this thing, and if it's valid to me, and then creates a report and saves it in my knowledge base for me to look at another time. Jo: I guess it's not really a skill, but it's more like part of the memory. I just say, put that in the backlog and bring it back in a month. Anna: Oh, that's so nice, too, being able to set schedules and reminders. Like, right now is not a good time, but I don't want to let this idea go, so can you bring it back to me at this time? And it will. It's wonderful for that. Jo: It is good. Oh, and we should also say, you don't have to write a skill. If you do something with Claude or ChatGPT or whatever, you can then say, “Create a skill for this,” and it will write it, and you can have a look at it, but you don't have to sit there typing out how to do stuff. I think often people think that you have to drive it a lot more, where it's just so much of a conversation now, isn't it? Anna: Yes, it can be done completely with conversation. You don't need to write out any instructions or any code, anything at all. You could have a really positive experience doing something with Claude Cowork and then get to the end of that process and think, “Oh, that was wonderful. I definitely think I'll do that again.” So you just say, “Oh, that was great. Can you make that a skill so we can do it again the same way next time?” And it'll create it, and you just click a button, say Add the Skill once it's done, and that's it. Jo: There are so many things. Now, just coming back to your book, you do have at the end of each chapter some prompts, although I don't like the word prompt anymore, because I feel like prompt is from the old way, when you would type in a certain prompt and then something would come back and that would be done. Whereas now it's much more of a conversation. So a prompt is almost a starting point. So you've used questions, I guess. What are your recommendations for authors who want to get more into this but are still apprehensive and are worried about getting it wrong somehow? Anna: Okay. Yes, I agree with you on prompting. That was a real buzzword for a while there. Everyone was going to be a prompt engineer, and the future of AI was prompting, prompt design. The systems are so much more capable now that it's not what it was. It is definitely more of a conversation. I think that is the good place to start, to just have a conversation with the AI about your work. It doesn't have to touch your work. You could just ask for its opinion on something. If you don't want it to consume your whole book, there are privacy settings, and you can stop it from training on your material if that's the concern, or you could use a local model. You could give it some of your writing and ask its opinion and start a conversation. One thing about AI is that people forget you can just say to it, “What's the best way to use you? Hi, I'm new here. I don't know what I'm doing. I'm a writer. How can you help me?” And it will tell you. Jo: I think one of the other ways, if people don't even want to use it for creative stuff… This morning, as we record this, I've been delving into the back end of my YouTube channel, which I've just ignored for years, actually, and Google Search Console, and there are all these errors everywhere. I'm like, “I don't understand that message.” Or I had an error on one of my files on Draft2Digital, and I was like, “Okay, ugh.” So now I just put those errors into Claude and say, “Right, how do I fix this?” Or, “Maybe you could fix this.” That helps so much, because as author publishers or self-published authors, we do have a lot of technical things to do. Sometimes, well, all the time now, I think, getting help with it rather than ignoring it can be great. Anna: Absolutely. It's so good for that administrative stuff as well, especially with the addition of being able to use Claude, and a lot of the other ones as well, in your web browser now. So it can do things for you. It can fill out forms. There's a lot of repetition in publishing a book. You have to enter your ISBN in five million places, and you want to make sure that your information is aligned and that you have the same data in numerous different places, and you can ask it to check. You can ask it to check your metadata on your website and say, “Does the author information for me align with what you're seeing on Goodreads, or what you're seeing on StoryGraph, or in Wikidata? Do you see any gaps that I need to address?” It's really good at that stuff. Or you can open a form and say, “Can you fill it out for me? I'm sick of typing.” And it will. It's so good for the admin. Just amazing. Jo: So good for admin, exactly. This is the thing, this whole “AI's going to take my job.” Yes, please take 95% of my job and leave me with the bit I want to do. Let's get back into the book, because— You also say in the book, “The more I worked with AI, the more I wanted the slow, imperfect physical things.” So tell us about that. Anna: Yes. So AI swept me up. I've been, also like you, an early adopter, and absolutely obsessed with it right from day one. I just started to notice I needed more and more breaks, and I was valuing different things than I used to, and I was consuming and purchasing different things than I used to. I started to see this changing, and I would spend more and more time out in the garden. I love my garden anyway, I'm a gardener. I was just starting to recognise this feeling, and at first I couldn't really put a name to it. What is this? Why am I searching out these things? Why do I want to create more than I did even before with my hands? So I started looking into it, and it was very much a global phenomenon. Everyone seems to be doing this. There's been a really strong link between the introduction of AI into the world and things like record sales or sourdough baking, although that one also came during COVID, so that one's a bit tricky to measure. But lots of other things are just getting more and more popular as the market gets saturated with AI-generated content. People want to see things that a human has touched. The harder it becomes to actually see that in AI-generated content, the more people want other signs. If you can't just read a piece of writing and know 100 percent sure a human wrote it or an AI wrote it, you start looking for other ways to tell. So I really felt that in myself, and it was a very unsettling feeling, as someone who's been very, very technology-forward all my life, to start valuing more and more things that weren't technology. Jo: Yes, I absolutely get this, and I think there's also another aspect, which I feel you must feel too. There are some days, if I use AI a lot, I almost feel like a hangover. Because the speed at which I can now work means that my human wetware brain is overloaded. That feeling is both exhilarating and amazing, but also totally exhausting. Anna: Yes. There's a huge comedown from it. To me, in the beginning, it started feeling like eating a lot of sugar. Really, really great eating all these lollies. “Oh, this is amazing. These are so good.” And then afterwards, “Oh, I still feel hungry. I don't feel fulfilled. I'm surrounded by lolly wrappers. What is this?” It felt a lot like that to me, where it's just creating all this stuff, and it felt like I was the master of the universe. Wow, I can create anything and everything, and let me do this and that and this and that. Then I'm like, well, but all of the stuff I've created isn't that great, because it doesn't feel that good, and I didn't really make it. I just pushed buttons and said yes. It's a weird disconnect kind of hangover feeling if you spend too much time and create too much that way. Jo: It makes me think of the BCI, the brain-computer interface. With Neuralink now, there are people who are paraplegic for whom it is absolutely amazing, but the thought of plugging something into my brain that would try and make my brain go even faster, I'm like, I don't think that our human brains are designed to go this fast. I just can't. Anna: That's fair. Jo: I can't see that happening. Anna: It's a tough one. Personally, I have ADHD, so already the distractions are something I have to rein in, and then with this ability to create so many things all at once, it's hard to have some self-control. I think with time that, for me, has gotten much easier, but in the early days it was a lot. It was very overstimulating to have so many things happening so quickly, all at the same time. Jo: Yes, and actually I'm quite grateful for the usage limits. I primarily use Claude Fable, which I just love, but I keep an eye on my usage limits, and then I almost use that as a way to stop myself from using it too much at once, and that is actually very freeing. The other thing, I mean, you mentioned it there, creating all the things and then realising, you said, they're not that good. I think that they are becoming incredibly excellent, but for me it was like, okay, well, now, for example, I could do TikTok. I could get AI to do loads of TikTok videos and pump them out every day, but I don't want to do that. So why would I? Anna: Yes. I really want things that go out to feel like me, and I feel when I generate anything, whether it's content, whether it's pictures, or software as well, that AI will very quickly get me 80 to 90% of the way there, and very well these days. But the last 10 to 20%, I really put so much of myself into, and that's a really active choice. So I end up with all these other things that I've gotten to that 80% very quickly and then thought, “I don't know if I really want to invest myself in this and what I need to get it to a place where I would put it into the world.” So I end up with a sort of graveyard of these mostly finished projects that I'm not quite happy enough with to put out there, but I don't really want to put in the work myself, because I have limited time, and you choose your things. No human can really polish up 100 things. You have to prioritise what you want to. Jo: That is exactly it, and this is what I want people to understand. Everything you're saying and everything I'm saying, we are talking about feeling a lot. We're excited on the one hand and we're doing stuff, and then there are other things we're not excited about. You can feel the difference in your body, in your mind, when what you are working on excites you, and I think we just have to trust that. So people listening, what excites you to do with these tools, and what doesn't excite you? Just trust that feeling and put things in the world where you're like, “Wow, this is fantastic,” or, “I love that it's helping me with that.” I mean, you can just tell the difference in our conversation, right? Anna: Right, and you don't have to put everything out there as well. Just because you build something with AI, or you use it to help you in something, it's an experiment. Treat it as an experiment. If you get to 80%, 90% and think, “I don't want to put my name to this,” then don't. Move on. It was an experiment, and you learned something from it. Jo: So I guess on that then, if we do put things out in the world, like we've talked about, we're happily AI-assisted, and the things we do put out we're really proud of— How can we communicate these aspects of imperfection, the story behind the object, this real person with a real history, so that people know our humanity, basically? Anna: I really encourage people to share their humanness behind everything they're creating. If you're writing a book, you can share the process on socials, for example. It's becoming very desired to see the not-polished, everyday videos of someone's creative process. That's just one really small way. I think just by nature, by creating it, by not letting AI do the creation work for you, you will show through in the work that you're doing. You can use AI to support you and to do the admin and to take away all the stuff that's boring or repetitive, but if you are doing the work, it is going to be visible to people. I know we're not very good as humans right now at necessarily distinguishing AI-generated content against not, but you can tell when someone is writing about a human experience. AI has not had a human experience. It has not had a body. It doesn't have this embodiment that leads to so much of human creativity and ideas. It is a very clever predictive text tool, and it is very, very good at it, but it does lack true human creativity. So I think what all creatives can keep in mind is that if they're putting themselves into it and creating new things and following their passions and their interests and their art in what they're putting out there, it will show through. Jo: Also, I think just on the marketing side, you mentioned your garden, for example. Now, I know you're a mum, but anyone can share pictures of their garden without privacy issues for their children or their family or anything. So I think sharing human, even like your hand in the dirt with some flowers or something, is still a very human image. So people can share more human elements around their life. I mean, I almost have in my Instagram a sort of proof of humanity at this point. Anna: Yes, I think that's becoming more and more important. A few weeks ago, I got a horrible review on my book, and I know everyone has to face this, but it was someone who clearly hadn't read my book. They just said it was all AI-generated crap, pretty much. It was a waste of time, and it should've come with a warning that it was entirely AI-generated, which is so far from the truth. I put so much time into that book that I was really quite hurt by it. My first thought was, “I need to get rid of this. I need this review to go away. I need to complain. I need to report this review because it is false.” And once I recovered from those feelings, instead what I did was I emailed my mailing list and said, “Hey, this person reviewed this, and this is why it hurt me, because I'm a person.” I got a really nice response. I got a lot of people writing to me like, “That person is an idiot. You're great. Your book's wonderful.” And it was so nice. It was quite challenging to be vulnerable, and instead of trying to sweep this thing under the rug, I just showed up with my humanness to my list and said, “Hey, this is me, and this hurts because I'm a person.” It was really validating in the end to just put some humanness out there. Jo: This is what I really hate about all this witch hunting, is that people seem to have forgotten that there are actual humans behind this, and I know how you feel. I remember, in fact, it was 2023, I was in New Zealand. We should have said, you're in Australia, if people are wondering about your accent. Anna: I am. I'm from New Zealand originally. I'm a New Zealander, but I'm living in Australia. Jo: But I remember walking along the waterfront from the Viaduct. I still remember it, because I was being absolutely hammered on social media and comments and all this, and I said to my husband, “I think I have to leave the internet.” I felt like people just don't understand this, and I was getting so much hate. But as you say, it was about communicating that with my community, who are listening, and basically changing my Patreon to put a lot of it behind the Patreon paywall. I also topped doing a lot of interviews like this because of the negativity. Now, I'm hoping that we've moved on enough that people can be more open. Doing this interview, for example, is a way of showing people your humanity and mine. I'm just so determined that people understand the difference between assistance and generation. As you said at the beginning, it seems to be all or nothing, but that's just not true. Anna: Right, and there's a huge spectrum of what AI support is. A huge, huge spectrum, and I don't think they're understanding. I think it will get there, but right now people say, “Well, that was AI-generated,” or it wasn't. That's just not how it is. Maybe it was partially AI-generated. Maybe it was fully AI-assisted, but not at all AI-generated. Maybe you decide to use AI to make your book cover, but you just make components with AI, and then you assemble it using Adobe Illustrator into a cover. Is that AI-generated? It's a very grey area. No, it's definitely assisted. Pieces of it might be AI-generated, but it as a whole conceptually fully came from your creativity and from your mind. It's the same with writing. If you use Grammarly to autocorrect any spelling errors in your book, it would now get flagged as AI-assisted content. But some people see that as AI-generated, and they're two very, very different things. Jo: Well, I think your book is great. It gives some very grounded advice on things, but also you do share, like you mentioned, a lot about being a mum, about being a gardener, about life, about the human aspect. So I highly recommend What Machines Can't Replace: Why AI Makes Us More Human. Where can people find you and the book online? Anna: Thank you so much. My book should be just about everywhere books are sold online, and if not, WhatMachinesCantReplace.com is the website for my book. My personal website is Anna.kiwi, A-N-N-A dot kiwi, because I'm a Kiwi, and I am very happy with that domain. I have a blog and general contact information there. I'm also all around the internet on LinkedIn, Facebook, Instagram, everywhere. So I'm really happy to chat to anyone anytime about all things engineering, software, AI, books, toddlers, gardens, everything. Jo: Brilliant. Well, thanks so much for your time, Anna. That was great. Anna: Thank you so much. The post What Machines Can't Replace: Why AI Makes Us More Human With Anna McPhee first appeared on The Creative Penn.

Full mouth reconstruction — is the aim really the flawless before-and-after you scroll past on Instagram, or is that a trap?How do you actually know you're ready to step up from single teeth to a whole mouth?And when your comprehensive treatment plan keeps getting declined — psychologically, financially — is that the patient's problem, or yours?This one is a “your questions answered” episode: the community sent in far more FMR questions than we could cover, and we put the best of them to two prosthodontists who literally wrote the book on it.This is a full-mouth reconstruction deep dive with Prof Riaz Yar and Dr Łukasz Lassmann — co-authors of the new Quintessence textbook Full-Mouth Reconstruction (foreword by Jeffrey Okeson). We cover screening before you commit, knowing when you're ready, getting big plans accepted, choosing materials, setting the bite in centric relation, sleep apnea, and the honest truth about “perfect” versus “acceptable.”Protrusive Dental Pearl: Always Present the Best AdviceWhen you present a complex case, offer three tiers. Best advice — take time and money out of the equation and describe the ideal: what would truly get this patient to the right result (gum grafting, orthodontics, the lot). A compromise — a good result without the parts the patient won't consent to or can't fund. And the minimum — the least that still helps, with the non-negotiables named.The most important of the three is the best advice. It's tempting to self-censor — to decide a plan is too elaborate or too expensive and quietly leave it out. But if you never present the best option, you'll never get to do those cases. Present the ideal option first, then offer the compromises. Don't limit the patient — or yourself.What You'll Take From This EpisodeScreen before you plan — a green / orange / red system that sorts patients before treatment planning even starts, so you know which cases are yours.How to get big plans accepted — why case acceptance is a confidence problem before it's a skills problem, and how to present the best advice, compromise and minimum.Choosing materials — why it's the case, not the material: repairability vs aesthetics vs durability, and why erosion changes the answer.Setting the bite — why centric relation is the reference position, what a night guard can do to it, and how sleep apnea changes the plan.Perfect vs acceptable — defining success and failure honestly, and knowing when you're actually ready to take a full-mouth on.Highlights of This Episode00:00     TEASER00:53     Full Mouth Reconstruction: Your FMR Questions Answered05:08     What Actually Counts as a Full Mouth Reconstruction?10:48     Screening Patients for Full Mouth Rehab: Green, Orange, Red18:48     Is Perfect the Goal of Every FMR? Success vs Failure26:53     How Do You Know You're Ready for Full Mouth Dentistry?36:23     Is the Dahl Concept a Good Segue Into Full Mouth Rehab?38:50     Midroll42:49     How to Get Patients to Accept Full Mouth Treatment Plans49:34     Best Advice, Compromise, Minimum: Presenting the Options55:04     Give Yourself Permission to Fail in Big Cases56:14     FMR or Selective Restorations? Where's the Line on Tooth Wear?58:49     interjection 11:04:52   Composite, Ceramic or Zirconia? Choosing FMR Materials1:09:53   interjection 21:12:40   Centric Relation, Sleep Apnea and Setting the Bite1:17:25   Anteriors or Posteriors First in a Full Mouth?1:26:00   Does DTR Change How You Finish an FMR?1:27:35   The Full-Mouth Reconstruction Book & Where to Learn More1:30:37   OUTROFrom the GuestsProf Riaz Yar is a specialist prosthodontist and Visiting Professor in Prosthodontics, with a 25-year focus on TMD, occlusion and full-mouth dentistry. Dr Łukasz Lassmann is a prosthodontist (DDS, PhD) whose PhD is in occlusion and the temporomandibular joint; he focuses on tooth wear, TMD and full-mouth rehab and founded Lassmann Education, whose multi-day “summer camp” FMR/occlusion course runs in Poland.Interested in Full Mouth Reconstruction? Check out their book: Full-Mouth Reconstruction (Lassmann & Yar, Quintessence Publishing, 2026; foreword by Jeffrey Okeson) — a general-practitioner workflow from screening through orthodontics, perio, preparation, and cementation. References & Further ReadingSources and further reading from this episode:Lassmann Ł, Yar R. Full-Mouth Reconstruction. Quintessence Publishing, 2026 (foreword by Jeffrey P. Okeson). ISBN 978-1-78698-153-0.Lassmann Ł, Calamita MA, Blatz MB. The “Smile Design and Space” (SDS) concept for altering vertical dimension of occlusion and esthetic restorative material selection. J Esthet Restor Dent. 2025;37(1):56–67.Loomans B, Opdam N, Attin T, et al. Severe tooth wear: European consensus statement on management guidelines. J Adhes Dent. 2017;19(2):111–119.Bartlett D, Ganss C, Lussi A. Basic Erosive Wear Examination (BEWE): a new scoring system for scientific and clinical needs. Clin Oral Investig. 2008;12(Suppl 1):S65–S68.Okeson JP. Management of Temporomandibular Disorders and Occlusion. Elsevier (8th edition) Want more?If you enjoyed this episode, check out: https://protrusive.app/posts/free-podcast-videos-pdp225-occlusion-myths-and-red-flags-with-lukasz-lassmannTags#PDPMainEpisodes #OcclusionTMDandSplints #OrthoRestorativeListen, Subscribe, Earn CPDListen: Subscribe to the Protrusive Dental Podcast on Spotify, Apple Podcasts, or YouTube.This episode is eligible for 1.5 CE credit via the quiz on Protrusive Guidance.This episode meets GDC Outcomes C.AGD Subject Code: 610 Fixed Prosthodontics.

Writing a book is not enough these days and like everything in this world, there's a system and process to exposing or sharing information on a massive scale. This requires a special skillset, and proven track record of consistency of success. It's a process of refinement and talent required to bring 1% of the messages to the masses. This week, Hilary introduces you to Ashley Peterson, Veteran Formatter and Distributor for authors sharing their works via Amazon and other popular platforms. What You'll Learn: How Royalty rates are configured The pros and cons of Amazon KDP VS Self-publishingHow to get published in Books-A-Million and Barnes and NobleGetting Published in Airports and Local Bookstores Why it's important to build an audience for both self and traditional publishingThe top 3 things authors should do after a launchThe importance of digital marketing, versus gorilla marketing, versus outside-the-box thinkingOther Topics Discussed: Unique ways to market your bookThe Pros and cons of using ISBNs from Amazon vs your ownThe importance of owning your ISBN numbersQuick tips in dealing with big companies that distribute booksAI Generated worksHow authors are creating workbooks Amazon's weak plagiarism detectionUnethical ways and standards some authors are using to launch booksIn this world of modern publishing, it's important keep up with trends, especially as technology and its application progress. Currently, Ashley is working to find a more natural way to get published on the New York Times Best seller list without spending a dime. This episode is jam-packed with information that will allow you to find a more pronounced strategy for becoming the most authentic author according to the rankings of the algorithm.Connect With HilaryFollow Hilary for weekly conversations designed to help you write with confidence, publish with purpose, and finally cross the finish line.⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠AboutWrite Effing Now! is the podcast for writers who are ready to transform ideas into finished books.Hosted by editor, publisher, and author Hilary Jastram, each episode provides practical advice on writing, editing, publishing, storytelling, marketing, audiobooks, artificial intelligence, and everything authors need to successfully navigate today's publishing world.Whether you're writing your first book or building your author career, you'll find inspiration, education, and actionable strategies to help you write with confidence and publish with purpose.Learn more at⁠⁠ ⁠BookMarkPub⁠

Burnham-Playing Russian Roulette With Your Life! (Part3) Black Spy Podcast number 263 Season 27, Episode 0001 In this week's Black Spy Podcast, Carlton King argues that Prime Minister Andy Burnham has not shifted the UK's Ukraine War policy vis-à-vis Russia after succeeding Keir Starmer, but has instead increased military support for Ukraine via long range drone and missile strikes into Russia cities. Carlton contends that President Putin has explicitly warned that states enabling long-range strikes into Russia towns and cities will be regarded as participants and will be responded to accordingly. The podcast questions whether the UK's involvement, including IRS to target and direct advanced long range weapons makes Britain an active participant in those operations. Carlton also argues that the British government has not sufficiently prepared the country for the potential consequences of this support to Ukraine, noting the UK's limited ability to defend against advanced Russian missile threats. Drawing on his intelligence and national security background, King invites listeners to examine the evidence and consider whether the UK is accepting strategic risks with serious potential implications for British citizens. Finally, he invites listeners to hear the thoughts of other prominent Britons with intelligence and military backgrounds on the subject, as well as US and other western experts. So listen now to The Black Spy Podcast to be educted in a manner that the mainstream media is failing to do regarding this subject. If you wish to discuss this episode or any other with Carlton, or other regular members of the Black Spy Podcast team, feel free to do so. And please don't forget to subscribe in order to never miss another episode. To contact Firgas Esack of the DAPS Agency go to Linked In To contact Dr Rchel Taylor go to Substack account To contact Carlton King utilise any of the following: Patreon.com/TheBlackSpyPodcast Email: carltonking2003@gmail.com Facebook: The Black Spy Podcast Facebook: Carlton King Author Twitter@Carlton_King Instagram@carltonkingauthor To read Carlton's latest biographical memoir: Seeking Jerry  The Untold Story Of Scotland Yard's Secret Mission To Baghdad, During The 2003 US Led Invasion Of Iraq Go to Amazon:  https://www.amazon.co.uk/SEEKING-JERRY-Scotland-mission-invasion/dp/B0H9CJ21XC/ref=tmm_pap_swatch_0#detailBullets_feature_div  ISBN-13           979-8196219863 To read Carlton's full autobiography: "Black Ops – The incredible true story of a (Black) British secret agent" Click the link below: https://www.amazon.co.uk/dp/BO1MTV2GDF/ref=cm_sw_r_cp_awdb_WNZ5MT89T9C14CB53651  If you are interested to know about the Male Menopause or fear you or a loved one is suffering for unknown reasons please consider reading Dr Rachel's & Carlton's book on the how the Menopause effects men - search Amazon Books for:  The Male Menopause - The Hidden Crisis  (ASIN: B0G5M78PSZ)

Bright on Buddhism - Episode 147 - Who was Thich Quang Duc? What was the significance of his sacrifice in Buddhism? What was his legacy in the Vietnam war?Resources: Buttinger, Joseph (1967), Vietnam: A Dragon Embattled, Praeger PublishersDung, Thay Phap (2006), "A Letter to Friends about our Lineage" (PDF), PDF file on the Order of Interbeing website, retrieved 23 November 2014Fall, Bernard (1963), The Two Viet-Nams, Praeger PublishersGettleman, Marvin E. (1966), Vietnam: History, documents and opinions on a major world crisis, New York: Penguin BooksHalberstam, David (1965), The Making of a Quagmire, New York: Random House, ISBN 9780345357779Hammer, Ellen J. (1987), A Death in November: America in Vietnam, 1963, New York City: E. P. Dutton, ISBN 0-525-24210-4Harrison, Gilbert, ed. (1963a), "Diem's other crusade", The New Republic, no. 22 June 1963Harrison, Gilbert, ed. (1963b), "South Vietnam: Whose funeral pyre?", The New Republic, no. 29 June 1963, p. 9Jacobs, Seth (2006), Cold War Mandarin: Ngo Dinh Diem and the Origins of America's War in Vietnam, 1950–1963, Lanham: Rowman & Littlefield, ISBN 0-7425-4447-8Jones, Howard (2003), Death of a Generation: how the assassinations of Diem and JFK prolonged the Vietnam War, New York: Oxford University Press, ISBN 0-19-505286-2Karnow, Stanley (1997), Vietnam: A history, New York: Penguin Books, ISBN 0-670-84218-4Langguth, A. J. (2002), Our Vietnam: the war, 1954–1975, New York: Simon & Schuster, ISBN 0-7432-1231-2Prochnau, William (1995), Once upon a Distant War, New York: Times Books, ISBN 0-8129-2633-1Schecter, Jerrod L. (1967), The New Face of Buddha: Buddhism and Political Power in Southeast Asia, New York: Coward-McCannShaw, Geoffrey (2015), The Lost Mandate of Heaven: The American Betrayal of Ngo Dinh Diem, President of Vietnam, San Francisco: Ignatius Press, ISBN 978-1-58617-935-9Tucker, Spencer C. (2000), Encyclopedia of the Vietnam War, Santa Barbara: ABC-CLIO, ISBN 1-57607-040-9Unattributed (14 June 1963a), "The Religious Crisis", Time Magazine, no. 14 June 1963, retrieved 21 August 2007Unattributed (30 August 1963b), "The Crackdown", Time Magazine, no. 30 August 1963, archived from the original on 13 July 2007, retrieved 23 October 2007Warner, Denis (1963), The Last Confucian, New York: MacmillanZinn, Howard (2003), A People's History of the United States, New York: HarperCollins, ISBN 0-06-052842-7_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

No episódio do Podcast do PublishNews desta semana, ouvimos a trajetória de Beatriz Bracher, uma escritora e editora que discute sua experiência com literatura, diversidade e o mercado editorial brasileiro. Ela conversa com Maria Fernanda Rodrigues, jornalista especialista em literatura, editora de Cultura e colunista do jornal O Estado de S. Paulo.Beatriz compartilha sua trajetória como editora desde a Revista especializada em literatura, 34 Letras, a fundação da Editora 34 e recentemente abriu a Chão Editora. Dedicada à escrita de romances, contos e roteiros, venceu diversos Prêmios Literários Este é o primeiro encontro da iniciativa idealizada por Eliete Cotrim da Editora 34 e Mônica Carvalho da Livraria da Tarde: “A voz feminina no mercado de livros", que foi criada a partir de observações e inquietações que vivenciam em suas carreiras no mercado do livro. O projeto nasce com o objetivo de debater, valorizar e amplificar o papel das mulheres em toda a cadeia de produção do livro — desde a escrita e edição até a liderança de grandes livrarias, distribuidoras e editoras. O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro,  Gráfica Viena e Nielsen BookData — referência mundial em dados que impulsionam estratégias Este é um episódio 437 do Podcast do PublishNews do dia 1 de setembro de 2026 e gravado dia 18 de agosto na Livraria da Tarde.  Não se esqueça de assinar a nossa newsletter, nos seguir nas redes sociais: Instagram, Linkedin, Facebook e TikTok.  Todos os dias com novos conteúdos para você. E também nos siga no YouTube ou no Spotify, onde você pode comentar, dar sugestões até 5 estrelas. E agora Beatriz Bracher e com a palavra Maria Fernanda RodriguesEste podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

Burnham: Playing Russian Roulette With Your Life! (Part 2) Black Spy Podcast number 261 Season 26, Episode 0010 In this week's Black Spy Podcast, Carlton King continues to articulate that Prime Minister Andy Burnham has not shifted the UK's Ukraine War policy vis-à-vis Russia after succeeding Keir Starmer, but has instead increased military support for Ukraine via long range drone and missile strikes into Russia cities. Carlton contends that President Putin has explicitly warned that states enabling long-range strikes into Russia towns and cities will be regarded as participants and will be responded to accordingly. The podcast questions whether the UK's involvement, including IRS to target and direct advanced long range weapons makes Britain an active participant in those operations. Carlton also argues that the British government has not sufficiently prepared the country for the potential consequences of this support to Ukraine, noting the UK's limited ability to defend against advanced Russian missile threats. Drawing on his intelligence and national security background, King invites listeners to examine the evidence and consider whether the UK is accepting strategic risks with serious potential implications for British citizens. Finally, he invites listeners to hear the thoughts of other prominent Britons with intelligence and military backgrounds on the subject, as well as US and other western experts. So listen now to The Black Spy Podcast to be educted in a manner that the mainstream media is failing to do regarding this subject. If you wish to discuss this episode or any other with Carlton, or other regular members of the Black Spy Podcast team, feel free to do so. And please don't forget to subscribe in order to never miss another episode. To contact Firgas Esack of the DAPS Agency go to Linked In To contact Dr Rchel Taylor go to Substack account To contact Carlton King utilise any of the following: Patreon.com/TheBlackSpyPodcast Email: carltonking2003@gmail.com Facebook: The Black Spy Podcast Facebook: Carlton King Author Twitter@Carlton_King Instagram@carltonkingauthor To read Carlton's latest biographical memoir: Seeking Jerry The Untold Story Of Scotland Yard's Secret Mission To Baghdad, During The 2003 US Led Invasion Of Iraq Go to Amazon:  https://www.amazon.co.uk/SEEKING-JERRY-Scotland-mission-invasion/dp/B0H9CJ21XC/ref=tmm_pap_swatch_0#detailBullets_feature_div  ISBN-13           979-8196219863 To read Carlton's full autobiography: "Black Ops – The incredible true story of a (Black) British secret agent" Click the link below: https://www.amazon.co.uk/dp/BO1MTV2GDF/ref=cm_sw_r_cp_awdb_WNZ5MT89T9C14CB53651  If you are interested to know about the Male Menopause or fear you or a loved one is suffering for unknown reasons please consider reading Dr Rachel's & Carlton's book on the how the Menopause effects men - search Amazon Books for:  The Male Menopause - The Hidden Crisis  (ASIN: B0G5M78PSZ)

Host Jeff opens the August 28, 2026 episode with a stark EMP safety sponsor message and then dives into a wide-ranging solo show that blends current events, Bible study, personal testimony, and a book preview. He explains why his show took a break, shares recent health struggles and treatments, and reflects on deplatforming and the state of the media landscape. Jeff discusses his mushroom therapy regimen for eye health and mental clarity, reporting mixed but hopeful results for his vision and urging listeners that the right supplements can produce noticeable change. He explains the practical tradeoffs he's facing with glaucoma eye drops and his decisions about continued treatment. In the program's recurring segment “Word on Word” Jeff compares Hebrews 13:8 and John 6:29, using Scripture to anchor a conversation about an unchanging God amid today's information chaos. He reads and reflects on biblical passages and emphasizes God's design, stewardship, and the distortions caused by sin. The news portion covers recent celebrity deaths and circulating ritual theories, occult symbolism in pop culture, and broader geopolitical concerns: tensions around Iran, Ukraine and Russia, warnings about nuclear escalation, attacks on energy and food infrastructure, and the accelerating push toward a digital monetary and identity system. Jeff connects these developments to his longstanding concerns about central banking, digital controls on commerce, and the possibility of system-wide disruption (including EMP and cyber threats). Jeff critiques contemporary prophecy commentary—especially trend-driven channels—and offers his own reading that Gog and Magog belong to a later biblical chronology (after the millennial reign). He calls out influencers he believes promote mixed or false doctrine, names a few figures discussed on the show (including John of We've Read the Documents, Nino, and Bo Polny), and prays for correction and salvation where he sees error. He also asks listeners to pray for Tim Cohen and his family. Jeff announces his forthcoming book Rebel Hearts Redeemed, describes the book's structure (12 core chapters, seven axioms per chapter, practical applications), and explains production choices for the audiobook—deciding to record in his own voice after an earlier AI attempt. He shares an unexpected ISBN delay from Canadian authorities and how that shifted his launch timeline. As a preview he reads Axiom 3 from Chapter 2, “Wisdom shapes creation's intentional design,” quoting Proverbs 8 and Psalm 8 and drawing practical lessons about stewardship, alignment with God's design, and how sin distorts purpose. He then poses two reflective study questions for listeners: Where have you been living outside God's design? And how does a part of creation (a sunset, a child, a heartbeat) call you to live wisely? The episode includes interactive elements: Jeff invites listeners to call in via a Podbean-style green room link posted in the Rumble chat, plays a short live game segment, and solicits feedback on the new format and study material. He closes with gratitude, pastoral encouragement to love God and neighbor, reminders about social links and free downloads, and a blessing for his audience. Want to Understand and Explain Everything Biblically? Click Here: Decoding the Power of Three: Understand and Explain Everything or go to www.rightonu.com and click learn more. Use coupon code Summer50 for $50. value savings until August 31st.. Thank you for Listening to Right on Radio. Prayerfully consider supporting Right on Radio. Click Here for all links, Right on Community ROC, Podcast web links, Freebies, Products (healing mushrooms, EMP Protection) Social media, courses and more...https://linktr.ee/RightonRadio Live Right in the Real World! We talk God and Politics, Faith Based Broadcast News, views, Opinions and Attitudes We are Your News Now. Keep the Faith

Everybody seems to be telling entrepreneurs to write a book.Write it in a weekend. Use AI. Upload it to Amazon. Become a bestselling author. Watch the clients roll in.Except…that's not quite how it works.This week on Casa De Confidence, Julie sits down with publishing expert Ally Machate, founder of The Writer's Ally, to pull back the curtain on what it actually takes to write and publish a book that supports your business, serves your reader, and creates lasting impact.With experience that includes working at Simon & Schuster and helping authors navigate the publishing process, Ally challenges one of the biggest assumptions in entrepreneurship: just because you can write a book doesn't necessarily mean you should—or that the book you're planning is the right one.Ally explains why the first question shouldn't be “What should I write?” but rather “What do I want this book to do?”Do you want it to attract clients? Generate speaking opportunities? Grow your email list? Establish thought leadership? Change the way people think about an issue?That answer changes everything.Julie also gets personal about her own publishing experience, including what she would do differently, the emotional reality of receiving developmental edits, and why publishing her book ultimately opened doors far beyond book sales.In This EpisodeWhat You'll HearWhy not every entrepreneur needs to write a bookThe difference between publishing a book and publishing a book people actually want to readWhy identifying your reader comes before writingHow a book can support your larger business strategyWhy your book is a product—not your babyWhat developmental editing actually doesWhy copyediting alone isn't enoughWhere AI can help authors—and where it still falls shortHow to create a transformational journey for your readerThe “macrocosm and microcosm” approach to structuring nonfictionTraditional publishing vs. hybrid publishing vs. DIY self-publishingWhat Ally calls supported indie publishingWhy distribution, ISBNs, Amazon KDP, and IngramSpark matterWhy giving books away can sometimes be smarter than selling themHow books create opportunities for coaching, consulting, speaking, and visibilityWhy becoming a bestseller isn't the only—or even necessarily the best—definition of publishing successOne of Ally's most important reminders?“If you're talking to everyone, you're connecting with no one.”Before investing months—or years—writing your book, get clear about the person you're writing for and what you want the book to accomplish.Because the goal isn't merely to become a published author.It's to write the right book.

Nicholas Holdinghausenand Jennifer Olson host Small Town Big Business and interview Murphysboro-based entrepreneur Traci McLaughlin, who runs Shine On A Dime cleaning (11 years, residential and commercial) with her husband, manages McLaughlin Properties (eight rentals acquired largely through opportunities that arose during and after COVID), and writes as an author. McLaughlin discusses publishing her first novel, Threads of Grace—inspired by her brother Troy's death at 28 and shaped by experiences including foster care—plus a companion guided journal, a children's book The Wise Path, and an upcoming children's book Elena planned for July/August 2026. She shares lessons about avoiding publishing scams, editing and formatting, ISBN/barcode choices, and selling via Amazon and libraries, along with challenges of hiring, landlord repairs, unreliable tenants, and balancing business with family time.Recorded at EThOs Small Business Incubator and Co-working Spaces in Marion, Illinois.https://members.ethosmarion.org/ SUBSCRIBE TO THE PODCASTOur guest: https://www.facebook.com/ShineOnaDimeIL/SPECIAL THANK YOU TO OUR SPONSORS:Watermark Auto Group: https://www.watermark.auto/Fowler Heating & Cooling: https://fowlerheatingandcooling.com/Swinford Media Group: https://swinfordpublications.com/Arcadia Wealth Group: https://www.raymondjames.com/arcadiawealthgroupBanterra Bank: https://www.banterra.bank/Southern Illinois Now: https://southernillinoisnow.org/Produced by Union Street Artshttps://www.unionstreetarts.com/00:00 Welcome to Southern Illinois Now00:46 Meet Tracy McLaughlin01:05 Three Businesses Overview02:36 From Idea to First Book05:21 Publishing Pitfalls and Process11:20 Threads of Grace Story14:25 Entrepreneurial Roots15:37 Building Shine on a Dime18:58 Marketing and Small Business Seasons20:41 Rental Properties Origin Story21:10 Buying First Home22:27 Inheriting Country Mobile Home23:48 COVID Rental Expansion25:08 Eight Properties Now25:59 Landlord Challenges30:13 Local Management Matters31:39 Character And Client Care34:03 Advice To Younger Self38:02 Writing New Books39:13 Where To Find Tracy42:13 Time Over Money43:35 Podcast Wrap Up

In this episode, we reopen a 2,000-year-old early Christian cold case to examine Marcion of Sinope, the Pontic shipowner who compiled the world's very first Christian canon in 144 AD. Traditional church history has long branded him a dangerous heretic who taught Ditheism, Docetism, and Gnosticism while hacking the Gospel of Luke to pieces. However, a groundbreaking study by Professor A.W. Mitchell in the Journal of Pre-Nicene Christian Studies (DOI: 10.5281/zenodo.21985332) turns this ancient narrative completely on its head, revealing that the accusations were merely polemical caricatures invented by hostile heresy-hunters. We dive deep into the forensic literary evidence proving that Marcion did not "mutilate" the Gospel of Luke; rather, canonical Luke is a later, heavily edited, and Judaized expansion of Marcion's earlier, shorter Evangelion. We will dissect how the legendary 30-year "silent years" of Jesus' life are actually structural scar tissue left behind by editors attempting to graft a biological birth narrative onto a primitive, cosmic descent gospel. Finally, we reveal how the chief accuser Tertullian was too textually unstable to be trusted, and how even Jerome's Latin Vulgate project secretly raided Marcion's archives to translate the epistles of Paul. It's an eye-opening journey into the psychology of ancient theological projection, showing that the history of the New Testament actually runs backwards.Notes:The Very First Bible: The Evangelion and Apostolikon (144 AD). Marcionite Church, 2020. ISBN 978-0578641591.Tertullian. Adversus Marcionem. Ed. and trans. Ernest Evans. 2 vols. Oxford: Clarendon, 1972.Irenaeus. Adversus Haereses. In Ante-Nicene Fathers, vol. 1, ed. Alexander Roberts and James Donaldson. Buffalo: Christian Literature Publishing, 1885.Epiphanius. Panarion, Book 42. Trans. Frank Williams. The Panarion of Epiphanius of Salamis: Book I. 2nd ed. Leiden: Brill, 2009.Lactantius. De Mortibus Persecutorum, 12.3–5.Le Bas, Philippe, and William H. Waddington. Inscriptions grecques et latines recueillies en Grèce et en Asie Mineure. Vol. 3, Inscription 2558. Paris: Firmin-Didot, 1870. [Deir Ali / Lebaba inscription, 318 AD.]Biblioteca Apostolica Vaticana. Codex Vaticanus Arch. B. S. Pietro A 3 (Vat. lat. 214664). Digital Vatican Library. https://digi.vatlib.it/mss/detail/214664BeDuhn, Jason D. The First New Testament: Marcion's Scriptural Canon. Salem, OR: Polebridge Press, 2013.Harnack, Adolf von. Marcion: The Gospel of the Alien God. Trans. John E. Steely and Lyle D. Bierma. Durham, NC: Labyrinth Press, 1990. (Orig. German ed. 1921/1924.)Hays, Christopher M. “Marcion vs. Luke: A Response to the Plädoyer of Matthias Klinghardt.” Zeitschrift für die neutestamentliche Wissenschaft 99 (2008): 213–232.Kelama, Darren, and A. W. Mitchell. “The 29 AD Eclipse-Seismic Theophany: Astronomical and Historical Evidence for the Primitive Christian Evangelion and the Resolution of the Phlegonian Conflation.” Journal of Pre-Nicene Christian Studies 2/1 (2026). DOI 10.5281/zenodo.18291492.Klinghardt, Matthias. The Oldest Gospel and the Formation of the Canonical Gospels. Leuven: Peeters, 2021. (Orig. German ed. 2015.)Knox, John. Marcion and the New Testament: An Essay in the Early History of the Canon. Chicago: University of Chicago Press, 1942.Lieu, Judith. Marcion and the Making of a Heretic: God and Scripture in the Second Century. Cambridge: Cambridge University Press, 2015.Mitchell, A. W. “The Theophanic Replacement Protocol: A Forensic Reconstruction of Divine Identity Theft, Textual Erasure, and the Formation of Nicene Christianity.” Journal of Pre-Nicene Christian Studies 1/5 (2025). DOI 10.5281/zenodo.17964659.MarcioniteChurch.org

AI companies are buying up used books, scanning them, and destroying the originals. At least, that's the headline... the real story is weirder. Charlie Becker, a seventh-generation bookseller in Houston, went viral for tracing one of these mysterious bulk orders - following overlooked books into Amazon warehouses filled with entire categories of obscure human knowledge. Today we're taking the plunge into a mystery that spans artificial intelligence, culture, and the LTV of a "rare" book. --Timestamps:(00:00) - Episode setup and guest intro(01:22) - Mic check and welcome(02:01) - Viral post and lawsuit context(04:05) - Who is Charlie Becker(10:40) - Amazon warehouse mystery(13:02) - Which books are vanishing(16:28) - FBA arbitrage and pulping(18:53) - Amazon irony and AI layer(22:11) - ISBN gap and metadata tool(26:12) - Missing middle and preservation risk(28:36) - Used Bookstore Churn Myth(29:27) - Why Obscure Books Matter(30:33) - AI Is Not Retrieval(32:30) - Cookbook Chef Metaphor(33:51) - Smaller Models Personal Agents(34:38) - Houston Bookstore Renaissance(37:31) - Book Crawl Themed Shops(40:00) - Foreign Language Treasure Troves(46:06) - Estate Libraries Rare Finds(47:02) - Mystery Bulk Orders Explained(51:22) - Optimism And Preservation Tool(54:44) - Internet Slop Back To Bookstores(57:22) - Closing Thanks And Outro--Referenced in the Show:--Jacob Shapiro Site: jacobshapiro.comJacob Shapiro LinkedIn: linkedin.com/in/jacob-l-s-a9337416Jacob Twitter: x.com/JacobShapJacob Shapiro Substack: jashap.substack.com/subscribe --The Jacob Shapiro Show is produced and edited by Audiographies LLC. More information at audiographies.com--Jacob Shapiro is a speaker, consultant, author, and researcher covering global politics and affairs, economics, markets, technology, history, and culture. He speaks to audiences of all sizes around the world, helps global multinationals make strategic decisions about political risks and opportunities, and works directly with investors to grow and protect their assets in today's volatile global environment. His insights help audiences across industries like finance, agriculture, and energy make sense of the world.--

In this episode of Crazy Wisdom, Stewart Alsop sits down with Charlie D. Becker, a second-generation bookseller whose family runs Houston's largest used and rare bookstore, to unpack the viral tweet that had people convinced AI companies were secretly buying up used books to train their models. Charlie walks through what he actually found in his own warehouse orders, why the more likely explanation is old-fashioned reseller arbitrage and FBA "bookjacking" rather than AI training data, and how that story connects to the real, well-documented case of Anthropic scanning and destroying physical books for legal reasons. From there the conversation moves into the difference between rare and valuable books, the discoverability problem in the used book market, historical parallels like palimpsests and lost texts, his own AI tool for used bookstores, and broader questions about wealthy patronage funding independent research and passion projects. For more, check out Charlie's personal site at charliedbecker.com and his Substack at charliebecker.substack.com.Timestamps00:00 Stewart introduces Charlie D. Becker, a second generation bookseller building an AI tool for used bookstores and discusses Anthropic's controversial book acquisition practices05:00 Charlie explains how Anthropic legally destroyed physical books by slicing spines to scan them, avoiding copyright violations while building training datasets for AI models10:00 Charlie describes receiving bizarre bulk book orders through non-Amazon platforms, initially suspecting AI companies but discovering evidence of sophisticated book arbitrage operations instead15:00 Discussion of the banal explanation for mysterious orders: algorithmic resellers buying cheap books from obscure platforms to flip on Amazon through FBA warehouses20:00 Stewart and Charlie explore historical parallels between the printing press era and today's digital transition, discussing the loss of archival records and palimpsests25:00 Charlie emphasizes the discoverability problem for rare obscure books and how profit-driven algorithms prevent people from finding books unless they know exactly what to search for30:00 Detailed explanation of Charlie's AI cataloging tool that creates bibliographic profiles from photos of pre-1970 books lacking ISBNs, addressing the hard problem of metadata creation35:00 Discussion of the technical challenges solved: archival-safe removable stickers, RFID systems, and creating canonical records that become definitive sources for rare books40:00 Charlie describes building copy-level databases beyond edition-level records, creating VIN numbers for books, and designing knowledge graphs linking works to editions and translations45:00 Vision for navigable work-edition hierarchies allowing researchers to explore translation genealogies and linguistic families, solving problems Amazon has no incentive to address50:00 Stewart raises the possibility of returning to gentleman's science and aristocratic private libraries in an age of AI abundance and accessible three-d printing technology55:00 Charlie reflects on supporting idiosyncratic passion projects regardless of profit, his fellowship from Jim O'Shaughnessy, and navigating economic inequality while promoting eccentric research pursuitsKey Insights1. Charlie D. Becker is a second generation bookseller whose family runs Houston's largest used and rare bookstore, and he is currently building an AI tool specifically designed for used bookstores. He became widely known after a tweet he wrote about AI companies potentially purchasing books went viral with approximately one and a half million impressions, though he emphasizes the importance of being careful about distinguishing between what he has directly observed, what is on public record, and what is his intuition or speculation about these events.2. The controversy around Anthropic and book destruction centers on how AI companies acquire training data from physical books. Court documents revealed that Anthropic acquired physical books in mass quantities to scan them, and they were industrially slicing the spines off to make scanning faster and easier. The legal justification for this practice was that because they destroyed the original physical book after scanning it, they were not violating copyright law since no duplicate copy existed alongside the original. A judge ruled this was technically legal, even though it appeared problematic to many observers, because the destruction of the original meant they were not running afoul of copyright provisions about making copies for distribution.3. Becker received unusual bulk orders for obscure books through a non-Amazon platform in late April, which led him to investigate whether AI companies were responsible for these purchases. However, after analyzing the pattern of purchases and where the books were being shipped, he concluded that a more mundane explanation was likely at work: sophisticated book arbitrage operations. These operations identify books selling cheaply on one platform that could be listed for higher prices on Amazon through Fulfillment by Amazon warehouses, and books that do not sell eventually get recycled or liquidated anyway, meaning rare books are being destroyed through normal commercial operations regardless of whether AI companies are involved.4. The main technical challenge Becker is solving with his AI tool relates to books printed before 1970, which lack ISBNs or International Standard Book Numbers. Modern book cataloging systems are built around ISBNs, which makes it extremely difficult and time-consuming to catalog older books for online sale since there is no automated way to populate bibliographic data for pre-1970 books. His tool uses computer vision and AI to analyze photographs of book covers, title pages, and copyright pages to automatically generate rich bibliographic metadata, and he has partnered with a PhD AI computer vision specialist to develop this technology over the past year.5. A surprising discovery during the development of this cataloging tool was that the existing data for many older books is extremely poor, inconsistent, or completely absent from major databases. For approximately a quarter of the books they process, the only existing records might be an incomplete eBay listing from years ago or a sparse entry in WorldCat, the interlibrary database. This means that rather than simply aggregating existing data, they are actually creating canonical records for many books that will become the authoritative source that others reference, essentially building new infrastructure for book metadata rather than just accessing what already exists.6. Becker advocates strongly for the preservation of obscure and seemingly unimportant books because while they may not have obvious value today, future researchers, tinkerers, or engineers might need them to solve problems we have not yet encountered. He compares this to historical palimpsests where important ancient texts were accidentally preserved when medieval scribes wrote over them, noting that the internet functions more like a palimpsest than an archive since we constantly overwrite and lose information rather than truly preserving it. The current system for deciding which books get preserved or destroyed is essentially random and driven purely by short-term profit motives rather than any thoughtful consideration of potential future value or historical significance.7. The long-term vision for the project extends beyond simple cataloging to creating a comprehensive knowledge graph that distinguishes between works, editions, and individual copies of books in ways that current commercial platforms do not adequately address. Unlike Goodreads which treats all editions of a book as a single work, or platforms like eBay that only show individual edition listings, Becker envisions a system where users can navigate between different organizational levels and explore the genealogy of works across translations, editions, and languages. The project also aims to create copy-level records similar to what libraries maintain, which would track provenance and availability of specific individual copies rather than just edition-level information, something no commercial platform currently does at scale.

After 43 years of marriage, Doug Lawrence lost his beloved wife and entered a season that changed his understanding of grief, mental health and purpose. In this deeply personal conversation, Doug explains why telling his wife's story became part of his healing, how unresolved losses can accumulate and why asking for help should never be mistaken for weakness. He also discusses how mentors, counselors, family members and trusted friends can support someone through grief—while emphasizing that mentoring should never replace professional mental-health care. CJ shares how losing his father affected every member of his family differently, including how his mother continues to carry the loss of her husband. Together, CJ and Doug explore the memories, dates and ordinary moments that can bring grief back without warning. This conversation is about more than learning to live after loss. It is about preserving love, finding safe people with whom to tell the truth and understanding that nobody should have to walk through grief entirely alone. Doug Lawrence is a grief mentor, author and founder of TalentC. His book, Grief: The Silent Pandemic, examines the emotional and social realities of grief and the importance of connection throughout the healing journey. In this episode: • Why grief does not follow a fixed timeline • How different family members experience the same loss differently • Why storytelling became part of Doug's healing • How unresolved losses can affect future grief • The role of memory and family rituals • Why men need safe spaces to discuss emotional pain • How mentoring can support—but not replace—professional care • Why it is okay to ask for help Connect with Doug Lawrence: Website: https://www.talentc.ca LinkedIn: https://www.linkedin.com/in/douglawrence-mentor Grief: The Silent Pandemic is available through Amazon and other major booksellers. ISBN: 9781941680186. Listener note: This episode discusses bereavement, mental-health struggles and emotional crisis. It is intended for education and personal reflection and is not a substitute for care from a qualified mental-health professional. If you or someone you know is struggling or in crisis, call or text 988 in the United States or Canada. If there is immediate danger, contact local emergency services. The CJ Moneyway Show Transformational Conversations. Built For Purpose. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this week's episode, I take a look at ebook box sets and the advantages they offer both writers and readers. I also explain why I haven't done an ad update post in a while. Once again it is time for Coupon of the Week! This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store: SUMMERNIGHT The coupon code is valid through September 7, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction, Writing Updates, and a Reader Question Hello, everyone. Welcome to Episode 317 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 21st, 2026 and today we are going to talk about advantages to using box sets. We'll also have a brief discussion on why I haven't posted an ad update in a while, and we'll have an update on my current writing, publishing, and audiobook projects. Before we get to all that, let's start with Coupon of the Week. This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store. That coupon code is SUMMERNIGHT. As always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through September the 7th, 2026. So if you need a new ebook for the summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. As of this recording, I am 56,000 words into Blade of Visions, which I think puts me roughly somewhere in the neighborhood of about halfway through. I think the rough draft is going to end up being about 105 to 110,000 words when I get there, but we will find out. I'm also 5,000 words into Elven-Warlock, the next book in the Rivah Half-Elven Thief series. In audiobook news, recording on Blade of Thieves and recording on Cloak of Worlds is finished. As of right now, you can get Cloak of Worlds at my Payhip store, but both Cloak of Worlds and Blade of Thieves should be available on Payhip and all the other audiobook stores before too much longer (once processing is done). So if you're looking for a new audiobook to listen to this summer, we will have ones for you very soon with Cloak of Worlds narrated by Hollis McCarthy and Blade of Thieves narrated by Brad Wills. So before we get to our main topic of box sets, let's answer a reader question, which is why I haven't done monthly ad post results for a while. The reason for that is it started in October of 2025 and [I] mostly stopped using Facebook ads. Facebook ads became drastically less effective as Meta added more and more badly designed AI targeting features to the ad platform. Now, why is this a bad thing? Am I refusing to use Facebook ads because of my frequently stated dislike of generative AI? No. The reason is that the AI targeting doesn't work nearly as well as the old system and ends up being a waste of money because the AI targeting is too broad and too random. This is bad because the key to successful online advertising is to narrow your audience as much as possible. What do I mean by this? Perhaps this example will help. Let's say, for example, you sell motorcycle parts online. Obviously when purchasing motorcycle parts, you need to match up with the exact model and year, otherwise you're going to run in trouble. Say you are selling a lot of parts for the Harley-Davidson V-Rod Muscle motorcycle model from 2009 and you want to sell them online to your customers. The best way to do that would be to target your ads as specifically as possible. In the US at least, motorcycle owners tend to be a bit older and wealthier and are more likely than not male. So you'd want to target your ads to men 60 and older who have expressed interest in Harley Davidson motorcycles and potentially in that specific model from 2009. Facebook used to let you target audiences to that level of granularity. However, in the last few years, Meta has jumped on the generative AI bandwagon along with nearly every other large technology corporation. It's followed the same trajectory as every other company that has used AI. The CEO gets a brainwave that AI is the inevitable future and doesn't want to be left behind. Employees are told to implement as many AI features as possible and to use AI for everything. That inevitably becomes part of the key performance indicators on their performance reviews, so the employees dutifully stuff badly designed AI features into everything in hopes of keeping their jobs the next time the stock price drops slightly. If you've wondered why AI nonsense seems to be stuffed into everything these days, that is why. Gradually, Facebook has eliminated the ability for granular targeting like I've discussed above in favor of their Advantage AI system, which does the targeting for you. There are two major problems with this. First, Advantage is a black box. You don't really see how it works and it isn't well documented anywhere online. Second, the targeting is way too broad. Advantage is really good at getting a lot of clicks on your ad, but this is the important part: the clicks on the ads don't usually convert to sales. Which is better: an ad that gets 10 clicks but results in five sales or an ad that gets 50 clicks and converts to one sale? From Facebook's point of view, the second is better, but it's not better for the advertiser. To return to the motorcycle parts example, say you're trying to sell those Harley-Davidson V-Rod Muscle 2009 parts and you try to run an ad with Advantage doing the targeting. You can't specifically target male or male motorcycle or Harley owners over the age of 60. No, you have to mention motorcycle and Harley parts in the ad text and hope that the system steers it correctly. What will happen is that the Advantage system will show the ad to a bunch of people who have no interest in Harley parts. Honda motorcycle owners will see it, as well Yamaha owners and probably people who own mopeds and e-bikes as well. Now, admittedly, in certain situations, this could work. Let's say you have a giant warehouse of motorcycle parts, which includes Honda and Yamaha parts, so there could be some overlap. If you have a big enough inventory of motorcycle parts, a broad targeting reach might work. The trouble is that books are very, very specific products and targeting ads outside of genre lines never works. Like if you're writing dark fantasy romance and the system shows your ad to someone who only reads World War II historical novels, it's not going to work at best and at worst, the reader will become annoyed and leave you a bad review. Even for someone like me who has 160 fantasy novels and a bunch of sci-fi novels, it wouldn't work. I could try advertising to fantasy novels, but Child of the Ghosts, Frostborn: The Gray Knight, Cloak of Dragons, and Stealth & Spells Online: Creation are all very different books in very different subgenres of fantasy. So I have in essence, a giant warehouse of books, but books are specific enough that trying to use Facebook Advantage to advertise them doesn't work. So now I don't really use Facebook ads. I did try again in June to boost Half-Elven Thief Omnibus One before its BookBub deal, and the results from the Facebook ads were in the bottom half of mediocre at best and outright useless at worst. The BookBub Feature Deal itself by contrast was excellent. When I have a new book out and I do the "I published a book" post on Facebook, I'll use the boost pull function, which shows it to more people based on my audience, which does increase engagement and isn't too expensive. But for the most part, I don't really use Facebook ads anywhere near as extensively as I used to. That said, I do a lot of BookBub and Amazon ads, way more than I did before Facebook ads became unusable. I'll typically run about 20 to 24 short BookBub campaigns a month advertising my permafree books on the non-Amazon stores. While I am not sure of the exact number, I think I have something like 550 Amazon ad campaigns running across about 35 different titles on Amazon. Fear not, this is less expensive than it sounds. I haven't posted much about it because it's a ton of data and I haven't figured out a way to do so in a concise and pithy way that isn't overwhelming or a giant wall of math and text. That said, there should be a way to do it, at least for the Amazon ads. Generally, Amazon ads are way more effective with Kindle Unlimited books and nonfiction, and BookBub ads are very effective for the non-Amazon stores, especially for permafree books like Frostborn: The Gray Knight and Child of the Ghosts. So that is why I haven't done an ad review roundup post in a while. Once I work out a good way to present the information with Amazon and BookBub ad data, I will probably start posting them again. 00:07:30 Main Topic: Ebook Box Sets [All prices referenced are in US Dollars] Now let's move on to our main topic this week, ebook box sets and why they're a good thing for both authors and readers. I will talk about four advantages of making an ebook box set, and then four things you should consider if you're interested in making them for your ebook series. An omnibus edition or a box set is a collection of several books in one series. They need to be books in the same series. It's not a sample of various books by one author or a collection of several books with a similar theme by different authors, which are common, especially in romance, but that's not what we're going to be talking about in this episode. For example, my Frostborn Omnibus One collection includes the first three books in my Frostborn series, and The Ghosts Omnibus One includes the first three books in The Ghosts series and a bonus short story as well. Before we get started, a note on the terminology. Although the term box set or ebook set means something much broader than omnibus edition, I will use ebook sets and omnibus editions interchangeably throughout this episode, mostly because omnibus is a bit of a mouthful to say that many times. So here are four reasons why you might want to consider making an omnibus edition for books in your series. #1: Series Starter If you don't want to go the perma-free route on your series, a competitively priced set of the first books in the series might be another option for you. The goal is always to make it easy and cheap to start a new series and a low-priced omnibus edition helps with drawing in new readers into a series. Having an omnibus of the first books in the series also means that you can periodically run sales on it. It's worth taking a short-term hit in the sales price if readers continue on to the next set or later books in the series. I've dealt with this with many of my omnibus editions, especially Frostborn Omnibus One, Cloak Mage Omnibus One, and The Ghosts Omnibus One many times, running deals to them when they were $0.99. That has inevitably resulted in good sales for the rest of the series and the audiobooks in the series. #2: Reader Convenience The main reason for creating ebook sets may be the cost savings for the book buyer, but another big reason is convenience for the reader. Many people struggle with knowing the correct order of books in a series, and omnibus editions act as guides through a series. Readers like the convenience of knowing they're reading them in the correct order, but only having to make one purchase to do that. Some people also don't like the way that their ebook libraries display series and prefer the omnibus editions for that reason. #3: Changes to Amazon's KDP royalty tier KDP bases its royalty rates for ebooks on the price. They just raised a ceiling of the 70% royalty tier from $9.99 to $12.99, which makes omnibus editions priced over $9.99 more profitable since they can now be priced as high as $12.99 and still be in the 70% royalty tier. Previously, ebooks over $9.99 were put in a lower royalty tier to encourage authors to price them under $10. If there are a significant number of books in your omnibus edition or your individual books are priced at over $6, this change to KDP's royalties benefits you the most. To give an example, if an ebook series were made into an omnibus edition priced at $12 before, it would've netted $3.60 in royalties. With the change in pricing tiers, that same omnibus edition would now make $8.40 for the author. That is a significant increase that makes omnibus editions more attractive to produce. #4: The Kindle Unlimited Advantage Omnibus editions are good for putting in Kindle Unlimited because readers are excited to get multiple books while only taking up one of the "spots" they have in their KU library. Since readers can currently only borrow 20 books at a time, some power readers try to maximize the perceived value of each book in that library and look for longer books and omnibus editions for that reason. Since KU subscribers have many options, providing them with an omnibus edition might help get them more invested in the series and interested in continuing it because if they finish the set, there are several books into it and have spent a significant amount of time with your characters. If you don't put the whole series into KU (which is not a great idea by the way), an omnibus edition of the first books in the series would be a better choice than just putting the first book in the series in KU. KU subscribers get very angry when only the first book in the series is in KU, especially if that book ends on a cliffhanger or if the book isn't clearly marked as being part of a series. An omnibus edition gives them a much deeper introduction to the series. It feels less like a bait and switch than just the first book would be. It's also advantageous for the writer because of the page reads. For example, right as of right now, Half-Elven Thief Omnibus One, which is in Kindle Unlimited, is set to only $0.99 an ebook, but I usually make a good deal more from that because of the page reads because people will check out the book in KU and then the amount of page reads for that book comes to approximately about $4 for a complete read. So if you have a popular box set in KU, you can make a good deal more from it from the page reads than you would from just pricing it at $0.99. When setting up a box set, here are four things to consider when making an ebook omnibus edition. #1: You need to learn about reader expectations about what an omnibus edition is. It is not a collection of short stories or some short stories attached to a single book. It is not a sample collection of books you have across different series. Those are separate things and there's nothing wrong with them, but they need to be handled differently. An omnibus edition should be at least three complete and consecutive books in a series. If there are things like short stories or bonus content beyond that, that's fine. But three full length books is what book buyers expect from an omnibus edition or a box set. #2: Book buyers expect an omnibus edition to be less expensive than buying the book separately. Even providing bonus content like short story or extra chapter does not change this cost expectation. There's also an expectation that the first omnibus edition will be less expensive than the later omnibus editions because this is a common promotional strategy. For myself, what I usually do is I make sure that the omnibus is a dollar or two cheaper than the combined books would be. For example, I just put out Cloak Mage Omnibus Four, which combines Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one book. Those individual books are $5, and so together buying three of them together would be $15. The omnibus edition is $11.99, so that's a savings of $3 across the three books. For the first omnibus edition in the series, I usually price it a bit lower. The Ghosts Omnibus One and Half-Elven Thief Omnibus One are $0.99 right now, but that is so they can be loss leaders and even if they're not on sale, like Cloak Mage Omnibus One is I believe $5.99 right now and Frostborn Omnibus One is $4.99, so that is to act as kind of a loss leader to get people in the door to read the series. #3: Take the time to learn to make an omnibus edition correctly. You can't just throw the individual ebook files into a single one and have the readers be happy with that. You need to update the book's front matter and metadata, and omnibus editions will need a new ISBN or ASIN, depending on where you publish them. For a long time for the covers, I used to do what I called a quartered cover where you'd have the three covers and a bonus short story arranged in a grid, kind of like a windowpane to advertise that it was clearly an omnibus edition. Lately, Amazon has been cracking down on that and some of the other ebook platforms don't like that as well. So what I've been doing is I've been making custom covers that very clearly say like Cloak Mage Omnibus Four on them and making sure that the cover is distinct enough from the individual covers in the series that won't be mistaken for an individual title in the series. #4: The omnibus edition needs to be treated as a separate book when creating ads. Their marketing works differently than individual books. Don't just hope that readers will find it on their own. Omnibus editions need new blurbs, separate ad campaigns, and their own marketing push. It's okay to list them separately on your website, but be sure to link them to the original books as well. On my website, I have links for the omnibus editions under each book in the series that is part of one so the readers are aware right away as an option for them. So hopefully these tips and tricks will help you to set up omnibus editions for yourself as well. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you've listened to all the back episodes athttps://thepulpwritershow.com. If you enjoyed the podcast, please leave review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.