Podcast appearances and mentions of james ian

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

In this episode I sat down with Anna Pakman, Margo Gignac and James Ian, the writer/director and stars of Emergency Plan, a new short film for the Easterseals Disability Film Challenge. Emergency Plan stars Margo and James as a disabled couple forced to send their young son out alone after a catastrophic East Coast earthquake — when it becomes clear no one is coming to help them evacuate. Ali Stroker voices the radio anchor whose warnings grow increasingly urgent as the crisis unfolds. We discuss the making of the film, the real-world inspiration and reason for telling this story, how systems fail disabled people during disasters and much more.Join The Patreon: Click ⁠⁠Here⁠⁠Watch Emergency Plan: https://www.emergencyplanfilm.comFollow Anna: Instagram: @annatatedFollow Margo: Instagram: @margo_gignacFollow James: Instagram: @jamesianmusicThe Partnership For Inclusive Disaster Strategies: https://disasterstrategies.orgLearn More About The Easterseals Disability Film Challenge: Website: https://disabilityfilmchallenge.com YouTube: @TheDisabilityFilmChallengeInstagram: @disabilityfilmchallengeFollow Me: Instagram: ⁠⁠@jill_ilana⁠⁠ , ⁠⁠@alwayslookingup.podcast⁠⁠ TikTok: ⁠⁠@jillian_ilana⁠⁠ Website: ⁠⁠https://www.jillianilana.com⁠⁠ Email: ⁠⁠alwayslookingup227@gmail.com⁠⁠Read With Me:⁠⁠Goodreads⁠⁠⁠⁠The StoryGraph⁠⁠Relief For Disabled People Impacted By The Los Angeles Fires:Richard Devylder Disaster Relief Fund: ⁠⁠https://disabilitydisasteraccess.org/rd-relief-fund/⁠⁠United Spinal Disaster Relief Grant: ⁠⁠https://unitedspinal.org/disaster-relief-grant/⁠⁠Inevitable Foundation Emergency Relief Fund: ⁠⁠https://www.inevitable.foundation/erf⁠⁠This episode was edited and produced by Ben Curwin

This episode Mike and Will examine Curfew by Lucy M. Boston, a childhood tale of haunted bells, unearthed coffins and post-Jamesian highjinx aplenty. Big thanks to Debbie Wedge for providing the readings for this episode. Show notes: Curfew by Lucy M. Boston – read by Robert Lloyd Parry (Youtube.com) The text of this story is […]

Today we are chatting with James (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@parkscollecting)⁠ who was a speaker at our summit in May talking about How to Secure a National Park Timed Entry Permit. James Ian, a US national park expert, shares his travel experiences and love for national parks. He discusses how he got into travel and his transition from long backpacking trips to shorter trips in the US. James highlights the incredible variety of landscapes and wildlife in the US national parks and shares his favorite parks, including Zion and Yellowstone. He also provides tips for planning trips to national parks, such as considering the best time to visit, booking accommodations in advance, and getting an early start to avoid crowds. In this episode, you will learn: The US national parks offer a wide variety of landscapes and wildlife. Zion and Yellowstone are among James' favorite national parks--but they can also be quite crowded. When planning a trip to a national park, consider the best time to visit, book accommodations in advance, and get an early start to avoid crowds. Timed entry permits are implemented in some national parks to control overcrowding and protect the environment. Book permits as soon as they become available and to check for last-minute cancellations. The America the Beautiful Pass provides access to all national parks and is worth getting if visiting more than two parks a year. ...and more! You can find Jame's website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠ instagram.com/parkscollecting You can get your VIP ticket Goodybag for the May Bougie in a Backpack Virtual Travel Summit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, where you can check out James' session! https://bougieinabackpack.thrivecart.com/virtual-travel-free-may2024/ You can find our FREE Travel Beginner's Blueprint ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: https://dashboard.mailerlite.com/forms/457913/90732056966858389/share Want to submit a question or comment to our Bougie Mailbag? You can do so here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://forms.gle/Hb3iAbCfsK5BWnii8⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Be sure to join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook community⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: facebook.com/groups/bougieinabackpack Bougie in a Backpack is part of an affiliate sales network and receives compensation for sending traffic to partner sites, such as Milevalue.com. This compensation may impact how and where links appear. This site does not include all financial companies or all available financial offers. One of the best cards for beginners is the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chase Sapphire Preferred⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more at our affiliate link. milevalue.com/creditcards/chase-sapphire-preferred/?aff=biab If you need help figuring out the next credit card to open, check out our top credit card recommendations ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ if you want to learn more! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠milevalue.com/best-credit-cards/?aff=biab⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find us on instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/bougieinabackpack/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/travelmack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠enzie⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/pennywisetraveler⁠

February 12th is a very special berth-day... for the Sailing Ship Columbia! On this day in 1958 the steel hull of the classic ship was completed in the San Pedro shipyards! This week, Sarah's on vacation in Mexico (that jerk) so we invite you to join Jamesian and Producer Ash for a history lesson on one of the coolest Disneyland attractions, as well as the real ship that inspired it all. --- Support this podcast: https://podcasters.spotify.com/pod/show/disney-dependent/support

Washington Square is a short novel by Henry James. Originally published in 1880 as a serial in Cornhill Magazine and Harper's New Monthly Magazine, it is a structurally simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father.The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was hardly a great admirer of Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not a great fan of Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907-1909) but found that he couldn't, and the novel was not included. Other readers, though, have sufficiently enjoyed the book to make it one of the more popular works of the Jamesian canon. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Washington Square is a short novel by Henry James. Originally published in 1880 as a serial in Cornhill Magazine and Harper's New Monthly Magazine, it is a structurally simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father.The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was hardly a great admirer of Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not a great fan of Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907-1909) but found that he couldn't, and the novel was not included. Other readers, though, have sufficiently enjoyed the book to make it one of the more popular works of the Jamesian canon. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Washington Square is a short novel by Henry James. Originally published in 1880 as a serial in Cornhill Magazine and Harper's New Monthly Magazine, it is a structurally simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father.The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was hardly a great admirer of Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not a great fan of Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907-1909) but found that he couldn't, and the novel was not included. Other readers, though, have sufficiently enjoyed the book to make it one of the more popular works of the Jamesian canon. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Washington Square is a short novel by Henry James. Originally published in 1880 as a serial in Cornhill Magazine and Harper's New Monthly Magazine, it is a structurally simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father.The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was hardly a great admirer of Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not a great fan of Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907-1909) but found that he couldn't, and the novel was not included. Other readers, though, have sufficiently enjoyed the book to make it one of the more popular works of the Jamesian canon. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Washington Square is a short novel by Henry James. Originally published in 1880 as a serial in Cornhill Magazine and Harper's New Monthly Magazine, it is a structurally simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father.The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was hardly a great admirer of Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not a great fan of Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907-1909) but found that he couldn't, and the novel was not included. Other readers, though, have sufficiently enjoyed the book to make it one of the more popular works of the Jamesian canon. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Unleashing the Power of Language: Crafting Magnetic Marketing Strategies with James Ian Bond In this episode, we dive into the world of marketing and sales with James Ian Bond, the author of "Brain Glue: How Selling Becomes Much Easier by Making Your Ideas Sticky." Bond unveils the captivating influence of language techniques in the realm of marketing, shedding light on how iconic figures such as Snoop Dogg, John F. Kennedy, and Johnny Cochrane have harnessed these methods for success. With a keen focus on understanding the brain's patterns and triggers, Bond reveals how entrepreneurs and marketers can rise above the noise to create a lasting impact. Discover the art of crafting memorable marketing messages using metaphors, rhymes, and humor to capture attention and boost sales. Join us for an illuminating conversation that will transform the way you approach marketing and sales strategies.

In the tenth episode of the series, Seamus and Mark turn to two figures of the Harlem Renaissance. Nella Larsen's ‘Passing' is taut, tense and tartly stylish take on the Jamesian short story, redolent with ironies and ambiguities, and feels just as relevant today. Widely considered his masterwork, Langston Hughes's ‘Montage of a Dream Deferred' draws on the modernist tradition, a documentarian sensibility and the freedoms of bebop to capture the multiplicity of Harlem voices.This is an extract from the episode. To listen in full and to our other Close Readings series, sign up:Directly in Apple Podcasts here: https://apple.co/3pJoFPqIn other podcast apps here: lrb.me/closereadingsSeamus Perry is Professor of English Literature at the University of Oxford and Mark Ford is Professor of English Literature at University College London. Hosted on Acast. See acast.com/privacy for more information.

Joyce welcomes Lachi, an award-winning internationally touring creative artist and personality, back to the show. Lachi is founder and President of the U.N. recognized Recording Artists and Music Professionals with Disabilities (RAMPD-RAMPD.org). RAMPD's mission is to amplify disability culture, promote equitable inclusion and advocate for accessibility in the music industry. RAMPD connects the music, entertainment, and event industries to a fast-growing global network of established music professionals with disabilities. Joining Lachi will be James Ian, singer, songwriter, instrumentalist, poet, and writer. In addition to sharing their personal stories about their passion for the music industry, Lachi and James will share how they feel RAMPD has helped them in their respective careers.

Joyce welcomes Lachi, an award-winning internationally touring creative artist and personality, back to the show. Lachi is founder and President of the U.N. recognized Recording Artists and Music Professionals with Disabilities (RAMPD-RAMPD.org). RAMPD's mission is to amplify disability culture, promote equitable inclusion and advocate for accessibility in the music industry. RAMPD connects the music, entertainment, and event industries to a fast-growing global network of established music professionals with disabilities. Joining Lachi will be James Ian, singer, songwriter, instrumentalist, poet, and writer. In addition to sharing their personal stories about their passion for the music industry, Lachi and James will share how they feel RAMPD has helped them in their respective careers.

Amelia interviewed the multi-talented recording artist, singer-songwriter, disability advocate and cultural activist Lachi about her trail-blazing musical career so far. You can visit lachimusic.com learn more and stream Lachi's music. You can visit RAMPD.org to learn more about Recording Artists and Music Professionals with Disabilities. You can stream the song and music video for 'Lift Me Up' by Lachi and James Ian from July 25th. Image: RNIB Connect Radio Bright Green 20th Anniversary Logo

Our two Dorothy McGuire movies for this week are wildly different in tone: Samuel Goldwyn's I Want You (1951, directed by Mark Robson), about a family's reaction to the Korean War draft, and, for MGM, the Jamesian melodrama Invitation (1952, directed by Gottfried Reinhardt). Dave makes the case for I Want You as a complex leftist look at early Cold War America, and then we unpack the Jamesian tropes of Invitation, with its complicated flashback structure. And in our Fear and Moviegoing in Toronto segment, we share our first experience of the extraordinarily intense films of Hungarian auteur Márta Mészáros, discussing Nine Months (1976) and The Two of Them (1977). Time Codes: 0h 00m 45s:      I WANT YOU (1951) [dir. Mark Robson] 0h 37m 18s:      INVITATION (1952) [dir. Gottfried Reinhardt] 1h 07m 01s:      Fear and Moviegoing in Toronto – Nine Months (1976) and The Two of Them (1977) by Marta Meszaros   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

How will Artificial Intelligence continue to impact the healthcare industry and its potential to introduce new technologies, enabling a shift from promise to performance?  In this episode of the limited Trend Talks series, Leigh Householder Host & Author, 2023 Health Trends: Personally, Purposefully Building What's Next, sits down with Andrew Barron, SVP of Global Site Start Up & Regulatory, to discuss. Listen to the podcast here or watch the video to find out what they are thinking about ChatGPT, the next industrial revolution and more.Learn more about 2023 Health Trends here. And be sure to check out Leigh's kick-off episode of the podcast series, as well as her recent interview with patient advocate James Ian.Find more of our content on site and patient engagement and regulatory topics.The views expressed in this podcast belong solely to the speakers and do not represent those of their organization. If you want access to more future-focused, actionable insights to help biopharmaceutical companies better execute and succeed in a constantly evolving environment, visit the Syneos Health Insights Hub. The perspectives you'll find there are driven by dynamic research and crafted by subject matter experts focused on real answers to help guide decision-making and investment. You can find it all at insightshub.health. Like what you're hearing? Be sure to rate and review us! We want to hear from you! If there's a topic you'd like us to cover on a future episode, contact us at podcast@syneoshealth.com.

 In this episode of the limited Trend Talks series, Leigh Householder Host & Author, 2023 Health Trends: Personally, Purposefully Building What's Next, sits down with James Ian , a Musician and Actor who lives with Spinal Muscular Atrophy Type Three—a rare neuromuscular disease that attacks the neurons that control all the voluntary muscles in the body. James is a passionate advocate for disability inclusion, particularly in the arts and entertainment industry, and here they discuss representation of disabilities through authentic, intentional and purpose-driven advocacy in media and technology.  Listen to the podcast here or watch the video to learn what's changed, what's changing and what matters most right now. Learn more about 2023 Health Trends here. And be sure to check out Leigh's kick-off episode of the podcast series (November 29—2023 Health Trends: Personally, Purposefully Building What's Next).Find more of our content on rare disease and patient voice topics. Follow James Ian on Instagram @jamesianmusic  Leigh Householder is the EVP/Managing Director, Technology & Data at Syneos Health.The views expressed in this podcast belong solely to the speakers and do not represent those of their organization. If you want access to more future-focused, actionable insights to help biopharmaceutical companies better execute and succeed in a constantly evolving environment, visit the Syneos Health Insights Hub. The perspectives you'll find there are driven by dynamic research and crafted by subject matter experts focused on real answers to help guide decision-making and investment. You can find it all at insightshub.health. Like what you're hearing? Be sure to rate and review us! We want to hear from you! If there's a topic you'd like us to cover on a future episode, contact us at podcast@syneoshealth.com.

The Shadow of Hogmanay is a lo-fi horror story, recorded entirely on analogue tape. It's written and performed by Michael Whitehouse. A Scottish writer and horror creator from Glasgow Scotland. Support my work and get early access and other exclusives on Patreon: https://patreon.com/michaelwhitehouse Social Media: https://twitter.com/HorrorOfMike https://www.facebook.com/Michael.Whitehouse.Author/ https://www.instagram.com/ghoststoriesrme/ Website: http://www.michael-whitehouse.com/ Mailing List:  Other Podcasts: https://talkingtilldawn.libsyn.com/ https://fearnoir.libsyn.com/  

Raven shares James Ian's story, and his experiences as a performing musician and actor with a physical disability. -- Learn More! Disabled Musician, Actor, and Writer, James Ian is Highlighting the Beauty in Disability … https://www.respectability.org/2022/02/james-ian-spotlight/ | Disability and music: disabled singer James Ian and his Labour of Love https://disabilityhorizons.com/2015/12/disabled-singer-james-ian-talks-about-his-labor-of-love/ | Email us! isquaredhello@gmail.com. | Follow us!  Instagram https://www.instagram.com/isquaredpodcast/ | Twitter @I_squaredpod https://twitter.com/I_SquaredPod | Facebook page http://www.fb.me/ISquaredPod - Thanks to purple-planet.com for the intro music!

This episode Mike and Will explore freaky folk-dance, village-based villainy and Cotswold chicanery in Eleanor Scott's awesome Jamesian folk-horror tale Randalls Round! Big thanks to Kirsty Woodfield for providing the readings for this episode. Show notes: Eleanor Scott (The Haunted Library) This article contains some biographical information as well as plot summaries of the stories […]

On today's show, Pat, AJ Hawk, and the boys chat about an incredibly exciting week 1 of college football, all the different NFL stories that happened over the long weekend, and they look ahead to Thursday's NFL opener with the Los Angeles Rams and the Buffalo Bills. Joining the progrum fresh off a massive new deal is 2x Pro Bowler, 2x First Team All-Pro, starting Safety for the Los Angeles Chargers, Derwin James, to chat about his thoughts on the Chargers this year, what type of leader Justin Herbert is, if he's the best Madden player in the league, what receivers are difficult going against, and much more (1:04:39-1:15:07). Later, joining the progrum is NFL Network Insider and friend of the show, Ian Rapoport to chat about David Bakhtiari's status for Sunday's game, the health of everyone in the Thursday night game, which players are potentially in or out this weekend, and everything else happening around the NFL as we approach the opening of the season (1:57:46-2:20:09). Make sure you subscribe to youtube.com/thepatmcafeeshow to watch the show. We appreciate the hell out of all you. See you tomorrow, cheers.

In the fourth hour of the morning show, Larry O'Connor and Julie Gunlock talked to Ian Prior, film director Robert Davi, actor John James and analyzed Meghan Markle's UK speech. For more coverage on the issues that matter to you, visit www.WMAL.com, download the WMAL app or tune in live on WMAL-FM 105.9 FM from 5-9 AM ET. To join the conversation, check us out on Twitter: @WMALDC, @LarryOConnor,  @Jgunlock, and @patricepinkfile.See omnystudio.com/listener for privacy information.

This episode, Judy interviews James Ian, and Zack and Zarek Elizondo. The three worked together with many others to create the song and music video SPACES, which was sponsered by Genentech as a part of the SMA My Way program, which was built to support and raise awareness for the Spinal Muscular Atrophy community. The transcript for this episode is available here. James Ian is a singer, songwriter, multi-instrumentalist, actor and writer. He is a passionate advocate for authentic representation of disabled actors in TV, film and other media. His filmography includes several movies and commercials, TV series and documentaries, including The Allnighter, Pugsley, Kimboo and Inner Warrior. He also serves on the board of DisArt. Zarek DeMarco and Zachary Markel (together known as the Elizondo brothers), have dedicated themselves to completing Zarek's life-goal list, while also educating others about SMA. Zack is a musician for a regional rock group called ...And The Hero Prevails. Sharing his experiences of opening for many bands like The Offespring, Puddle of Mudd, and Saliva have been some of the greatest moments they've shared as brothers and content for their vlog Sweet Life of Zack and Zarek. Related Links: 'SPACES" Music Video The Making of SPACES: A First-of-its-Kind Musical Collaboration for Disability Visibility Shane and Hannah Burcaw 'SPACES' YouTube Video James Ian on iHeart Radio Sweet Life of Zack and Zarek Website ...And The Hero Prevails on Spotify Big King Zilla on Spotify DisArt RAMPD This episode's Ask Judy question came from @gabriellamaya on Instagram. If you'd like to submit a question for Ask Judy, send it to media@judithheumann.com or DM Judy on Instagram or Twitter. Find a shortened video version of this interview on Judy's YouTube channel.  Outro music by Gaelynn Lea: https://violinscratches.com/ 

The Squirmy and Grubs YouTube channel is extremely popular with 900k followers and a few videos over 4 Million views. This kind of recognition comes with challenges including online comments alleging all kinds of conspiracies, however Shane and Hannah Burcaw continue to be an incredible example for the rare disease and disability communities with their marriage and their outlook. Check out their recent collaboration with Genentech and singer/song writer, James Ian: https://youtu.be/ZLyRpDn9bTo Learn more: smamyway.com.

In this Book Club edition of the podcast, we finally have a chance to explore the work of Friend of the Pod Henry James. We look at James's short novel Washington Square (1880) and long short story "The Turn of the Screw" (1898), and two of their adaptations, The Heiress (1949, directed by William Wyler) and The Innocents (1961, directed by Jack Clayton). We focus on the arcs of the heroines in the two works and the very different directions in which the adaptations take them, as well as the acting opportunities they present for Olivia de Havilland and Deborah Kerr. We also praise the performances of Ralph Richardson as Austin Sloper and Martin Stephens as Miles, two very tricky, eminently Jamesian roles. But is Henry James unadaptable? We give our verdict.  Time Codes: 0h 01m 00s:    Henry James: Quantum Romancer 0h 09m 30s:    Washington Square & THE HEIRESS (1949) [dir. William Wyler] 0h 43m 38s:    The Turn of the Screw & THE INNOCENTS (1961) [dir. Jack Clayton] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

Residence Inn by Marriott presents the 91st Episode of the Hondo Handy's Podcast. The podcast shares the journey of James Ian who was born with a degenerative muscular condition called Spinal Muscular Atrophy Type 3. James didn't let that slow him down. He still participated in sports and music. James is now a soulful singer, songwriter, and multi-instrumentalist. He attended Georgetown University and received in B.S. Marketing and Management and then went on to receive his Law Degree from Georgetown. His family has always been involved with singing. The played in a band during his early years and learned to play several instruments. He defies the odds on stage and in the studio. He continues to defy stereotypes of disabled people. The released of his world premiere of “SPACES! on November 9th has been a big hit. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Singer-songwriter and multi-instrumentalist James Ian discusses his new song, SPACES, and its message of inclusivity and visibility of people who are living with a disability. He also discusses his own journey as an artist with a disability. This is the December 5 , 2021 episode.

James Ian's new song called "Spaces" is made by, and for, the disabled community. While the song highlights a disease known as spinal muscular atrophy, or SMA, it also celebrates the talent of the much broader disability community. This report is part of our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

James Ian's new song called "Spaces" is made by, and for, the disabled community. While the song highlights a disease known as spinal muscular atrophy, or SMA, it also celebrates the talent of the much broader disability community. This report is part of our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

In episode 95, host Kevin Schaefer talks with the creators of the new song “Spaces.” Done in collaboration with Genentech, this production was created entirely by people from the SMA community. James Ian is a singer, songwriter, and actor from Los Angeles, California. With Spaces, he wanted to create a song specifically for the disability community. Dominick Evans is a trans, non-binary creator originally from the Midwest. He has a BFA in Film and is a filmmaker, writer, gamer, streamer, YouTuber, parent, speaker, and activist. Zack and Zarek Elizondo are brothers, YouTubers, podcasters, and graphic designers. You can learn more about their lives and work on their website, the Sweet Life of Zack and Zarek. ================================ Link to “Spaces” music video: https://www.youtube.com/watch?v=ZLyRpDn9bTo ================================ To learn more about Evrysdi, please visit http://www.ApprovedForSMA.com ================================ To take part in our ongoing discussions regarding SMA, please visit http://www.smanewstoday.com/forums ================================ For the most up-to-date information regarding SMA, please visit http://www.smanewstoday.com

God's mercy endures forever, His love never quit. Do you want to learn about your relationship with Jesus and how to finish strong. Find out in this episode with Eloho featuring James Lan Campbell, An Author. Listen to his testimony in this podcast. Follow Heartsong live across all platforms and  You can email heartsong on info@heartsonglive.co.uk IG: https://instagram.com/heartsonglive1?utm_medium=copy_link @Heartsonglive https://instagram.com/elohoefemuai?utm_medium=copy_link @Elohoefemuai  Facebook : Eloho Efemuai https://www.facebook.com/elohoefemuai  Fb page: Arise with Eloho https://www.facebook.com/groups/307890696409854/?ref=share YouTube: Eloho Efemuai https://youtube.com/c/ElohoEfemuai

00:00 - Willington Day, our favourite seasons, and the number five. 03:46 - "You couldn't read it". 07:04 - Super Arcade Football is from OutOfTheBit - of Super Arcade Racing (as heard on Ep77) fame - and it's a delightful “jumpers for goal posts” game that feels like a spin on Sensible Soccer, but given a modern fit and finish. 28:57 - WizKids's latest is Greece Lightning, which is somewhat of a racing board game simulation of Wacky Races in that it requires deviousness, cunning, and a little bit of luck. 40:43 - We've been chomping through Midnight Mass, which has a Jamesian “pleasing terror” to it, and is, in many ways, more unsettling than Midsommar. Perfect for a bit of Hallowe'en spookin'. All that, and some unacknowledged hiccups, with Kris (@DigitalStrider), Peter (@XeroXeroXero), and Sam (@MrSamTurner). Oh and hey! Give our Spotify Playlist set a go if you're after something else to listen to after this episode. Lots of good stuff in there. Links to where you can find us - StayingInPodcast.com Note: sometimes we'll have been sent a review copy of the thing we're talking about on the podcast. It doesn't skew how we think about that thing, and we don't receive compensation for anything we discuss, but we thought you might like to know this is the case.

This week Alice interviews new St. Jamesian (and new American citizen!) Jéhane Sedky.

In this episode of our Clara Bow Acteurist Oeuvre-view, two films from 1927, the curious love triangle (quadrangle if you're generous) melodrama Children of Divorce, directed by Frank Lloyd (but maybe really Josef von Sternberg), and William A. Wellman's Andy-Hardy-Goes-to-War aerial spectacle, Wings. Elise says "Jamesian"! Dave says "Verhoevian"! (Shouldn't it be "Verhoevenian"?!) We contemplate Clara Bow as a precursor to Judy Garland (but with more nudity) and as a waifish Kate Croy crossed with early Jerry Lewis. Time Codes: 0h 01m 00s:                  CHILDREN OF DIVORCE (1927) [dirs. Frank Lloyd & Josef von Sternberg]   0h 36m 30s:                  WINGS (1927) [dir. William A. Wellman] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s *Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Find Elise’s latest film piece on Billy Wilder and 1930s Romantic Comedy *And Read lots of Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

A four-film Special Subject episode, Joan Harrison, Producer, Part 1 looks at: Phantom Lady (1944), The Strange Affair of Uncle Harry (1945), Nocturne (1946), and They Won't Believe Me (1947). These idiosyncratic noirs and Jamesian melodramas by the former Hitchcock screenwriter and honorary family member interrogate gender roles, flip gendered tropes, and deconstruct male resentment of women in ways that faintly anticipate Elaine May's work. We also discuss the Negative Capability of George Raft, the void-like charisma of Robert Young, the appealing androgyny of Ella Raines and very different vibe of Susan Hayward, Geraldine Fitzgerald's ability to be sexy and Victorian at the same time, and George Sanders' subtle way of showing us his soul dying inside of him. It's a big episode!  Time Codes: 0h 01m 00s:                  Brief introduction to Joan Harrison 0h 19m 08s:                  PHANTOM LADY (1944) [dr. Robert Siodmak] 0h 48m 41s:                 NOCTURNE (1946) [dir. Edwin L. Marin] 1h 15m 08s:                  THE STRANGE AFFAIR OF UNCLE HARRY (1945) [dir. Robert Siodmak] 1h 43m 41s:                 THEY WON’T BELIEVE ME (1947) [dir. Irving Pichel]                                +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s *Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Find Elise’s latest film piece on Billy Wilder and 1930s Romantic Comedy *And Read lots of Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

This was recorded in November 2019 for the old company we used to podcast for.James, Callum & Ian are here to review Survivor Series 2003. The show which took place in Dallas, Texas back in November 2003 it featured Two 5-on-5 Traditional Survivor Series Elimination matches, an Ambulance match between Kane & Shane McMahon, a Buried Alive match between Vince McMahon & Undertaker and the main event between Goldberg & Triple H for the World Heavyweight Championship.Follow Callum, James & Ian on Twitter @CallumH2000 @UndisputedRev @Milney1989 Enjoy this bonus show and thanks for listening.

Do you think the “young man” who flees the Garden of Gethsemane in Mark 14:51-52, leaving his sheet in the clutches of Jesus’ enemies might be a symbol for the casting off of the body of flesh and the emergence of the spiritual/resurrection body, having escaped the clutches of the Archons? In Raymond Brown's Anchor Bible volume "An Introduction to the New Testament," Brown dismisses the troubling episode of Jesus telling his disciples that he speaks in parables so that the public won't understand. (Mk 4:11-12), claiming it displays the biblical tendency to regard disappointing results as foreordained by God. But how is that any better? Do you think it’s completely out of the question there was a Hebrew original of the Greek version of Daniel? What’s the deal with the Western text tradition? Do we know why it exists, or what gave rise to it? Hello, Dr. Price, from Luther. I’ve got another pair of questions for you today. Both require us to wear our historicity hats.   Paul and James seemingly were the two primary figures in primitive Christianity. Yet since early Christian history, the primary dichotomy or internal competition was assigned to Paul and Peter, as one gets from a casual read of Acts. How or why do you think the Peter of history became one of the Big Two, especially considering Paul explicitly and Acts implicitly has him as more a waffling flunky than a leader? What do you think was Paul’s actual belief about his religious concepts compared to those of the Jamesian church?

We haven't done a podcast in a few weeks due to scheduling issues so we thought we'd upload a bonus podcast. This was recorded in August 2019 for the old company we used to podcast for. This was one of our favourite epsiodes we recorded so we hope you enjoy it.We'll back later this week with some new content where we'll be doing another Throwback Thoughts special where we'll review NXT TakeOver Chicago from 2017 so keep an eye out for that dropping.James, Callum & Ian are here to review SummerSlam 2002.We rundown the event which took place at The Nassau Coliseum in front of a packed house. This show included the in-ring return of Shawn Michaels after a 4-year hiatus when he faced Triple H in an Unsanctioned match and the WWE Undisputed Championship match between The Rock and Brock Lesnar.Follow Callum, James & Ian on Twitter @CallumH2000 @UndisputedRev @Milney1989  Enjoy this bonus show and thanks for listening.

James Ian discuss this weekends Wild Card Re-cap and look ahead to divisional round match-ups. We also discuss the current coaching carousel, and Ian goes off on an impromptu Bucs ran.

In episode 47, host Kevin Schaefer talks with James Ian from Los Angeles, California. James is a singer, songwriter, and actor, and he has SMA Type 3. Kevin and James talk about music, living with SMA, and media representation of people with disabilities. Photo cred: Travis Tanner Photography James Ian on Spotify: https://open.spotify.com/artist/0KpC5Kw93tkXOVPpNnVbuG?si=u2Ar4jVKSmyyTFaY_fyauA James Ian Instagram: https://www.instagram.com/jamesianmusic/

James Ian“Music for sure saved me...and helped me break out of my shell, and started writing songs that would resonate me overcoming challenges.” - James IanIn this episode, James talks about his touching story of how music changed his life. Having SMA was never a blocking factor for living his life to the fullest. No matter how different others see him because of his condition, he nonetheless has a great support system through his family.Listen in to our discussion about the following topics:James shares his SMA diagnosis journeyHow music became a huge part of his lifeJames’ style and influence of music and his album!How his songs in his album were createdSMA conference in AustraliaMake sure to check out and support James Ian and his album called “The Labor of Love”Song in the intro: https://www.youtube.com/watch?v=5qfaizGGG8oSpotify: https://open.spotify.com/album/2SgQExsOK7vSi7dZOE6IoqTwitter: https://twitter.com/jamesianmusic?lang=enYouTube: https://www.youtube.com/channel/UCAZW7oh7MqxihkkIj9kXBDQiTunes/Apple Music: https://itunes.apple.com/us/album/the-labor-of-love/1204076181Cure SMA - http://www.curesma.org/Call us (03) 9796 5744Email us at reception@smaaustralia.org.auVisit our website at http://www.smaaustralia.org.auFacebook page: https://www.facebook.com/SpinalMuscularAtrophyAustralia

Writer/Actress Jane Slavin joins us to discuss her work at Big Finish as the new companion to the Fourth Doctor and one of her all-time favorite shows, The Fall & Rise of Reginald Perrin. Also, James & Ian review the recent screening of Logopolis.

Actor & writer Travis Richey (Inspector Chronicles, Community) stops by to discuss his latest projects, Doctor Who, and Battlestar Galactica. Before that, James & Ian drop in to discuss the latest news from London!

Our Who Against Guns drawing winner, Steven Marsh, joins us to discuss Doctor Who & MST3K; an interview with Jeremy Wheeler of Blue Box Alliance and their quest to end bullying; and James & Ian of our UK team chime in to talk about the current state of Doctor Who fandom in the UK.

Our February episode features Terminus host Nicole Mazza discussing her love of Doctor Who and her featured series, In The Flesh! We also have a special UK report from James & Ian of Day of the Doctor and a very special message from Who Against Guns.

It's the beginning of 2018 and there's no better way to start the year off than listening to an awesome conversation with Peter James, the owner, and founder, of Manic Kat Records! Real Punk. Real Attitude.Manic Kat Records is an indie punk label from the New York area with great artists like friend of the show Rival Town, The Anchor, and Small Pond Big Fish to name only a few! Peter talks about what it's like running an indie label, Warped Tour ending, being in bands, and a lot more! Ian loves hearing all the behind the scenes stories and you will too!Make sure to support Peter James and Manic Kat Records by following the links below:Manic Kat Records - WebsiteManic Kat Records - FacebookManic Kat Records - SoundCloudManic Kat Records - TwitterManic Kat Records - InstagramManic Kat Records - YouTubeManic Kat Records - Demo SubmissionThanks again to Peter for coming on the show and make sure to check out all the artists in the Manic Kat lineup! Great music and a lot to look forward to in 2018 for Manic Kat Records! Don't forget to support Ian Hates! Subscribe, rate, and share Ian Hates Music, Conversations, and Movies, on iTunes, Stitcher, Google Play Music, SoundCloud, and any of your favorite podcast listening apps! Plus, please check out the new Patreon link and support the shows even more!PATREONIan HatesFacebookTwitterInstagramiTunesStitcherGoogle Play MusicSoundCloudYouTubeAll sound bites or clips are exclusive property of their respective owners and are in no way affiliated with Ian Hates Podcast or its' sponsors. They are used here for entertainment purposes only. Enjoy!Long days and pleasant nights.

Well December is here once again, and as is traditional here at the Great Library of Dreams we are hosting a series of readings of ghost stories for Christmas. We begin this year's selection of festive chillers with a tale written by EG Swain, a good friend of the great MR James who was inspired to try his own hand at crafting ghostly tales. The result was a remarkable collection called the Stoneground Ghost Tales, which blended Jamesian frights with a touch of Wodehousian humour. In this story, the long suffering vicar of Stoneground, Mr Batchell, discovers something strange about one of the parish church's windows...   

Is it possible that Zechariah 6:9-15 implies a proto-Christian religion existed around the time Zechariah was written?�  If even believing Christian scholars accept that two out of the four gospels are based on earlier gospels, how could they claim to the pulpit or their congregation that the NT is an accurate representation of Jesus's life? Since the 2 Source theory is the most accepted theory from both conservative and liberal scholars, are there any other scholars who came up with different alternate theories on how the four canonical gospels are written? Discussing Colossians 1:24, you paraphrased David Scholer thusly: "When there are loads of different interpretations of a Bible verse, itâ??s probably because the meaning is obviousâ??that is, so obvious, and offensive, that people will try to make it mean anything else." Can you can give us some other verses to illustrate the point further? In my book Unlocking the Puzzle, I proposed that the Christological difference between Paulâ??s Christ and the Messiah of the Jerusalem apostles was that Paulâ??s Christology claimed that Jesus was crucified as the suffering servant, while the Jerusalem apostles were awaiting Danielâ??s â??one like a son of manâ?? directly from God, no crucifixion necessary. Dr. Eisenman says that Islam adopted the Jamesian theology of salvation by works as opposed to Paulâ??s justification by faith. � My theory might fit in with Dr. Eisenmanâ??s when you remember that in Islamic theology Jesus was not crucified. Right? Might the temptation narrative have been originally the second half of the Baptism story as written by Adoptionists? The temptation of Jesus by Satan as a test to see if he is really the Son of God makes a lot more sense to me if it were intended to serve as proof that the adoption really â??workedâ??. 1 Corinthians� 6:19� says that the body is the "temple" of the Holy Spirit. Could this be an anachronistic interpolation done by a scribe after the fall of the Jerusalem temple in 70 AD.? In Matthew 2:3 the Magi have spoken to Herod about the newly born King of the Jews and Herod is "disturbed and all of Jerusalem with him." Why is "all of Jerusalem" added to this passage? Seems highly unlikely Jerusalem would know or care about the Magi and their message. If what you suggest regarding the imposition of "resettled" Zoroastrian "Jews" to Israel is true, wouldn't the priests of the temple cult--the Sadducees--be the Zoroastrians, while the popular laypeople--the Pharisees--be the traditional Jews? Do you agree or disagree with Bart Ehrman in locating Gnosticism as a post-Christian development rather than a prior influence upon Christianity? Am I right to interpret the gospels as saying that the power behind the things we expect from faith is the faith itself? Does the warning to keep the Transfiguration secret occur in all 3 Synoptics? Is it a device to introduce a new story concocted long aftedrward? After the Romans destroyed the Jewish temple which made the practice of everything Jewish near impossible, Jews needed a way to continue practicing their faith/culture. Was Christianity invented as a substitute? Mythicists hold that in 1 Corinthians 2:8, when Paul refers to Jesus being crucified by "the rulers of this age," these are heavenly beings in the outer/upper realms of "this world," but others defend the traditional translation implying earthly rulers. Why are the latter wrong? Can you either explain or point me to further reading on the German pietists who introduced the idea of a personal relationship with Jesus? I understand that the Gospel of Mark is also a Paulinist gospel, so is there any sign of the messianic secret concept in the Pauline epistles?

This episode Mike and Will report on the the M.R. James conference, aka ‘Haunted Studies: The Ghost Stories of M.R. James' and bring you interviews with a range of Jamesian luminaries present at the event. For more information on the conference, visit the conference website. People we interview in this episode: Dewi Evans (Acedemia.edu) Dewi, […]

Mr Jim Moon draws close to the fire to discuss the various and strange natures of the entities haunting the stories of the great MR James. And we also take a look at a wonderful new Jamesian card game - we believe the first of its kind - created by Mr James Drewett and Mr Richard Svensson which features 30 creatures and villains from the fiction of MR James.

Comedians Elis James and Ian Moore join Ian Moore to discuss Mourinho's sacking as well as the draws for the Champions League and Euro 2016. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Comedians Elis James and Ian Moore join Ian Stone to discuss Wales' Euro qualification and the latest news from the Premier League as well as previewing the week's big fixtures. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

William James (1842-1910) is one of the United States’ most far-reaching thinkers. His impact on philosophy, psychology, and religious studies is well documented, yet few scholars have considered James’ impact on the area of ethics and political thought. Trygve Throntveit‘s new book William James and the Quest for an Ethical Republic (Palgrave, 2014) is a persuasive and innovative look at the Jamesian social and political legacy, especially as played out in the presidency of Woodrow Wilson. Dr. Throntveit leverages the archives of the James family, including novelist Henry James, Jr. and William and Henry’s father, Swedenborgian theologian Henry James, Sr., to show how Henry Sr.’s ambitious but unfocused educational program affected William James’ vocation and intellectual commitments. In committing to a pragmatic ethic that could accommodate varieties of religious experience, James envisioned how a democratic society should regard the individual. Throntveit reads James in light of James’ personal development in relationship to other public intellectuals with whom he corresponded and was personally acquainted. The author keeps a steady eye on how William James developed as a person and as a scholar through his relationships. Throntveit’s innovation lies in tracing the ways in which others applied, and sometimes modified, Jamesian ideas during the Progressive Era of the late nineteenth and early twentieth centuries. Social critic WEB DuBois, philosopher of public life John Dewey, urban theorist and reformer Jane Addams, Supreme Court Justice Louis Brandies, Theodore Roosevelt, and others directly responded to William James’ pragmatism via their policymaking clout. In turn, these public intellectuals had the attention of Woodrow Wilson. The ideals of democracy–the ethical republic–were set in motion for the trials ahead in the Great War and beyond. William James and the Quest for an Ethical Republic contributes to William James studies, American history, history of ideas, and philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices

William James (1842-1910) is one of the United States’ most far-reaching thinkers. His impact on philosophy, psychology, and religious studies is well documented, yet few scholars have considered James’ impact on the area of ethics and political thought. Trygve Throntveit‘s new book William James and the Quest for an Ethical Republic (Palgrave, 2014) is a persuasive and innovative look at the Jamesian social and political legacy, especially as played out in the presidency of Woodrow Wilson. Dr. Throntveit leverages the archives of the James family, including novelist Henry James, Jr. and William and Henry’s father, Swedenborgian theologian Henry James, Sr., to show how Henry Sr.’s ambitious but unfocused educational program affected William James’ vocation and intellectual commitments. In committing to a pragmatic ethic that could accommodate varieties of religious experience, James envisioned how a democratic society should regard the individual. Throntveit reads James in light of James’ personal development in relationship to other public intellectuals with whom he corresponded and was personally acquainted. The author keeps a steady eye on how William James developed as a person and as a scholar through his relationships. Throntveit’s innovation lies in tracing the ways in which others applied, and sometimes modified, Jamesian ideas during the Progressive Era of the late nineteenth and early twentieth centuries. Social critic WEB DuBois, philosopher of public life John Dewey, urban theorist and reformer Jane Addams, Supreme Court Justice Louis Brandies, Theodore Roosevelt, and others directly responded to William James’ pragmatism via their policymaking clout. In turn, these public intellectuals had the attention of Woodrow Wilson. The ideals of democracy–the ethical republic–were set in motion for the trials ahead in the Great War and beyond. William James and the Quest for an Ethical Republic contributes to William James studies, American history, history of ideas, and philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices

William James (1842-1910) is one of the United States’ most far-reaching thinkers. His impact on philosophy, psychology, and religious studies is well documented, yet few scholars have considered James’ impact on the area of ethics and political thought. Trygve Throntveit‘s new book William James and the Quest for an Ethical Republic (Palgrave, 2014) is a persuasive and innovative look at the Jamesian social and political legacy, especially as played out in the presidency of Woodrow Wilson. Dr. Throntveit leverages the archives of the James family, including novelist Henry James, Jr. and William and Henry’s father, Swedenborgian theologian Henry James, Sr., to show how Henry Sr.’s ambitious but unfocused educational program affected William James’ vocation and intellectual commitments. In committing to a pragmatic ethic that could accommodate varieties of religious experience, James envisioned how a democratic society should regard the individual. Throntveit reads James in light of James’ personal development in relationship to other public intellectuals with whom he corresponded and was personally acquainted. The author keeps a steady eye on how William James developed as a person and as a scholar through his relationships. Throntveit’s innovation lies in tracing the ways in which others applied, and sometimes modified, Jamesian ideas during the Progressive Era of the late nineteenth and early twentieth centuries. Social critic WEB DuBois, philosopher of public life John Dewey, urban theorist and reformer Jane Addams, Supreme Court Justice Louis Brandies, Theodore Roosevelt, and others directly responded to William James’ pragmatism via their policymaking clout. In turn, these public intellectuals had the attention of Woodrow Wilson. The ideals of democracy–the ethical republic–were set in motion for the trials ahead in the Great War and beyond. William James and the Quest for an Ethical Republic contributes to William James studies, American history, history of ideas, and philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices

William James (1842-1910) is one of the United States’ most far-reaching thinkers. His impact on philosophy, psychology, and religious studies is well documented, yet few scholars have considered James’ impact on the area of ethics and political thought. Trygve Throntveit‘s new book William James and the Quest for an Ethical Republic (Palgrave, 2014) is a persuasive and innovative look at the Jamesian social and political legacy, especially as played out in the presidency of Woodrow Wilson. Dr. Throntveit leverages the archives of the James family, including novelist Henry James, Jr. and William and Henry’s father, Swedenborgian theologian Henry James, Sr., to show how Henry Sr.’s ambitious but unfocused educational program affected William James’ vocation and intellectual commitments. In committing to a pragmatic ethic that could accommodate varieties of religious experience, James envisioned how a democratic society should regard the individual. Throntveit reads James in light of James’ personal development in relationship to other public intellectuals with whom he corresponded and was personally acquainted. The author keeps a steady eye on how William James developed as a person and as a scholar through his relationships. Throntveit’s innovation lies in tracing the ways in which others applied, and sometimes modified, Jamesian ideas during the Progressive Era of the late nineteenth and early twentieth centuries. Social critic WEB DuBois, philosopher of public life John Dewey, urban theorist and reformer Jane Addams, Supreme Court Justice Louis Brandies, Theodore Roosevelt, and others directly responded to William James’ pragmatism via their policymaking clout. In turn, these public intellectuals had the attention of Woodrow Wilson. The ideals of democracy–the ethical republic–were set in motion for the trials ahead in the Great War and beyond. William James and the Quest for an Ethical Republic contributes to William James studies, American history, history of ideas, and philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices

William James (1842-1910) is one of the United States’ most far-reaching thinkers. His impact on philosophy, psychology, and religious studies is well documented, yet few scholars have considered James’ impact on the area of ethics and political thought. Trygve Throntveit‘s new book William James and the Quest for an Ethical Republic (Palgrave, 2014) is a persuasive and innovative look at the Jamesian social and political legacy, especially as played out in the presidency of Woodrow Wilson. Dr. Throntveit leverages the archives of the James family, including novelist Henry James, Jr. and William and Henry’s father, Swedenborgian theologian Henry James, Sr., to show how Henry Sr.’s ambitious but unfocused educational program affected William James’ vocation and intellectual commitments. In committing to a pragmatic ethic that could accommodate varieties of religious experience, James envisioned how a democratic society should regard the individual. Throntveit reads James in light of James’ personal development in relationship to other public intellectuals with whom he corresponded and was personally acquainted. The author keeps a steady eye on how William James developed as a person and as a scholar through his relationships. Throntveit’s innovation lies in tracing the ways in which others applied, and sometimes modified, Jamesian ideas during the Progressive Era of the late nineteenth and early twentieth centuries. Social critic WEB DuBois, philosopher of public life John Dewey, urban theorist and reformer Jane Addams, Supreme Court Justice Louis Brandies, Theodore Roosevelt, and others directly responded to William James’ pragmatism via their policymaking clout. In turn, these public intellectuals had the attention of Woodrow Wilson. The ideals of democracy–the ethical republic–were set in motion for the trials ahead in the Great War and beyond. William James and the Quest for an Ethical Republic contributes to William James studies, American history, history of ideas, and philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the 1st August it will be exactly 150 years since the birth of M.R. James, and in this special episode Will and Mike are celebrating Monty's Sesquicentenary in style with the help of England's finest Jamesian actor, Robert Lloyd Parry! Robert had been performing his trilogy of one-man shows based on James's work since […]