Podcast appearances and mentions of Jane Eyre

Today I welcome Mimi Matthews to the show to discuss new book, RULES FOR RUIN. It's a fantastic historical romance that's Peaky Blinders meets Great Expectations. I love all of Mimi's books, but this is my favorite historical romance from her, and it's one I'll definitely reread. You all might remember my chat with her in one of my first episodes, where she came on to discuss her gothic novel, JOHN EYRE, my other favorite book from her that is a mix of Jane Eyre and Dracula. All links and show notes available on my website at sheworeblackpodcast.com

We time travel to 19th century Britain for our next installment of Filmi Ladies book club. We discuss Dil Diya Dard Liya, a 1966 adaptation of Wuthering Heights; Sangdil, a 1952 adaptation of Jane Eyre; and two versions of Great Expectations, a 1998 Hollywood version as well as Fitoor from 2016.All are fairly emo and very, very filmi.What are your favorite British novels and their adaptations?To watch our Jane Austen episode, go here: https://www.youtube.com/watch?v=9fNDFUXWZkM&t=1sSubscribe to Filmi Ladies on Spotifyhttps://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcastshttps://podcasts.apple.com/us/podcast/filmi-ladies/id1642425062@filmiladies on Instagram Pitu is @pitusultan on InstagramBeth is @bethlovesbollywood on BlueskyEmail us at filmiladies at gmailSee our letterboxd for everything discussed on this podcast. https://boxd.it/qSpfyOur logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

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

Our website - www.perksofbeingabooklover.com. Instagram - @perksofbeingabookloverpod Facebook - Perks of Being a Book Lover. To send us a message go to our website and click the Contact button.   You can find Holly Gramazio at her website https://www.hollygramazio.net/ or on IG at holly_gramazio   When we first heard the premise of Holly Gramazio's novel The Husbands, we were intrigued. A woman's husband goes up to the attic to retrieve something and down comes…a different husband. Wouldn't we all sometimes like to exchange the husband we have for a better, newer, or just different model? Holly turned this idea into a novel that is both funny and thoughtfully considered. It may not, in fact, be such a great thing to have an endless supply of potential husbands so easy to exchange.  Her book has been optioned by Apple Plus for a limited series and I just saw that Juno Temple, the actress who played Keeley in the Ted Lasso series, is slated to play the starring role.   And because it is April, and April is National Poetry Month, we're discussing books related to poets. Not everyone loves poetry, but these books aren't actually poetry–so you can still partake of poetry month. They are historical fiction, memoirs, essays, and children's books written by or inspired by poets.    Books Mentioned in This Episode:   1- The Husbands by Holly Gramazio   2- Lakewood by Megan Giddings   3- I Used to Live Here Once: The Haunted Life of Jean Rhys by Miranda Seymour   4- Wide Sargasso Sea by Jean Rhys     5- Jane Eyre by Charlotte Bronte     6- The Animals in That Country by Laura Jean McKay     7- Thank You for Calling the Lesbian Line by Elizabeth Lovett     8- Saint X by Alexis Schaitkin     9-  A Five Star Read Recommended by Fellow Book Lover  Chelsea @2_girls_bookin_it - The Endless Fall by Emmerson Hoyt     10- The Swan's Nest by Laura Mcneal     11- You Could Make This Place Beautiful by Maggie Smith     12- Memorial Drive by Natasha Trethaway     13- Emily's House by Amy Belding Brown     14- Finding Langston by Lesa Cline-Ransome     15- Bite by Bite: Nourishments and Jamborees by Aimee Nezhukumatathil     16- World of Wonders: In Praise of Fireflies, Whale Sharks, and Other Astonishments by Aimee Nezhukumatathil     17- The Poet's Dog by Patricia McLachlan     Media mentioned-- 1- Severance (Apple+, 2022 - Present)   2- Reduced Shakespeare Company--https://www.reducedshakespeare.com   3- Saint X (Hulu, 2023)      

As a Bonus on the main Dennis Anyone, here are two back-to back sample episodes of Dennis's brand new Patreon offering: DENNIS ANYONE: THE PATREON PROJECT, which you can subscribe to for $5 by going to Patreon.com and searching Dennis Anyone.  Topics in Episode 1 include: the Late Night With the Devil actor Fayssal Bazzi learning that I put him on my dreamboard and his response, Four Rooms author David Wichman does the Observation Deck, the Oscar-nominated doc Black Box Diaries, a magazine flashback with the late Michelle Trachtenberg and Dennis's decision in January 2020 to try and be happy anyway. Topics in Episode 2 include: The White Lotus's Leslie Bibb has a magazine flashback, Dennis sees Dancing With The Stars Live, High Art, A Nice Indian Boy and a stage version of Jane Eyre, Paul Rudnick answers a porny question from the Observation Deck, and film producer Lindsay Doran introduces Dennis to the idea of Positive Psychology. DENNIS ANYONE PATREON PAGE

Join us for an in-depth conversation as we explore Charlotte Brontë's classic, Jane Eyre. In this episode, we chat about the unforgettable journey of Jane—from her early struggles as an orphan to her quest for independence and love. We dive into the many layers of social commentary, Gothic atmosphere, and the fierce resilience that makes this novel a timeless favorite.We'll share our insights on the themes of class, gender, and personal freedom, and explore how Brontë's storytelling continues to resonate with readers today. Whether you're revisiting the novel or discovering it for the first time, our discussion offers a fresh take on one of literature's most enduring works.Tune in for a friendly and thoughtful look at Jane Eyre and join us as we celebrate its lasting impact on classic literature.Content WarningsDiscussion of mental health treatment in 1800 EnglandSupport the showRecommend us a Book!If there's a book you want to recommend to us to read, just send us a message/email and we'll pop it on our long list (but please read our review policy on our website first for the books we accept).Social MediaWebsite: https://teachingmycattoread.wordpress.com/Email: teachingmycattoread@gmail.comInstagram: https://www.instagram.com/teachmycat2read/Tumblr: https://teachingmycattoread.tumblr.comYoutube: https://www.youtube.com/channel/UCFXi9LNQv8SBQt8ilgTZXtQListener Surveyhttps://forms.gle/TBZUBH4SK8dez8RP9

Votre somnifère audio pour dormir sans soucis cette nuit : "Jane Eyre" chapitre premier par Charlotte BrontëVous voulez dormir mais vous ne trouvez pas le sommeil ? Vous cherchez un podcast pour vous endormir facilement et naturellement ? Dormir Sans Soucis est là pour vous aidez, c'est le somnifère d'hypnose audio parfait pour votre bien-être ! Plongez dans un univers apaisant avec des lectures relaxantes, le son de la nature, des bruits blancs et une voix douce qui vous accompagne vers un sommeil profond. Débarrassez-vous du stress, de la peur, des problèmes et retrouvez un sommeil réparateur et bénéfique pour votre santé mentale. Allongez-vous et laissez-moi vous guider vers un repos bien mérité grâce à des histoires conçues pour calmer l'esprit et favoriser l'endormissement. Retrouvez-moi chaque soir pour profiter d'une dose de bien-être, d'un somnifère naturel pour s'endormir : des lectures de nouvelles, des récits hypnotiques, d'histoires vraies, de l'ASMR, des bruits blancs et des mots doux, pour apaiser votre mental et dire adieu aux insomnies.Abonnez-vous et plongez dans un voyage sonore d'hypnose et détendez-vous comme si vous étiez bercé par une histoire du soir.

Hôm nay BV xin được chia sẻ tới bạn cuốn tiểu thuyết kinh điển “Jane Eyre” của nhà văn người Anh nổi tiếng, Charlotte Brontë. Khi đọc cuốn sách này, bạn sẽ hiểu được rằng một người trưởng thành thực sự không phải là người có thể dẹp được hết chướng ngại cuộc đời, mà là người biết cách chấp nhận mọi đau khổ, khi những điều trái với mong muốn vẫn cứ diễn ra.Nhưng làm thế nào để biết bản thân chúng ta đã có thể chấp nhận một cách tích cực, hay chỉ đang cam chịu một cách tiêu cực và mê muội mà thôi?Làm sao để sống trong “nước sôi” mà vẫn ươm lên được hương thơm cho đời? Jane Eyre sẽ chỉ ra cho chúng ta 3 trí huệ nội tại để làm sao có thể Chấp nhận khổ đau một cách trọn vẹn, giúp bạn tiến tới hành trình trưởng thành thực sự và sống một cuộc đời tự do kiến tạo hạnh phúc trong chính sự bất toàn của mình. Rồi, bây giờ xin mời các bạn cùng lắng nghe.-------------------------Nếu bạn muốn mua sách giấy để đọc, có thể ủng hộ Better Version bằng cách mua qua đường link này nhé, cám ơn các bạn! Link shopee: https://shorten.asia/rYDVWRFpLink Tiki: https://shorten.asia/cqGAPKNh ❤️ Link tổng hợp các cuốn sách trong tất cả video: https://beacons.ai/betterversion.vn/b... ❤️ ỦNG HỘ KÊNH TẠI: https://beacons.ai/betterversion.donate

In this week's tribute episode, Janet, John, (and Pen) explore the life of one of Britain's most acclaimed stage and screen stars. The second of only four actresses to have won two Golden Globes in the same year and made a Dame by Queen Elizabeth II in 2004… it's Joan Plowright. With a career spanning over six decades, she received accolades including an Olivier Award, a Tony Award and nominations for an Academy Award, two BAFTA Awards, and Emmy. You may know her from films like Moby Dick (1956), The Entertainer (1960), Uncle Vanya (1963), Three Sisters (1970), Equus (1977), Avalon (1990), Dennis the Menace (1993), Enchanted April (1991), 101 Dalmatians (1996),  Jane Eyre (1996), and more. To learn more about this episode and others, visit the official Cinema Sounds & Secrets website!

« Croyez-vous parce que je suis pauvre, humble, sans agréments, petite, que je sois sans âme et sans cœur ? »Victoire, Pascale et Jeanne comparent le roman de Charlotte Brontë, Jane Eyre, à son adaptation en film réalisée par Cary Fukunaga avec Mia Wasikowska et Michael Fassbender. La vie est difficile pour Jane Eyre : orpheline, maltraitée par sa tante puis au pensionnat, elle grandit tant bien que mal et devient gouvernante au manoir de Thornfield d'une petite française, Adèle. Mais très vite, Jane perçoit une présence inquiétante qui rôde dans le grenier et les couloirs... Et surtout, elle commence malgré elle à développer des sentiments pour le maître des lieux, Mr Rochester.Le film de Cary Fukunaga est-il fidèle au livre dont il est tiré ? Réponse dans l'épisode !3 min 08 : On commence par parler du roman Jane Eyre de Charlotte Brontë, paru en 1847.1 h 19 min 43 : On enchaîne sur l'adaptation en film sortie en 2011 et réalisée par Cary Fukunaga avec Mia Wasikowska et Michael Fassbender.1 h 57 min : On termine sur nos recommandations autour des sœurs Brontë et des romans gothiques.Avez-vous lu ou vu Jane Eyre ?Recommandations :Les Hauts de Hurlevent, écrit par Emily Brontë (1847)Northanger Abbey, écrit par Jane Austen (1817)Les Sœurs Brontë, la force d'exister, écrit par Laura El Makki (2017)L'Affaire Jane Eyre, écrit par Jasper Fforde (2001)

From Terry Pratchett and Jane Eyre to Bob Dylan and Adele - Maurice and Chris pelaton-spin their way through a smorgasbord of cultural giants that they desperately want to like ... but just don't. It's a question of things having everything they need to be fantastuc and yet, for some reason, not appealing ...  I lied. Chris does not desperately want to like Adele and I have a feeling that comes across..  First Recorded on 27th March 2025

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring actor and filmmaker, Hannah Eakin.Hannah Eakin is an Arkansas-born, New York City-based actress, singer, writer, and filmmaker. She is a member of Actors' Equity Association, holds her BM in Music Theatre from Oklahoma City University, works regularly with the New York Gilbert & Sullivan Players, and has performed roles like Mary Poppins and Irene Molloy in Hello, Dolly! in regional houses and venues throughout New York City. As a creator, she finds inspiration in the intimate, complex, and often overlooked narratives of women throughout history. Her screenplays have garnered recognition from the PAGE International Screenwriting Awards and ScreenCraft Drama Screenplay Competition, her musical adaptation of Charlotte Brontë's classic novel, Jane Eyre, is a recipient of the New York State Council on the Arts FY24 Support for Artists Grant, and her short film The Poet's Daughter received a grant from the Inwood Film Festival Filmmaker Fund. A self-taught director, she delights in studying the styles and techniques of great filmmakers and innovators. Her ongoing work includes The Sara Teasdale Project, an expansive poetry and film history project culminating in 92 short films. www.hannaheakin.com

In this episode Neha and Shruti discuss Wide Sargasso Sea by Jean Rhys through the themes of liminality and bias. We talk about the book as its own work, then we compare it to Jane Eyre, its source text. We also discuss several screen adaptations of Jane Eyre, including the 1997 and 2011 films, and the 1983 and 2006 television adaptations.Shelf DiscoveryLucy by Jamaica KincaidThe Yellow Wallpaper by Charlotte Perkins GilmanThe Handmaid's Tale by Margaret AtwoodIf you would like to get additional behind-the-scenes content related to this and all of our episodes, subscribe to our free newsletter.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we welcome three-time Oscar-Winning Costume Designer Jenny Beaven. Jenny has brought her talents to films including A Room with a View, Howards End, Swing Kids, The Remains of the Day, Sense and Sensibility, Jane Eyre, Gosford Park, The Gathering Storm, Alexander, Defiance, Sherlock Holmes, The King's Speech, Mad Max: Fury Road, Cruella, and Furiosa: A Mad Max Saga. In our chat, she shares about her upbringing, path into costume design, and her experiences working on a variety of award-winning films. In addition, Jenny reveals many of her influences — and offers advice for up-and-coming Costume Designers today. “The Making Of” is presented by AJA:How Cromorama solves HDR production challenges with AJA ColorBoxCromorama is transforming HDR workflows for live production across the globe, using AJA ColorBox and its integrated ORION-CONVERT pipeline to power SDR/HDR transforms, quality control checks, and more for high-stakes productions like the UEFA EURO 2024 Championship. Find out how in this interview with Cromorama CEO and CTO Pablo Garcia hereIgelkott Studios: Redefining Driving PlatesSay goodbye to the limitations of array rig plates. Igelkott's precision-crafted single-lens driving plates deliver perfect parallax, seamless stitching, and true-to-life depth—no mismatched angles or post headaches. The choice of top filmmakers for flawless in-camera realism. Experience the future of driving plates at www.igelkottplates.comExplore the OWC Jellyfish Nomad:Discover how the OWC Jellyfish Nomad turned a desolate location in the Utah Salt Flats into a fully equipped, mobile production studio. This compact, powerful device allows video professionals to manage, share, and collaborate on high-resolution projects in remote environments. Click through to see how you can streamline your workflow, no matter where your next shoot takes you! Read hereIntroducing Atomos Sun Dragon: A Rope Light Made for Filmmakers.The world's first full sun-spectrum rope light, Sun Dragon offers creatives more options. It's uniquely flexible, so it fits into places other lights can't. You can wrap it around objects for creative highlighting and special, colour-controllable effects including dramatic underlighting. The world's first sun spectrum, HDR, waterproof, DMX controlled, 2000 lumen 5-color LED, mount-anywhere, lightweight flexible production and cinema rope light.Learn more hereCSS Music Presents Your 1-Stop Source for Royalty Free Music:Unlimited Uses In Unlimited Productions — 8 Power Searches including 2 AI applications, Pay As You Go pricing or choose from 2 subscription plans with rollover feature, a Playlist Tool, and E-Z Cue Sheet App.Browse here or call 1.800.468.6874ZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more herePodcast Rewind:March 2025 - Ep. 70…“The Making Of” is published by Michael Valinsky.To advertise your products or services to 130K filmmakers, video pros, TV, broadcast, live event production pros, & photographers reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

In this episode, I talk about why classic literature is still worth reading, even in our busy lives. These books have lasted the test of time for a reason. They offer rich insights into the human experience, and I'll show you how reading a novel like Jane Eyre can help you see life from new perspectives. You'll find that classic literature is not just for scholars—it's for anyone who wants to understand themselves and the world better.Send Me a Text Message with Your QuestionsIMPORTANT LINKS:

Tonight, we'll read an excerpt from Charles Dickens “Great Expectations” where young Pip visits the mysterious Miss Havisham at her decaying mansion. There he meets Estella, a beautiful but scornful girl who treat him with cold disdain, making him painfully aware of his lower social status. Miss Havisham, frozen in time since being jilted at the altar, encourages Estella to toy with Pip's emotions. This encounter leaves Pip deeply ashamed of his humble background, planting the seed of his desire to become a gentleman. Miss Havisham's tragic and eerie presence has left a lasting impact on literature, film television and music. She appears in Havisham by Carol Ann Duffy, which reimagines her bitter longing, and influences characters like Norma Desmond in Sunset Boulevard and Bertha Mason in Jane Eyre. Artists like Tori Amos and Florence and The Machine reference her ghostly figure in music, while The Simpsons parody her infamous heartbreak and decay, solidifying her as a timeless gothic archetype. — read by 'N' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Severance” is an office drama with a twist: the central characters have undergone a procedure to separate their work selves (“innies,” in the parlance of the show) from their home selves (“outies”). The Apple TV+ series is just the latest cultural offering to explore how the modern world asks us to compartmentalize our lives in increasingly drastic ways. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz trace the trope of the “double” over time, from its nineteenth-century origins in such works as “Jane Eyre” and “Dr. Jekyll and Mr. Hyde” to the “passing” novels of the nineteen-twenties and thirties. Today's Oscar front-runners are rife with doubles, too, including those seen in  the Demi Moore-led body-horror film “The Substance” and “The Apprentice,” in which a young Donald Trump fashions himself in the image of his mentor, Roy Cohn. At a time when technological advances and social platforms allow us to present—or to engineer—an optimized version of our lives, it's no wonder our second selves are haunting us anew. “I think the double will always exist because of the hope for wholeness,” Cunningham says. “It's such a strong desire that the shadow of that whole self—the doppelgänger—will always be lurking at the edges of our imagination.” Read, watch, and listen with the critics:“Severance” (2022—)“The Substance” (2024)“A Different Man” (2024)“Frankenstein,” by Mary Shelley“The Apprentice” (2024)“Passing,” by Nella LarsenKey and Peele's sketch “Phone Call”“Jane Eyre,” by Charlotte Brontë“Lisa and Lottie,” by Erich KästnerWilliam Shakespeare's “As You Like It”“The Uncanny,” by Sigmund FreudEdmond Rostand's “Cyrano de Bergerac”New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

In this episode Shruti and Neha discuss one of the most beloved classics of all time: Jane Eyre. We discuss Jane's character through the themes of adventure and self-respect, and share our opinions on her romance with Rochester. We get into many other themes and motifs that run through this story, including class, religion, colonialism, gender, and so much more! And we share our (controversial?) thoughts on the ending.Books Mentioned & Shelf Discovery:Wide Sargasso Sea by Jean RhysNorth and South by Elizabeth GaskellWuthering Heights by Emily BrontëThe Eyre Affair by Jasper FfordeIf you would like to get additional behind-the-scenes content related to this and all of our episodes, subscribe to our free newsletter.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

Charlotte Bronte's novel Jane Eyre is a classic of western literature, a novel that endures and still hugely entertains because . . . it's so great.   (How that for being profound?)  Charlotte Bronte offers an important lesson for today's writers, and I'll talk about her lesson in this episode.  Plus, the trouble with prologues.Support the show

Merriam-Webster's Word of the Day for February 18, 2025 is: chutzpah • KHOOTS-puh • noun Chutzpah is audacious boldness often paired with reckless self-confidence. Someone with chutzpah dares to do or say things that seem shocking to others. // It took a lot of chutzpah to stand up to her boss the way she did. See the entry >1. list text here Examples: “... [Anne] Hathaway is not easily talked out of things she believes in. She took drama classes, understudied future Tony winner Laura Benanti in a production of Jane Eyre at 14, and had the chutzpah to write to an agent with her headshot at 15.” — Julie Miller, Vanity Fair, 25 Mar. 2024 Did you know? The word chutzpah has been boldly circulating through English since the mid-1800s. It comes from the Yiddish word khutspe, which comes in turn from the Hebrew word ḥuṣpāh. The ch in chutzpah indicates a rasping sound from the back of the throat that exists in many languages, including Yiddish. That sound is not part of English phonology, so it follows that the c is sometimes dropped in both the pronunciation and spelling of the word. Some speakers of Yiddish feel that chutzpah has been diluted in English use, no longer properly conveying the monumental nature of the gall that is implied. A classic example can be found in Leo Rosten's 1968 book The Joys of Yiddish, which defines chutzpah as “that quality enshrined in a man who, having killed his mother and father, throws himself on the mercy of the court because he is an orphan.”

Merriam-Webster's Word of the Day for February 18, 2025 is: chutzpah • KHOOTS-puh • noun Chutzpah is shameless or disrespectful boldness often paired with reckless self-confidence. Someone with chutzpah dares to do or say things that seem shocking to others. // It took a lot of chutzpah to stand up to her boss the way she did. See the entry > Examples: “... [Anne] Hathaway is not easily talked out of things she believes in. She took drama classes, understudied future Tony winner Laura Benanti in a production of Jane Eyre at 14, and had the chutzpah to write to an agent with her headshot at 15.” — Julie Miller, Vanity Fair, 25 Mar. 2024 Did you know? The word chutzpah has been boldly circulating through English since the mid-1800s. It comes from the Yiddish word khutspe, which comes in turn from the Hebrew word ḥuṣpāh. The ch in chutzpah indicates a rasping sound from the back of the throat that exists in many languages, including Yiddish. That sound is not part of English phonology, so it follows that the c is sometimes dropped in both the pronunciation and spelling of the word. Some speakers of Yiddish feel that chutzpah has been diluted in English use, no longer properly conveying the monumental nature of the gall that is implied. A classic example can be found in Leo Rosten's 1968 book The Joys of Yiddish, which defines chutzpah as “that quality enshrined in a man who, having killed his mother and father, throws himself on the mercy of the court because he is an orphan.”

In honor of St. Valentine's Day, Artful Living will present a Lux Radio Theatre presentation of the timeless Gothic love story by Charlotte Bronte, Jane Eyre. Join Us!

SUMMARY: What if Pride and Prejudice were spooky? What if Mr. Darcy were less handsome, but also more abominable? What if instead of four sisters, Lizzie had no parents and a best friend who dies of tuberculosis? If you love Jane Austen, you'll love this book, assuming you can get on board with some stuff. Today's novel is the incomparable Jane Eyre. Though I guess it can be comparable to Pride and Prejudice.WATCH KELLEN'S NEW COMEDY SPECIAL ON YOUTUBE!https://www.youtube.com/watch?v=JpBt0W1zrDU&t=1237sKELLEN ERSKINE IS IN ON TOUR!MAR 16 New Bremen, OHMAR 20 PittsburghMAR 28 Bakersfield, CAAPR 4 Delray Beach, FLAPR 25-26 IndianaMAY 9-10 DallasMAY 17 St Charles, ILFor tickets go to KellenErskine.com-Get two free tickets to any of Kellen's live shows in 2025 by joining The Book Pile's Patreon at: https://www.patreon.com/TheBookPile-Dave's book / game The Starlings is here: https://www.amazon.com/dp/B0CMBBLGXN?ref=myi_title_dpTHE HOSTS!-Kellen Erskine has appeared on Conan, Comedy Central, Jimmy Kimmel Live!, NBC's America's Got Talent, and the Amazon Original Series Inside Jokes. He has garnered over 200 million views with his clips on Dry Bar Comedy. In 2018 he was selected to perform on the “New Faces” showcase at the Just For Laughs Comedy Festival in Montreal. He currently tours the country www.KellenErskine.com-David Vance's videos have garnered over 1 billion views. He has written viral ads for companies like Squatty Potty, Chatbooks, and Lumē, and sketches for the comedy show Studio C. His work has received two Webby Awards, and appeared on Conan. He currently works as a writer on the sitcom Freelancers.

"Dance Talk” ® with Joanne Carey and special guest Skylar Brandt.  In this episode of "Dance Talk” ® , host Joanne Carey interviews Skylar Brandt, a principal dancer with the American Ballet Theatre. They discuss Skylar's journey from childhood dance classes to becoming a professional dancer, the importance of private coaching, and the emotional connection required in performance. Skylar shares insights into her preparation for roles, the dynamics of partnering, and her experiences as a principal dancer. The conversation also touches on her advocacy for causes close to her heart, her love for teaching, and her upcoming performances.  Skylar Brandt was born in Purchase, New York and began her training at the age of six at Scarsdale Ballet Studio. She attended the Jacqueline Kennedy Onassis School at American Ballet Theatre from 2005-2009. Brandt was a silver medalist at Youth America Grand Prix in 2004 and 2008. Brandt joined ABT II in 2009, became an apprentice with ABT in 2010, and joined the corps de ballet in 2011. She was promoted to Soloist in 2015 and to Principal in 2020. Among her leading roles with the Company are Giselle in Giselle, Medora in Le Corsaire, Kitri in Don Quixote, Odette/Odile in Swan Lake, Gamzatti in La Bayadere, Olga in Onegin, Clara, the Princess in The Nutcracker, Young Jane in Jane Eyre, Columbine in Harlequinade, Princess Praline in Whipped Cream, the Lead Maiden in Firebird, the Golden Cockerel in The Golden Cockerel, and roles in The Green Table, Pillar of Fire, The Sleeping Beauty, Bach Partita, The Brahms-Haydn Variations, Company B, Gong, In the Upper Room, Piano Concerto #1, Raymonda Divertissements, Sinfonietta, Symphonic Variations, and AFTERITE. Brandt was awarded a 2013 Princess Grace Foundation-USA Dance Fellowship. That same year, she was featured in the movie “Ballet's Greatest Hits”. In 2018, Brandt was the recipient of an unprecedented Special Jury Award for her performances on the Russian television show “Big Ballet”. In 2022, Brandt was named to the renowned "Forbes 30 Under 30" list of most influential leaders and entrepreneurs.  Skylar Brandt Website  ⁠https://www.skylarbrandt.com/ ⁠ Follow Skylar on Instagram ⁠ ⁠ ⁠@skylarbrandtballet ⁠  American Ballet Theatre Upcoming Performances  ⁠https://www.abt.org/performances/abt-on-tour/⁠  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠ Follow Joanne on Instagram @westfieldschoolofdance  Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Rachel leads Sarah and Erin in a lively romp through their latest Lutheran Ladies' Book Club selection, Charlotte Bronte's Jane Eyre.   What does this book written by a woman about a woman surrounded by women teach us about what it means to be a woman? How comfortable are we really with Jane and Rochester's May/December, boss/employee romance? How well do the book's many religious moments and messages fit within a Lutheran worldview? What difference does it make in a person's life to know how to forgive others — quickly, freely, and completely?  At the end of the episode, the Ladies announce their next book club pick: Jonathan Haidt's The Anxious Generation: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness.   Connect with the Lutheran Ladies on social media in The Lutheran Ladies' Lounge Facebook discussion group (facebook.com/groups/LutheranLadiesLounge) and on Instagram @lutheranladieslounge. Follow Sarah (@hymnnerd), Rachel (@rachbomberger), and Erin (@erinaltered) on Instagram! Sign up for the Lutheran Ladies' Lounge monthly e-newsletter here, and email the Ladies at lutheranladies@kfuo.org.

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Naomi Stephens is a first-time guest on the podcast, but this isn't her first book. She stops by to chat about her latest release, The Burning of Rosemont Abbey. We talked about why she chose to set it in 1956, what she loves about the fashion of the time, and how she was able to write a mystery that has a lightness to it. Patrons will learn what her favorite place to live has been.The Burning of Rosemont Abbey by Naomi StephensEveryone in Wilbeth Green has something to hide, but she's about to uncover their secrets.1956: In a quiet English village, the smoldering ruins of Rosemont Abbey have set the residents' tongues wagging, and everyone is quick to accuse troublemaker Paul Everly of the crime of arson. Paul has vanished without a trace, leaving only his plucky twin sister, Louisa, certain of his innocence. Fueling her conviction is an inexplicable connection--she felt her twin's death an hour before the abbey went up in flames.Armed with nothing but her wit and her keen sense of intuition, Louisa embarks on her own investigation, challenging the dubious townspeople and the disdain of her aunt and uncle. Even Inspector Malcolm Sinclair, once Paul's closest friend, warns Louisa to abandon her pursuit. But Louisa is determined to solve a murder no one else believes was committed, even if it means unraveling secrets that could shake Wilbeth Green to its core."A thrilling and beautifully written tale from start to finish, filled with a strong sense of time, deft characterization, and more than enough twists to keep one guessing. Readers will be as hard-pressed as I was to put this one down once they begin."--ANNA LEE HUBER, USA Today bestselling author"What an absolute delight of a novel! Naomi Stephens has a new fan in me!"--SARAH SUNDIN, Christy Award-winning author"An English murder mystery set in the 1950s, plus a friends (and sometimes enemies)-to-more romance? Naomi Stephens is an author to watch!"--JULIE KLASSEN, bestselling authorGet a copy of The Burning of Rosemont Abbey by Naomi Stephens.Naomi Stephens is a bookworm turned teacher turned writer. She received a B.A. in English from Concordia University in Ann Arbor and an M.A. in English from Indiana University-Purdue University Fort Wayne. ​Her first novel, Shadow among Sheaves, was an Inspy Award shortlist contender and winner of the 2020 Carol Award in Debut Fiction. In bookstores, Naomi gravitates towards 19th-century British novels—the broodier the better (i.e., Jane Eyre)—but she can also be found perusing the young adult, mystery, and fantasy sections. Anything that keeps her turning pages past midnight!​ ​Though she's called many places home over the years, she currently lives in New York with her husband, her two children, and a rascal of a dog named Sherlock. When not writing or having adventures with her family, she can be found drinking tea, practicing photography, and pining for London.Visit Naomi's website.

A look at the highs and lows of adaptations, plus interviews with Chuck Wilts from UNA Productions and Oskar Eustis from New York's Public Theatre   In this week's episode of the OnStage Colorado Podcast, hosts Alex Miller and Toni Tresca run down what's on stage around the state now and coming up in the next few weeks. Our main topic this week is adaptations — screen to stage or stage to screen. After seeing the production of Back to the Future: The Musical at the Denver Center recently, we were inspired to look back on adapations that worked and some … not so much.   Later in the episode, Alex has two separate interviews related to the University of Colorado at Colorado Springs Cabaret Club series. The first is with drag performer and choreographer Chuck Wilts, who will appear at the ENT Center over Valentine's Day Weekend in a production called Infinity. The other Cabaret Club production, The Forgotten Arm, is already past, but it was a fascinating conversation with Oskar Eustis. In addition to directing this work in progress, Eustis has been the artistic director at New York's Public Theater for 20 years, so he goes into some of that fascinating experience.  And we also review our weekly Top 10 Colorado Headliners — shows coming up we think you might want to check out. Here's this week's list:  Oklahoma!, Candlelight Dinner Playhouse, Johnstown, Jan. 23-March 30 Morning After Grace, Miners Alley Performing Arts Center, Golden, Jan. 24-March 2 Rainbow Cult Presents: Wizard of Oz, Meow Wolf, Denver, Jan. 28 The Mariposa Collective Presents Momentum, Dairy Arts Center, Boulder, Jan. 31-Feb. 2 Casanova, Ellie Caulkins Opera House, Denver, Jan. 31-Feb. 9 The Heart Sellers, ENT Center Colorado Springs, Jan. 30-Feb. 16 We're Still Here, Empathy Jam at Boulder Dairy Center, Jan. 24-Feb. 9 Gee's Bend, Aurora Fox, Jan. 31-Feb. 23 Hope and Gravity, BETC, Jan. 23-Feb. 6 at Savoy Denver; Feb 21-23 at Nomad Playhouse in Boulder Monthly Women's Open Mic, Junkyard Social, Boulder, Feb. 2    Chapters 00:00 Introduction to the Podcast and Recent Shows 06:37 Exploring 'The Reservoir' by Jake Brash 13:43 A Unique Take on 'Jane Eyre' 20:47 Theater Events in Vail and Community Engagement 26:40 Discussion on 'A Case for the Existence of God' 28:37 Main Topic: Adaptations Between Stage and Screen 29:00 Back to the Future: A Musical Disappointment 30:46 The Nature of Adaptations in Theater 33:44 Successful Stage-to-Screen Adaptations 36:06 The Flops: Failed Adaptations 38:28 Screen-to-Stage Adaptations: The Good and the Bad 43:34 Back to the Future: A Deeper Dive 45:02 Lessons from Adaptations: What Works and What Doesn't 56:50 Interview with Chuck Wilt 1:06 Interview with Oskar Eustis

Merriam-Webster's Word of the Day for January 24, 2025 is: divers • DYE-verz • adjective Divers is an adjective meaning "numbering more than one." // The tri-county fair offers divers amusements for the whole family. See the entry > Examples: "'These prizes reflect the diversity of this year's edition,' NIFFF [Neuchatel Int'l Fantastic Film Festival] artistic director Pierre-Yves Walder tells Variety. 'Our festival showcases the fantastic in all its forms, promoting divers styles, points of view, themes, and aesthetics—and I think these winners really show as much.'" — Ben Croll, Variety, 9 July 2022 Did you know? Divers is not a misspelling of diverse—it is a word in its own right. Both adjectives come from Latin diversus, meaning "turning in opposite directions," and both historically could be pronounced as either DYE-verz (like the plural of the noun diver) or dye-VERSS. Divers (now pronounced more frequently as DYE-verz) is typically used before a plural noun to indicate an unspecified quantity ("a certain secret drawer in the wardrobe, where were stored divers parchments" — Jane Eyre); it's a rather formal word and not commonly encountered. Diverse (usually dye-VERSS) is frequently called upon to emphasize variety. It means either "dissimilar" or "unlike" (as in "a variety of activities to appeal to the children's diverse interests") or "made up of people or things that are different from each other" (as in "a diverse student body").

I AM AN APPETITE, NOTHING MORE!! Nosferatu Full Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ Horror Thursday is here once again as Roxy Striar & John Humphrey RETURN for the premiere Vampire flick of 2024 as they give their FIRST TIME Reaction, Commentary, Analysis, Breakdown, & Full Movie Spoiler Review for the retelling of the classic 1922 Silent Film of the same name... Written & Directed by Robert Eggers (The Witch, The Lighthouse, The Northman), this updated take on the classic Dracula-inspired film weaves a gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake. Nosferatu stars Lily-Rose Depp (Tusk, The Idol), Bill Skarsgård (It, Barbarian, John Wick: Chapter 4), Nicholas Hoult (X-Men: Days of Future Past, Mad Max: Fury Road), Willem Dafoe (Spider-Man, The Florida Project), Aaron Taylor-Johnson (Kick-Ass, Tenet), Emma Corrin (Deadpool & Wolverine), Ralph Ineson (The Green Knight, Game of Thrones), Simon McBurney (The Conjuring 2, Jane Eyre), & MORE! Roxy & John REACT to all the Eeriest Scenes & Most Chilling Moments including Come To Me, Count Orlok Confronts Ellen, Count Orlok's Voice Revealed, Entering the Vampire Castle Scene, the Ending, & Beyond!! NOTE FOR YOUTUBE: All Footage Featured From "Nosferatu" Is From A FICTIONAL Horror Movie. Any & All References To Violence Or "Mature Content" Is NOT Real #Nosferatu #MovieReaction #HorrorThursday #Vampire #VampireMovies #CountOrlok #LilyRoseDepp #BillSkarsgard #NicholasHoult #WillemDafoe #RobertEggers #Dracula #FWMurnau #BramStoker #Horror #HorrorMovie #Scary #FirstTimeWatching #MovieReactionFirstTimeWatching #firsttimewatchingmoviereaction Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

You can want more in life. You can want less. You can choose to take a walk in dark and snowy woods with four crazy dogs, or you can choose to stay inside by the fire reading Jane Eyre. How edgy, wild, and exciting your life is, or how contained, chill, and peaceful it is – that choice is on you. The answer depends on your value of Scope. And the truth is, all values choices are on you. Except the choice to not live by your values at all, and just…survive. In this episode of the pod, Suzy is abducted by aliens and ends up living four months in complete chaos. OK, she wasn't actually abducted, but she might as well have been, since this period was so divorced from what Becoming You is all about. Tune in to hear what she learned during this time apart from her longed-for self – and what she would advise anyone who also wants their life journey to be of their own design…and desire. Want more Becoming You? Learn about the Discovery Day: The Becoming You Experience. You are always growing and evolving and so are we. Sign up for the Becoming You newsletter for fresh new content in one tidy package.  Social You can follow and tag Suzy on: - Instagram: @suzywelch - Linkedin: @suzywelch - TikTok: @suzywelch - YouTube: @suzywelch_ - X: @SuzyWelch

Carolina Capria"Maestre"Harper Collinswww.harpercollins.itEssere una bambina, e poi una donna, vuol dire imparare fin da subito cosa si può fare e cosa non si può fare, vuol dire imparare che certe qualità, come il coraggio, l'audacia e l'indipendenza, non sono prettamente femminili, e che reprimere i propri desideri è normale, e consigliabile. Meglio restare ai margini e attendere passivamente un salvatore o, nella più sfortunata delle ipotesi, la provvidenza. E se molti libri non fanno che confermare la certezza che soltanto gli uomini possono compiere gesta intrepide e che alle donne spetta il compito di accogliere gli eroi di ritorno dalle loro mirabolanti avventure, Carolina Capria ci conduce in un viaggio illuminante nella più grande letteratura femminile di tutte le epoche e ci mostra che un'altra strada è effettivamente percorribile. Perché di maestre nei libri ce ne sono moltissime, grandi scrittrici come Jane Austen e Toni Morrison, e grandi eroine come Jane Eyre, che ci insegna che una donna può salvarsi da sola, o Scarlett O'Hara che ci dimostra che una donna può mettersi al comando. O ancora Modesta, la protagonista dell'Arte della gioia di Goliarda Sapienza, che ci ricorda quanto sia importante mettere se stesse al primo posto e non illudersi di trovare la felicità dove viene richiesto solo il sacrificio. Dei propri desideri, delle aspirazioni, dei sogni.Carolina Capria è nata a Cosenza nel 1980. È bravissima nel memorizzare particolari insignificanti di persone e situazioni, adora camminare per chilometri e chilometri, ascoltare fatterelli, ridere e fare la spesa. Vive a Milano e passa le giornate inventando e scrivendo storie (motivo per cui ritiene di essere una delle persone più fortunate del mondo). Nel 2018 ha aperto una pagina Facebook chiamata L'ha scritto una femmina in cui parla di libri scritti da donne e che ha conquistato in poco tempo migliaia di lettrici.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

EPISODE 70 - “COLIN CLIVE” - 1/13/2024 The moment he uttered the iconic line, “It's Alive! It's Alive,” in the 1931classic horror film “Frankenstein, actor COLIN CLIVE secured his place in film history. The handsome, talented British actor went on to appear in several other films, but his life and career were cut short due to his acute alcoholism and other personal demons. This week, we remember and celebrate this beloved horror legend.  SHOW NOTES:  Sources: One Man Crazy . . .! The Life and Death of Colin Clive (2018), by Gregory W. Mank; James Whale: A New World of Gods and Monsters (1998), by James Curtis; The Wisdom of Colette (1980), by Bennitt Gardiner; Colette O'Niel: A Season in Repertory (1976), by Bennitt Gardiner; “R.C. Sherriff: Soldier, Writer and Oarsman,” November 30, 2020, HearTheBoatSing.com; “Mae Clarke Remembers James Whale,” May 1985, Films in Review; “Jeanne De Casalis, 69, Is Dead,” August 20, 1966, New York Times;  “Colin Clive, Actor, Dies In Hollywood,” June 27, 1937, New York Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Frankenstein (1931), starring Boris Karloff, Colin Clive, & Mae Clake; Journey's End (1930), starring Colin Clive, Ian Maclaren, & David Manners; The Public Enemy (1931), starring James Cagney, Jean Harlow, Joan Blondell, Mae Clarke, & Edward Woods; Christopher Strong (1933), starring Katharine Hepburn, Colin Clive, & Billie Burke; Looking Forward (1933), string Lionel Barrymore, Lewis Stone, Elizabeth Allen & Benita Hume; Jane Eyre (1934), starring Virginia Bruce, Edith Fellows, & Colin Clive; The Girl From 10th Avenue (1935), starring Bette Davis, Colin Clive, & Ian Hunter; The Man Who Broke The Bank At Monte Carlo (1935), starring Ronald Colman, Joan Bennett, Colin Clive, & Nigel Bruce; Clive of India (1935), starring Ronald Colman, Loretta Young, Colin Clive, Cesar Romero, Leo G. Carroll, & C. Aubrey Smith; Mad Love (1935), starring Peter Lorre, Colin Clive, & Frances Drake; Bride of Frankenstein (1935), Boris Karloff, Elsa Lancaster, Colin Clive, Una O'Connor, & Valerie Hobson; History is Made At Night (1937), starring Jean Arthur, Charles Boyer, & Colin Clive; The Woman I Love (1937), starring Miriam Hopkins, Paul Muni, Louis Hayward, & Colin Clive; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I welcome Sharon Lynn Fisher to the show to discuss two of her books I read this year. SALT AND BROOM is a witch retelling of Jane Eyre, and her new book, GRIMM CURIOUSITIES, is a perfect Yuletide ghost story that explores Krampus while using the Dickensian atmosphere of a Victorian curiosity shop. Both books manage to honor their Gothic inspiration while offering a cozy atmosphere, and we discuss that genre bending work on the show. All links and show notes are on my website at sheworeblackpodcast.com

Écoutez la journaliste Lauren Bastide en conversation avec Lucile Génin, autrice d'un premier roman, « De nouveaux endroits », publié aux Éditions du sous-sol en 2023, récit initiatique dans lequel l'héroïne se rend au Canada pour tenter de comprendre qui est sa mère. Au cours de cette discussion, Lucile Génin revient sur les lectures qui ont marqué son enfance et son adolescence ainsi que sur la genèse de son personnage principal. Elle évoque également les liens entre littérature et cinéma, et ses sources d'inspiration.En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine dans une série imaginée par CHANEL et Charlotte Casiraghi, ambassadrice et porte-parole de la Maison.(00:00) Introduction(00:41) Présentation de Lucile Génin et de « De nouveaux endroits » par Lauren Bastide(02:14) Sa rencontre avec la littérature(04:32) Les auteurs qui l'ont inspirée(06:50) Sur les questions environnementales(09:42) Sur Mathilde, son personnage principal(12:41) Le processus de publication de son roman(16:30) Avoir son livre pour la première fois entre les mains(16:57) Lecture d'extraits de « De nouveaux endroits » par Lucile Génin(20:01) À propos du processus d'écriture de son roman(23:57) Entre littérature et cinéma(25:00) Le travail de mémoire transgénérationnel(26:42) Sur les liens intergénérationnels(28:50) Sur le choix d'écrire des sous-titres(31:16) À propos de la réception du roman(34:30) Qu'est-ce qu'être autrice ?(35:20) Le questionnaire de fin du podcast « Les Rencontres »Lucile Génin, De Nouveaux endroits © Les éditions du sous-sol, 2022Lucile Génin, De Nouveaux endroits © Les éditions Points, 2022 Le Petit Nicolas ® © 2004 Imav éditions / Goscinny – SempéRoald Dahl, Fantastique Maître Renard, traduit de l'anglais par Raymond Farré et Marie Saint-Dizier © Éditions Gallimard jeunesse, 1980, pour la traduction françaiseFantastic Mr. Fox © Roald Dahl, 1970. Published by Puffin Books. All rights reservedRoald Dahl, Sacrées Sorcières, traduit de l'anglais par Marie-Raymond Farré ©Éditions Gallimard, 1984, pour la traduction françaiseThe Witches © Roald Dahl, 1983. Published by Puffin Books. All rights reservedAnn Brashares, Quatre Filles et un jean, traduit de l'anglais par Vanessa Rubio © Gallimard Jeunesse, 2002, pour la traduction françaiseThe Sisterhood of the Traveling Pants by Ann Brashares, published by Delacorte Press, an imprint of Random House Children's Books, a division of Penguin Random House LLCJane Austen, Orgueil et préjugés, traduit de l'anglais en français par la Bibliothèque britannique de Genève en 1813Charlotte Brontë, Jane Eyre, 1847Emily Brontë, Les Hauts de Hurle-Vent, traduit de l'anglais en français par Frédéric Delebecque en 1925Ada ou l'Ardeur, © 1969, Vladimir Nabokov © Librairie Arthème Fayard, 1989, pour la traduction françaiseAda, or Ardor by Vladimir Nabokov, published by Vintage Books, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLCAda or Ardor © 1969, Vladimir Nabokov, used by permission of The Wylie Agency (UK) LimitedPhilip Pullman, La Trilogie de la Poussière, traduit de l'anglais par Jean Esch © Éditions Gallimard Jeunesse, 2017, pour la traduction françaiseLa Belle Sauvage Copyright © 2017 by Philip PullmanMarguerite Duras, Un barrage contre le Pacifique, © Éditions Gallimard, 1950

Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.000 = CBS Radio Mystery Theater, “Fallen Angel” (June 09, 1975)00:46:55.149 = The Whisperer, “Stanley Hayes Must Die By Midnight” (September 02, 1951) ***WD01:16:04.929 = 2000 Plus, “When Worlds Met” (May 03, 1950) ***WD (LQ)01:45:37.419 = The Unexpected, “Rematch” (ADU)02:00:38.869 = Unit 99, “Accident at 17th” (October 11, 1957)02:25:51.849 = Unsolved Mysteries, “The Lizzie Borden Case” (ADU) ***WD02:39:56.539 = Dark Venture, “Pursuit” (July 31, 1945) ***WD03:09:53.439 = Weird Circle, “Jane Eyre” (1943)03:34:58.749 = The Whistler, “Doublecross” (December 27, 1942)04:04:37.119 = Strange Wills, “The Girl in Cell 13” (September 21, 1946)04:34:29.999 = Witch's Tale, “Suicide” (January 22, 1937) ***WD04:59:44.979 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0263

Ready to get sleepy? Join Geoffrey by the fireside for an excerpt from Charlotte Brontë's beloved classic, Jane Eyre, which follows a young woman into adulthood, through the obstacles that life throws at her. In this excerpt, we follow Jane to her new position as the governess of an estate owned by the mysterious Mr Rochester.   Love Night Falls?

In episode 386 of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd dive into some of the most memorable moments in cinema history as they share their favorite scenes from iconic films like Pulp Fiction, Jane Eyre, Star Trek II: The Wrath of Khan, Pride and Prejudice, The Empire Strikes Back, Casablanca, Die Hard, Avengers: Endgame, and The Lord of the Rings: The Fellowship of the Ring. The conversation is a celebration of storytelling at its finest, filled with personal insights and heartfelt admiration for these classics. Tim the Nerd also gives a charming update on the podcast's feline mascots, Annie and Mimsy, who now enjoy unrestricted access to the bathroom—a new favorite hangout spot. Finally, Tim the Nerd discusses his excitement about snagging tickets for Cyndi Lauper's farewell tour. He reflects on her lasting impact on music, her quirky connection to professional wrestling, and how those memories led him to seize this once-in-a-lifetime concert experience. Tune in for thoughtful film discussion, delightful pet antics, and a trip down memory lane with a musical icon! As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Head to Friends Talking Nerdy's ⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

It's time for book number 2 in the Lady Janies series and much to your hosts surprise, its an anthology series! That's right, a whole new Jane and a whole new cast of characters to go on an adventure with. Meet Jane Eyre and her friend Charlotte Bronte (sounds familiar, right?) in a world of school and being poor, there's also ghosts! Like, a LOT of ghosts. Jane can see them! Charlotte cannot! Alexander also can and he's a ghost hunter. Tune in for the take on what ACTUALLY happened to Jane Eyre and her happily ever after. 

Noelle's birthday episode AND a Special Session?! Double specialness!! And that's why we thought it was time to talk about every literary inspiration behind Taylor's lyrics. Grab your tea and let's dive into some bookish parallels!

This week, Sally has been reflecting on her ‘orphan power', a phrase once applied to her by Will Self, and her relationship with orphaned literary characters such as Jane Eyre. Listen for a meditation on isolation, belonging, and the communities that art can provide. The extracts performed here involving Jane Eyre and Miss Marple are from Sally's first coming of age novel, Girl with Dove (William Collins, 2018). The wonderful piano music in the opening section is 'Rain', by Paul Sebastian. This episode was partially inspired by Sally being asked to speak at a symposium on ‘The Impact of Lived Experience on Care Associated Research by Care Experienced Researchers', convened by Dr Annie Skinner, a Visiting Research Fellow at Oxford Brookes University. More information on Dr Skinner's work can be found here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.    

 Listen to the Show Right Click to Save GuestsAustin Shakespeare Jane EyreBroadway in Austin Shucked  What We Talked AboutWonderful World Maybe Happy Ending New Theatre in London Fahrenheit 451 – Majok Cursed Into The Woods Broadway's Leading Men Theatre Superstitions Fiddler LA Broadway Grammys Standing Ovations La Paloma Project   Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)

From their remote Yorkshire parsonage, sisters Emily, Charlotte and Anne Brontë penned stories that would capture the imaginations of generations of readers. But how popular were books such as Jane Eyre and Wuthering Heights at the time? How did childhood games influence their Brontës' later writing? And how close can we get to their individual personalities? Speaking to Lauren Good, Claire O'Callaghan explores the lives of the literary sisters – from their Yorkshire upbringings to their tragic ends. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, as the last installment of our "Month of Macabre," Stauney and Sadie journey to the windswept moors of Yorkshire to uncover the haunting lives and works of the Brontë sisters—Charlotte, Emily, and Anne. Against the backdrop of a restrictive Victorian society, these sisters poured their passions and struggles into novels that challenged conventions and explored themes of love, resilience, and identity. We'll delve into how their unique family dynamics and the wild landscapes they called home shaped iconic works like Wuthering Heights and Jane Eyre. Join us as we celebrate the Brontës' enduring influence and explore why their stories continue to captivate readers today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is it a Gothic Romance series if we don’t wander the English moors? Of course not! Join our agents as they discuss Jane Eyre focusing on the 2011 movie and the book. While we like the moody story of Jane and her Mr. Rochester, we have a few suggestions for the next adaptation. Annette Wierstra with Heather Berberet and Moisés Chiullán.

Although their lives were filled with darkness and death, their love for stories and ideas led them into the bright realms of creative genius. They were the Brontes - Charlotte, Emily, and Anne - who lived with their brother Branwell in an unassuming 19th-century Yorkshire town called Haworth. Their house, a parsonage, sat on a hill, with the enticing but sometimes dangerous moors above and a cemetery, their father's church, and the industrializing town below. It was a dark little home, with little more than a roof to keep out the rain, a fire to keep things warm at night, and books and periodicals arriving from Edinburgh and London to excite their imagination. And from this humble little town, these three sisters and their active, searching minds exerted an influence on English literature that can still be felt nearly two hundred years later. [This is an ENCORE presentation of an episode from our archives. The episode originally ran on September 9, 2019.] Additional listening: The Brontes' Secret Scandal (with Finola Austin) 508 Byron (with David Ellis) 78 Jane Eyre and Other Favorites (with Margot Livesey) Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Music Credits: “Ashton Manor" and "Piano Between" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah, Erin, and Rachel “close the book” on their latest Lutheran Ladies' Book Club discussion with this episode on Johann Gerhard's Meditations on Divine Mercy, translated by the Rev. Dr. Matthew C. Harrison.   Can a 400-year-old prayerbook help Lutherans grow in their faith today? How can we more faithfully structure and prioritize our prayers to make the most of every moment before the throne of God? And how can such a tiny book take such a lot of time and effort to get through?   At the end of the episode, the Ladies announce their next book club pick: Charlotte Brontë's Jane Eyre.   Connect with the Lutheran Ladies on social media in The Lutheran Ladies' Lounge Facebook discussion group (facebook.com/groups/LutheranLadiesLounge) and on Instagram @lutheranladieslounge. Follow Sarah (@hymnnerd), Rachel (@rachbomberger), and Erin (@erinaltered) on Instagram! Sign up for the Lutheran Ladies' Lounge monthly e-newsletter here, and email the Ladies at lutheranladies@kfuo.org.

On this episode of Currently Reading, Kaytee and Roxanna are discussing: Bookish Moments: meeting bookish friends IRL and getting fun bookish mail Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: fall books that aren't spooky, scary or academia The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  1:57 - Our Bookish Moments of the Week 3:25 - Queen Books 7:21 - Amari and the Despicable Wonders by B.B. Alston 7:26 - Blackwell's UK 7:46 - The Swifts: A Gallery of Rogues by Beth Lincoln 7:50 - The Swifts: A Dictionary of Scoundrels by Beth Lincoln 8:04 - Silverborn by Jessica Townsend 8:21 - Heir by Sabaa Tahir 8:26 - Libro.fm 8:33 - Ember in the Ashes by Sabaa Tahir 9:06 - City of Brass by S.A. Chakraborty 10:00 - Our Current Reads 10:12 - Fellowship Point by Alice Eliott Dark (Roxanna) 15:07 - Lillian Boxfish Takes A Walk by Kathleen Rooney 16:11 - The Remains of the Day by Kazuo Ishiguro (Kaytee) 21:14 - The Second Ending by Michelle Hoffman (Roxanna) 22:49 - Where'd You Go, Bernadette? By Maria Semple 24:42 - The Return of Ellie Black by Emiko Jean (Kaytee) 24:50 - Tokyo Ever After by Emiko Jean 27:47 - Cold Blood Liar by Karen Rose 29:25 - Fifteen Dogs by Andre Alexis (Roxanna) 31:02 - Lord of the Flies by William Golding 31:03 - Animal Farm by George Orwell 34:14 - A Short Walk Through A Wide World by Douglas Westerbeke (Kaytee) 34:20 - Commonplace Books 36:09 - The Invisible Life of Addie LaRue by V.E. Schwab 36:49 - Currently Reading Patreon 38:55 - The Miraculous Journey of Edward Tulane by Kate DiCamillo 40:17 - Fall Books That Are Not Spooky 41:24 - Tom Lake by Ann Patchett 42:58 - Anne of Green Gables by L.M. Montgomery 43:28 - September by Rosamunde Pilcher 44:10 - Still Life by Louise Penny 44:54 - First Frost by Sarah Addison Allen (Amazon link) 45:08 - Practical Magic by Alice Hoffman 45:38 - Tell Me Everything by Elizabeth Strout 46:06 - Outlander by Diana Gabaldon 46:08 - The Other Boleyn Girl by Phillipa Gregory 46:12 - Pillars of the Earth by Ken Follett 46:30 - Drums of Autumn by Diana Gabaldon 47:22 - The Sunday Philosophy Club by Alexander McCall Smith 48:03 - The Song Collector by Natasha Solomons (Amazon link) 48:31 - The Dutch House by Ann Patchett 49:07 - Search by Michelle Huneven 49:45 - House Lessons by Erica Bauermeister 50:19 - The Lager Queen of Minnesota by J. Ryan Stradal 50:33 - Kitchens of the Great Midwest by J. Ryan Stradal 50:40 - Go as a River by Shelley Read 50:56 - Stardust by Neil Gaiman 51:02 - The Princess Bride by William Goldman 51:57 - Shady Hollow by Juneau Black 52:05 - Emily Wilde's Encyclopaedia of Faeries by Heather Fawcett 52:31 - The Guide by Peter Heller 52:41 - The Shadow of the Wind by Carlos Ruiz Zafon 53:20 - Jane Eyre by Charlotte Bronte 53:36 - The Night Circus by Erin Morgenstein 54:14 - Rebecca by Daphne Du Maurier 55:41 - Meet Us At The Fountain 57:15 - Tom Lake by Ann Patchett 57:22 - I wish you would consider re-reading books that bring you joy. (Roxanna) 58:03 - I wish to always have an “in case of emergency” book. (Kaytee) 58:17 - The Spellshop by Sarah Beth Durst 58:57 - Legends and Lattes by Travis Baldree 58:58 - A Psalm for the Wild Built by Becky Chambers 59:00 - Sipsworth by Simon Van Booy Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. October's IPL comes to us from our anchor store, The Novel Neighbor! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with Pride and Prejudice by Jane Austen on September 9th. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1Support the Show.

Welcome to Summer Session! During season 1, we read Jane Eyre by Charlotte Brontë. From now until September, we will be exploring Jane Eyre in once-a-week episodes which will drop on Mondays—sort of like a college class (only fun). If this doesn't sound like your thing, don't worry! Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair, and settle in. Class is in session.To submit a question or comment about this episode, click here: https://faithkmoore.com/contact/To join Faith's mailing list, click here: https://faithkmoore.us18.list-manage.com/subscribe?u=eca40a2fec1e3e83a6fddd1dd&id=b95e55dc51To learn more about your host, Faith Moore, click here: https://faithkmoore.com/Follow Faith on X here: https://twitter.com/FaithKMooreTo pick up a copy of Faith's novel, Christmas Karol, click here: https://www.amazon.com/Christmas-Karol-Faith-Moore/dp/195600730X/ref=sr_1_1?crid=1YRHLQI9V6R42&dib=eyJ2IjoiMSJ9.kpJhl6ky_GQKE-bHpXWA3LGdwOq-bsF5oqAlSe-60gYLvseG4FK30JDyreiGivQRPSMcAFsnrXZBTN8r1Flm0VqQ3tvIlg1mjpvQdhZWdghOWrM6UjtO516Rwbc88axfGyxywTl8gBmPVMyb_LgpLA.bhNGKhASVi7qQr7F4_PI6p4j2tOWPq5XPTNz3jvAA9I&dib_tag=se&keywords=christmas+karol+moore&qid=1705174736&sprefix=%2Caps%2C655&sr=8-1Support the Show.

 >> Get my new course: The PRONUNCIATION Course 2024! Visit: PronunciationCourse.com and get the course!