Podcast appearances and mentions of John Carey

Ian McMillan's guests this week are the singer and songwriter Richard Dawson, T.S. Eliot prize winning poets Jacob Polley and Sarah Howe and Children's Laureate Frank Cottrell Boyce - who celebrates Professor John Carey and the art of poetry criticism.Richard Dawson and Jacob Polley light up the past and make the future of energy and community life seem more real - by bringing their different sensibilities to 'Ancestral Reverb' - an album created by north east organisation 'Threads in the Ground' (directed by Adam Cooper). 'Ancestral Reverb' contains music spanning over 100 years, and the words of those connected to coal. DJ and producer Bert Verso sampled historic music for this album, and wove it through with his own new compositions. The records are embedded with fragments of coal. Richard Dawson's latest album is 'End of the Middle' and Jacob Polley's 'Hymn to Water' can be heard on BBC Sounds (www.bbc.co.uk/sounds/play/m002mw7t)Sarah Howe's new book is 'Loop of Jade' which beautifully takes on threads from her T.S. Eliot prize winning collection 'Loop of Jade'. Sarah explores a 'Neon Line' for us from the work of the American 20th century poet Elizabeth Bishop - a stand-out line that lets us into a poem. Sarah tells us about the power of the messy first draft, and where it can lead a poet.Children's Laureate, novelist and writer of the 2012 Olympic Opening Ceremony - Frank Cottrell Boyce celebrates the wit, generosity, and pithy opening sentences of Professor John Carey, whose distinctive voice as teacher, critic and broadcaster led so many into a deep engagement with poetry.Presented by Ian McMillan Produced by Faith Lawrence

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

Jon Kay on Fashion designer Antony Price who fused together the worlds of fashion and music in the 70s and 80sSister Stan Kennedy, the nun who founded one of Ireland's largest homelessness charitiesEna Collymore Woodstock, the Jamaican barrister and magistrate who throughout her career broke many barriers for women John Carey, the academic and former chief literary critic for The Times who took no prisoners with his reviews.Producer: Ed Prendeville Assistant Producer: Ribika Moktan Researcher: Jesse Edwards Editor: Glyn TansleyArchive Midweek: Professor John Carey, Benny Lewis, Eduardo Niebla, Lynn Ruth Miller, BBC Radio 4, 19/03/2014; The Verb (Week 10), BBC Radio 3, 13/03/2015; Meet the Author, BBC News, 20/03/2014; SAL Night 2020 – A Message From Sister Stan, Founder and President, Focus Ireland, YouTube, 16/10/2020; Redlight – Sr Stan Kennedy, YouTube (Immigration Council), 20/08/2018; Everyman: Ireland's Hidden People, BBC One, 24/04/1988; Mary H.R.H. Princess Royal, BBC Archive, 26/06/1940; Mortimer & Whitehouse: Gone Fishing – Gone Christmas Fishing, BBC Two, 13/12/2020

With her amazing new book, DANTE: THE ESSENTIAL COMMEDIA (Liveright), scholar Prue Shaw brings us a canto-by-canto journey through Dante's masterwork, interweaving translated verses with her commentary, and serving as a Virgil-like guide to the poem. We talk about how she was inspired by John Carey's The Essential Paradise Lost, why the Paradiso was her biggest challenge, how the poem has changed for her over the course of her life, and why she went with prose translations of Dante rather than verse. We get into Dante's balance of pride in his art and his humility before God, the modern sound of Dante's verse and the challenge of translating Italian into English, what she's learning from helping translate Shelley into Italian, why she wants The Essential Commedia to serve as a gateway drug into Dante, and the nature of language & why the Tower of Babel plays a big role in the Commedia. We also discuss her incredible work on third edition of the Digital Commedia, life after the death of her husband, Clive James, and putting a collection of his final poems together, how an issue of the X-Men turned me on to Dante as a kid, my changing views on Ulysses in the Commedia, why sloth is my fave of the deadly sins, and more. More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

In the latest episode of the Perth Property Show, host Trent Fleskens welcomes Brendon Ptolomey for a comprehensive quarterly market update. Key talking points include the impact of the 5% First Home Buyer Guarantee Scheme, activities and trends in Perth's spring selling season, and the effects of stable interest rates on the property market. Discussion covers current stock levels, land availability issues, and rising property values due to increased demand. Also examined are the implications of John Carey's plan to increase housing density around train stations. The episode concludes with projections on market trends and interest rates, along with the role of immigration in sustaining Perth's property growth.

Ella Loneragan and Same Jones discuss the prevailing ideas from Committee for Perth's 2050 Summit. Plus: Roger Cook eyes major project funding; John Carey backs housing diversity; BCA urges tax and red-tape reform.

The Book of Lecan Conference During this two-day event in October 2025, speakers explored the production of the Book of Lecan or Leabhar Mór Lecain, its scribes and patrons, and the texts contained within the manuscript. The manuscript known as the Book of Lecan (Leabhar Mór Lecain) was created in Co. Sligo in the early fifteenth century. It contains a large amount of genealogical material, especially relating to the families with which the scribes were associated, as well as historical, biblical and hagiographical material. Included are a Dindshenchas, Bansenchas, and versions of Lebor Gabála, Uraicept an nÉces, Cóir Anmann, and Book of Rights. The conference papers shared new insights into how the manuscript was produced, its history of ownership and the significance of the various texts found within the compilation. The event was a collaboration between the Royal Irish Academy, Maynooth University, and the Dublin Institute for Advanced Studies. Recordings have some of the lectures have been made available, subject to the presenters' consent. It is hoped that the proceedings of this conference will be published as part of the Codices Hibernenses Eximii series in due course. Thursday 2 October 2025 2.00 pm Making the Book of Lecan - Pádraig Ó Macháin 2.45 pm The Later History of the Book of Lecan - Bernadette Cunningham 3.30 pm Coffee break 4.00 pm Poets and Poetry in the Book of Lecan - Elizabeth Boyle 4.45 pm Lebor Bretnach and the International Perspective of the Book of Lecan - Patrick Wadden Friday 3 October 2025 9.30am A History of the Men of Britain: Text and Context - Alex Woolf 10.15 am Lebor na Cert: a “Grossly Overrated” Text? - Seán Ó Hoireabhárd 11.00 am Coffee break 11.30 am Gilla Íosa Mór: Pseudohistorian - John Carey 12.15 pm Shaping Dindshenchas Érenn: What the Book of Lecan Version Reveals - Máire Ní Mhaonaigh and David McCay 1.00 pm Lunch 2.30pm A Return to Cóir Anmann: its Etymologies, its Date and the Book of Lecan Text - Sharon Arbuthnot 3.15pm The Book of Lecan's Secular Genealogies (especially those of Connacht) - Nollaig Ó Muraíle 4.00 pm “A Splendid Family Heirloom”: Manuscript Illumination and the School of Lecan - Karen Ralph

I was delighted to talk to Rhodri Lewis, author of Shakespeare's Tragic Art. We discussed Shakespeare's most under appreciated plays, the best films, how to teach Shakespeare, humanism, personae, Frank Kermode, the future of the humanities, being supervised by John Carey, A.C. Bradley, what we have learned about Francis Bacon, and more. There's a transcript below and you can also watch the whole conversation on YouTube if you wish. We also covered Rhodri's love of Pevsner architectural guides.Timestamps00:00:00 Introduction00:00:21 Shakespeare's best and worst plays00:03:14 Performing Shakespeare00:07:33 Pragmatism00:09:13 Early experiences with Shakespeare00:13:52 Teaching Shakespeare00:17:08 Taming of the Shrew, Romeo and Juliet00:19:38 Which five critical works?00:23:37 Francis Bacon00:31:31 What have we learned about Shakespeare?00:34:32 Too much Shakespeare?00:41:57 Tragedy00:49:04 Humanism00:54:00 Kermode01:03:59 Quickfire questions 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

September 3, 2025 ~ Chris, Lloyd, and Jamie are joined by John Carey, event organizer of Ireland Bridges Beyond Boxing, to preview Detroit vs. Ireland at Bert's Warehouse Theatre!

The lads jetted off to sunny Innsbruck in Austria to get you updates on the latest bone research. We talked to John Carey about the best way to use DEXA in clinics and Mone Ziadi about a new treatment for early menopause.

The lads jetted off to sunny Innsbruck in Austria to get you updates on the latest bone research. We talked to John Carey about the best way to use DEXA in clinics and Mone Ziadi about a new treatment for early menopause.

On 3rd or 4th July 1594, Catholic priest John Cornelius was executed at Dorchester, along with three loyal men: Thomas Bosgrave, John Carey, and Patrick Salmon. Their crime? Helping a priest in Protestant Elizabethan England. In today's video, I share the story of John Cornelius—from his Irish-Cornish roots and education at Oxford, to his exile, priesthood, arrest at Chideock Castle, and eventual execution. A tale of courage, faith, and one man's final decision to become a Jesuit before facing death.   A sobering glimpse into the dangers faced by Catholics in Tudor England.   Subscribe for more true stories from Tudor history: betrayals, bravery, reform, rebellion—and everything in between.   #TudorHistory #CatholicMartyrs #ElizabethI #JohnCornelius #TudorExecutions #ChideockCastle

Meg Remy from U.S. Girls makes her sixth appearance on this show to discuss Scratch It, her twin boys' interest in sports, the influence that John Carey's book Eyewitness To History had on her latest songs, remembering her late friend Riley Gale of the band Power Trip and reflecting upon death, celebrating and working with the great Toronto songwriter Alex Lukashevsky, the xenophobic trap that Donald Trump has set and avoiding the shaming that nationalism inspires, not meeting Patti Smith at a show they both played, a Nashville adventure featuring the legendary Charlie McCoy, the song and video for “Bookends,” writing new songs, touring, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Patti Smith (2007)Ep. #757: U.S. GirlsEp. #632: Meg RemyEp. #532: U.S. GirlsEp. #407: U.S. GirlsEp. #279: U.S. GirlsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

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Lester Crafton and John Carey back to Pony Tales for nearly three hours of straight-through conversation. They start with the job that first put them on doorsteps and finish in the middle of a national-grid debate, showing—step by step—how those early summers shaped everything that came after.Lester explains the moment he realised energy was the thread connecting almost every modern problem and why he left residential solar to focus on utility-scale projects. John walks through the hard lessons of appointment setting, the day a remote firmware update shut off power to his own house, and the reason rural co-ops care more about peak-demand penalties than slick marketing. Together they break down how portable “energy trailers” can back up disaster zones, soak up excess midday solar and even feed power back to transformers that would otherwise overload at five p.m.The conversation drifts—from the first time either of them heard the phrase “grid security,” to an early field test where three kinds of solar modules were bolted to the same roof just to see what would survive a Carolina summer. Along the way they trade stories: a cash quote so high a homeowner laughed out loud, a USDA grant that sat frozen for a year, and the drone-monitored micro-grid they built as a sandbox for every new inverter they could find.By the last hour the talk shifts to leadership and culture: why commissions alone never keep a team together, how emotional intelligence shows up in metrics-driven sales, and the simple coaching habits—borrowed straight from the book field—that still anchor their companies today.It is equal parts technical deep-dive and field-tested mindset, and it shows exactly how two former door-to-door reps ended up solving problems that touch the U.S. power grid. Stream the full episode to see how it all connects.Big thanks to our sponsors over at Cardinal Senior Insurance — and shoutout to everyone who's been supporting the show!Get a sit down with their leadership and ⁠⁠⁠⁠⁠schedule an Interview with Cardinal Senior Benefits⁠⁠Get info about BIZZLER in Greece here: ⁠⁠⁠cassandra@travodyssey.com⁠Welcome to The Pony Tales Podcast, where we dive into the inspiring stories and unique experiences of Southwestern Advantage alumni. Each episode features candid conversations with former book-sellers, exploring how their time selling books shaped their personal and professional lives. From incredible career journeys to valuable life lessons, our guests share the habits, mindset, and challenges that led them to success. Whether you're a former book-seller or just looking for some motivation and wisdom, you'll find something to relate to and learn from in every episode.

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

At the 100 day mark of Donald Trump's second term as president, the political scientists at Bright Line Watch released their 25th report on the state of American democracy entitled “Threats to democracy and academic freedom after Trump's second first 100 days.” Based on polling both experts (760 political scientists) and the public (representative sample of 2000 Americans), the Bright Line Watch researchers find that the Trump administration has challenged constitutional and democratic norms on a wide range of issues, including the scope of executive power and the authority of courts to check it, individual freedom of expression, due process and habeas corpus, immigration, and academic freedom. In this episode of POSTSCRIPT: Conversations on Politics and Political Science, two of Bright Line Watch's co-directors analyze the latest report – and what it means for American democracy. Topics include democratic performance, threats to democracy and academic freedom and self-censorship. Dr. John Carey (he/him) is the Wentworth Professor in the Social Sciences at Dartmouth College. He is the author of 6 books and dozens of articles on democratic institutions, representation, and political beliefs. Dr. Gretchen Helmke is the Thomas H. Jackson Distinguished University Professor in the Department of Political Science and faculty director of the Democracy Center at the University of Rochester. Her research focuses on democracy and the rule of law in Latin America and the United States. Her new co-authored article definition and measuring democratic norms is forthcoming in the Annual Review of Political Science. She has been named a Guggenheim Fellow for 2025. Mentioned: Bright Line Watch's April 2025 report, Threats to Democracy and Academic Freedom after Trump's Second First 100 Days (based on parallel surveys of 760 political scientists and a representative sample of 2,000 Americans fielded in April). Bright Line Watch homepage with data and past reports John Carey on NPR's All Things Considered, 4/22 discussing the latest report. Adam Przeworski's Substack Diary (free to subscribe and read) Democratic Erosion Project (with dataset that Gretchen mentioned) Susan's New Books Network conversation with Dr. Sue Stokes on the importance of integrating comparative politics and American politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Como cada semana llega la actualización de la lista de éxitos de Smooth Jazz para la comunidad hispana. Nuevas entradas y nuevo número 1 𝗧𝗵𝗲 𝗢𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗦𝗺𝗼𝗼𝘁𝗵 𝗝𝗮𝘇𝘇 𝗦𝗶𝗻𝗴𝗹𝗲𝘀 𝗖𝗵𝗮𝗿𝘁 𝗙𝗼𝗿 𝗦𝗽𝗮𝗶𝗻 & 𝗟𝗮𝘁𝗮𝗺 𝗦𝗲𝗺𝗮𝗻𝗮 𝗱𝗲𝗹 𝟮𝟴 𝗗𝗘 𝗔𝗕𝗥𝗜𝗟| 𝗙𝗼𝗿 𝗔𝗣𝗥𝗜𝗟 𝟮𝟴𝗧𝗛 Congratulations 𝗣𝗔𝗨𝗟 𝗧𝗔𝗬𝗟𝗢𝗥, our new TOP 1 Congratulations to everyone that made it into this week’s Top 100! 𝗡𝗘𝗪 𝗧𝗢 𝗧𝗛𝗘 𝗧𝗢𝗣 𝟭𝟬𝟬 🔊 097.- BUMPER TO BUMPER - Four80East 🔊 096.- MY ONE - Wowo Mndau 🔊 092.- CLOSE TO YOU - Madz 🔊 090.- YOU - Ryan La Valette Ft. Ellen Cato 🔊 086.- PRICELESS - Lars Taylor 🔊 084.- BROKEN PROMISES - Bossa Nova Noites 🔊 081.- SWAY - Reina Shimizu 🔊 𝗛𝗜𝗧𝗦 𝗕𝗬 𝗬𝗢𝗟𝗔𝗡𝗗𝗔 𝗖 𝗠𝗨𝗦𝗜𝗖 𝗣𝗜𝗟𝗟𝗦 🔊 KIM WATERS 𝗕𝗬 𝗙𝗥𝗔𝗡𝗖𝗜𝗦𝗖𝗢 𝗦𝗔𝗡𝗖𝗛𝗘𝗭 𝗦𝗨𝗣𝗘𝗥 𝗖𝗟𝗔𝗦𝗦𝗜𝗖𝗦 🔊 TEDDY PENDERGRASS 𝗕𝗬 𝗖𝗔𝗣𝗜𝗧𝗔𝗡 𝗝𝗔𝗭𝗭 𝗥𝗜𝗚𝗛𝗧 𝗢𝗡 𝗧𝗛𝗘 𝗘𝗗𝗚𝗘 𝗢𝗙 𝗕𝗘𝗖𝗢𝗠𝗜𝗡𝗚 𝗖𝗛𝗔𝗥𝗧-𝗧𝗢𝗣𝗣𝗜𝗡𝗚 𝗛𝗜𝗧 🔊 Mindi Abair - Oooh-Aah (Catalina) 🔊 Willie Bradley - All For You Ft. Walter Beasley 🔊 Lee Jones - Under The Moonlight Ft. John Carey 🔊 Pat Petrillo - Summer In Philly Ft. Will Donato 🔊 De-Phazz - Bandmate Ft. Joo Kraus 🔊 Ronny Smith - Crusin' 🔊 Tony Exum Jr - And The Story Goes 🔊 Carlos Camilo - Forgotten Dreams 🔊 Castella - Hurt So Bad 🔊 Sean U - Handcrafted 🔊 Shawn De Lacy - Charisma 🔊 Azimuth - Andarai 🔊 Keith Fiala, Billy Denk, Sean O'bryan Smith - Oceanside Highway 🔊 Fran Cisko - Funky Wave 🔊 Randy Jacobs - Electrify And Satisfy 𝗡𝗘𝗪 𝗧𝗢 𝗧𝗛𝗘 𝗧𝗢𝗣 𝟮𝟬 🔊 020.- SHINING - Evan Taylor 🔊 016.- SO NATURALLY - LinRountree 𝗧𝗢𝗣 𝟭 🔊 001.- FOREVER MORE - Paul Taylor

Discover how EG America's president and CEO John Carey is reshaping company culture as the foundation for transformation across convenience retail. Carey and hosts Harry Milloff and Carolyn Schnare dive into the intersection of design, digital tools, and customer engagement. Hear how EG America is aligning food, AI, localization, and loyalty to build stores that are destinations—not just stops. With special guest: Jon Carey, President and CEO, EG America Hosted by: Harry Milloff and Carolyn Schnare

Ben is joined by John Carey to discuss how you design an electoral system for a new democracy - what factors are most important to producing a healthy and sustainable democracy, and how might those requirements change over time? This podcast is supported by the Tally Room's supporters on Patreon. If you find this podcast worthwhile please consider giving your support. You can listen to an ad-free version of this podcast if you sign up via Patreon for $8 or more per month. And $8 donors can now join the Tally Room Discord server.

In this episode of Biblical Christian Disciplines, we explore the vital role of discipline in evangelism. Our guest, John Carey, Deacon of the Evangelism Ministry at Indian Hills Community Church, shares insights on how consistent gospel outreach transforms lives—both for those sharing their faith and those hearing it.We discuss:✅ What biblical evangelism really is (and how it differs from just sharing our story)✅ Practical guidance from Scripture on how to share the gospel effectively✅ Common obstacles that hinder Christians from evangelizing—and how to overcome them✅ The crucial role of prayer and dependence on the Holy Spirit in evangelism✅ How the church can equip and support believers in fulfilling the Great CommissionIf you want to grow in gospel boldness and discipline, this episode is for you!00:00 Welcome to the Sound Words Podcast01:17 Evangelism Stories05:52 Building Relationships Through Evangelism11:46 Personal Testimony vs the Gospel16:37 Common Obstacles Preventing Evangelism 18:54 Encouraging the Discouraged22:24 Prayer and the Holy Spirit in EvangelismSound Words is a ministry of Indian Hills Community Church, a Bible teaching church in Lincoln, NE. Sound Words is also a partner of Foundations Media, a collective of Christian creators passionate about promoting biblical theology and applying it to everyday life. Learn more at https://foundationsmedia.org. Follow on Instagram Follow on Facebook Follow on YouTube Follow on Twitter Follow on Threads Visit https://ihcc.org

Eva Tanguay har beskrivits som USA:s första rockstjärna, men så hade ingen varit lika utlevande på scen som hon i början av 1900-talet. Lyssna på alla avsnitt i Sveriges Radio Play. I Don't Care hette Eva Tanguays stora hit som bidrog till att hon i början av 1900-talet var en av de allra mest populära artisterna i USA. Kritiker kallade hennes sångstil för ”olyssningsbar”, ”hemsk” och ”som att skriva med krita på svarta tavlan”, ett gnisslande läte. Och hur betedde hon sig egentligen på scen? Var hon nästan naken?Men vad svarade Eva Tanguay på det om inte ”I don't care!”. Och det gjorde inte publiken heller. Hon blev en av de bäst betalda artisterna i USA. Och en av de första ”personligheterna”, en kvinna man gillade att följa och titta på, oavsett vad hon hittade på.I veckans program berättar journalisten och författaren vad David Hajdu vad det var som gjorde Eva Tanguay så radikal för sin tid. Tillsammans med John Carey har han skapat serieboken A Revolution in Three Acts: The Radical Vaudeville of Bert Williams, Eva Tanguay, and Julian Eltinge.Vi tittar också närmare på en modern arvtagare till Tanguay – Sabrina Carpenter. Journalisten Helle Schunnesson berättar hur hon lyckas balansera sexighet med humor och glimten i ögat, precis som Eva Tanguay. Och så berättar Karina Ericsson Wärn, rektor på Beckmans designhögskola, hur den spanska modeskaparen Pacco Rabanne 1966 chockade modevärlden genom att skapa klänningar av metall, något han hade gemensamt med Eva Tanguay.

John Carey; David Margam; Jorge Pinelo – Smile – 3:59 Jaco Pastorius; Jimmy Haslip – Havona – 5:20 The Lao Tizer Band; Elliott Yamin; Eric Marienthal; Chieli Minucci – Why – 7:18 Tracy Carter – It Is Finished – 5:57 Michael Lington – On The Scene – 4:21 Gregg Karukas – Soul Kisses – 4:25 […]

Before getting into the specific notes of this week's episode, I want to announce that this episode, on this date, marks the 2-year anniversary of Sexual Assault Survivor Stories, the SASS podcast! To all of you guests that are permanent members of the SASS family, and to all of you in the audience who listen occasionally or to every single episode, a huge note of gratitude to you from me, thank you and HAPPY ANNIVERSARY!! This is the wrap-up episode of John Carey's 3-part series on this show…the closing of what has been one of the most difficult to hear stories of what can only be described as pure, horrific, family disfunction. From infancy to age 4, from what John remembers, his life was pretty good. Normal, by most standards. Certainly not abusive or damaging. But all that changed when John turned 4 and both parents suffered devasting, life-changing, brain injuries in that same year. That started what became a life of misery, poverty, physical abuse, mental anguish, filthy living conditions, rape, and sexual assault. And it didn't let up until John left that horrific environment when he was old enough to leave. If you haven't heard Episodes 108 and 109, I strongly encourage you to listen to those episodes prior to listening to this one. But if you're not inclined to do that, or just don't have the time, don't let that stop you from listening to this episode. Here, John brings everything together, and he does it in such a way that you feel a sense of amazing accomplishment and success on John's part. And well deserved that accomplishment and success are. Please go back and read the episode notes for the previous two episodes and learn about just a small part of what John has accomplished. John is nothing short of remarkable. If you care to reach out to John and thank him for his time and fortitude in telling his story, you can do so by emailing me Please rate this show and hit the subscribe button to be set up to receive a new episode weekly. Your positive ratings help this podcast grow and expand to new listeners. Ultimately it all adds up to help bring justice to victims and survivors of rape and sexual assault; because we all know someone whose life has been impacted by rape or sexual assault. Here are some important links I hope you will take the time to explore and subscribe to also: #kevintaylor #arcigrey #thrivivors #thejanbrobergfoundation #janbroberg #safeinharmsway #epizonstrategy #intentionallyfearless #thelastimsorry #feelingsmall #sasspodcast #traumainformed #sexualassaultsurvivorstories #traumainformedexpert #sexassaultvictim #survivorsunite #rapevictim #sexualassaultsurvivorstories #podcast #markelconsulting #jessicapridelawfirm #gettraumainformed #safeinharmsway #projectbeloved #saan #irishangel #crimevictimsassistancecenter #coloradoassociationofsexcrimeinvestigators #girlsfightback #outdoordefense #worthfightingfor #thejanbrobergshow #thrivivors #thejanbrobergfoundation #sassyselfdefenseguide #badassselfdefense #imworthfightingfor #vawa #ashforduniversity #amandacoleman #remembermolly #fightrapeculture #forcescience

It is a pleasure and an honor to re-introduce to you my guest this week for Part 2 of this multi-episode experience: Daniel John Carey. John is a renowned author, screenwriter, actor, voice actor, director, and filmmaker. John has published several books, two of which I can attest to you as being exceptional and life enhancing:  Dream Your World and Dream Another Dream. All of this makes John sound refined and polished and extremely together. And on many levels, he is: he is accomplished, sought after, and has received numerous accolades. And he'll also be the first to say that because of his traumas and horrific experiences growing up, and as an adult looking to make his mark on the world, he struggles with PTSD and battles every day to maintain his sense of accomplishment and balance. He states, in fact, that he wrote his book, Dream Another Dream as a guide for his own life moving forward. In his social media posts, he also shares his battles of overcoming adversity and finding purpose on a daily basis. John was raised in an extremely dysfunctional household due to both parents having experienced relatively severe brain traumas when John was only 4 years old. How these closed-head injuries impacted John and his siblings makes for lives marked by poverty, child abuse, and child sexual assault; John's young life was a constant struggle. This is Part 2 of a multi-part series, in which John describes, in detail, story upon story upon story, his personal experiences and the impacts, both positive and negative, those experiences have on his life. It is all gripping, compelling, and yes, at times hard to hear. But this podcast is dedicated to “normalizing” the conversation, so it is an honor to be able to present these episodes for you. Please rate this show and hit the subscribe button to be set up to receive a new episode weekly. Your positive ratings help this podcast grow and expand to new listeners. Ultimately it all adds up to help bring justice to victims and survivors of rape and sexual assault; because we all know someone whose life has been impacted by rape or sexual assault. Here are some important links I hope you will take the time to explore and subscribe to also: https://arcigrey.com #kevintaylor #arcigrey #thrivivors #thejanbrobergfoundation #janbroberg #safeinharmsway #epizonstrategy #intentionallyfearless #thelastimsorry #feelingsmall #sasspodcast #traumainformed #sexualassaultsurvivorstories #traumainformedexpert #sexassaultvictim #survivorsunite #rapevictim #sexualassaultsurvivorstories #podcast #markelconsulting #jessicapridelawfirm #gettraumainformed #safeinharmsway #projectbeloved #saan #irishangel #crimevictimsassistancecenter #coloradoassociationofsexcrimeinvestigators #girlsfightback #outdoordefense #worthfightingfor #thejanbrobergshow #thrivivors #thejanbrobergfoundation #sassyselfdefenseguide #badassselfdefense #imworthfightingfor #vawa #ashforduniversity #amandacoleman #remembermolly #fightrapeculture #forcescience

It is a pleasure and an honor to introduce to you my guest for the next several episodes of this multi-episode experience: Daniel John Carey. John is a renowned author, screenwriter, actor, voice actor, director, and filmmaker. John has published two books (which I read portions of almost daily as part of my personal life-enhancing journey) All of that makes John sound refined and polished and extremely together. And on many levels, he is: he is accomplished, sought after, and has received numerous accolades. And he'll also be the first to say that because of his traumas and horrific experiences growing up, and as an adult looking to make his mark on the world, he struggles with PTSD and battles every day to maintain his sense of accomplishment and balance. He states, in fact, that he wrote his book, Dream Another Dream as a guide for his own life moving forward. In his social media posts, he also shares his battles of overcoming adversity and finding purpose on a daily basis. John was raised in an extremely dysfunctional household due to both parents having experienced relatively severe brain traumas when John was only 4 years old. How these closed-head injuries impacted John and his siblings makes for lives marked by poverty, child abuse, and child sexual assault; John's young life was a constant struggle. This is Part 1 of a multi-part series, in which John describes, in detail, story upon story upon story, his personal experiences and the impacts, both positive and negative, those experiences have on his life. It is all gripping, compelling, and yes, at times hard to hear. But this podcast is dedicated to “normalizing” the conversation, so it is an honor to be able to present these episodes for you. Please rate this show and hit the subscribe button to be set up to receive a new episode weekly. Your positive ratings help this podcast grow and expand to new listeners. Ultimately it all adds up to help bring justice to victims and survivors of rape and sexual assault; because we all know someone whose life has been impacted by rape or sexual assault. Here are some important links I hope you will take the time to explore and subscribe to also: https://arcigrey.com #kevintaylor #arcigrey #thrivivors #thejanbrobergfoundation #janbroberg #safeinharmsway #epizonstrategy #intentionallyfearless #thelastimsorry #feelingsmall #sasspodcast #traumainformed #sexualassaultsurvivorstories #traumainformedexpert #sexassaultvictim #survivorsunite #rapevictim #sexualassaultsurvivorstories #podcast #markelconsulting #jessicapridelawfirm #gettraumainformed #safeinharmsway #projectbeloved #saan #irishangel #crimevictimsassistancecenter #coloradoassociationofsexcrimeinvestigators #girlsfightback #outdoordefense #worthfightingfor #thejanbrobergshow #thrivivors #thejanbrobergfoundation

Nadia Budihardjo and Tom Zaunmayr discuss an ambitious plan to improve Australia's bequest rate. Plus all the latest on a $360 million Cottesloe development; John Carey's hostilities with Basil Zempilas; and Fremantle's historic Forthergill's building sold.

September 6, 2024 ~ There's a one-of-a-kind boxing event tonight at Bert's Warehouse Theatre in Eastern Market! Guy, Lloyd, and Jamie talk with the co-founders of Bridges Beyond Boxing, John Carey and Spike Martin, as well as 15-year-old DeRay Dixon from Detroit and 18-year-old Tadgh O'Donnell from Ireland, about the exchange program that connects the U.S. and Ireland through sports.

This is episode 694. Read the complte transcription on the Sales Game Changers Podcast website. Register for the September 13 Women in Sales Leadership Elevation Conference here. Register for the IES Women in Sales Leadership Development programs here. Today's show featured an interview with Sales Leader John Carey, VP WW Alliances & Channels at SAS. JOHN'S ADVICE:  “Stay abreast of the industry news. Find out what your customers are reading or listening to in order to better understand them. Sales is always going to be, whether it's virtual or physical, a person-to-person activity. If we can be authentic and customer-focused, with that knowledge behind us so that we earn the value that we bring in order to have that engagement with the client, it's a winning strategy.”      

Dr John Carey of the Corncrake LIFE programme discusses how working with famers and landowners has led to a recovery in orncrake numbers.

fWotD Episode 2610: Arnold Bennett Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 27 June 2024 is Arnold Bennett.Enoch Arnold Bennett (27 May 1867 – 27 March 1931) was an English author, best known as a novelist who wrote prolifically. Between the 1890s and the 1930s he completed 34 novels, seven volumes of short stories, 13 plays (some in collaboration with other writers), and a daily journal totalling more than a million words. He wrote articles and stories for more than 100 newspapers and periodicals, worked in and briefly ran the Ministry of Information in the First World War, and wrote for the cinema in the 1920s. Sales of his books were substantial, and he was the most financially successful British author of his day.Born into a modest but upwardly mobile family in Hanley, in the Staffordshire Potteries, Bennett was intended by his father, a solicitor, to follow him into the legal profession. He worked for his father before moving to another law firm in London as a clerk aged 21. He became assistant editor and then a women's magazine editor before becoming a full-time author in 1900. Always a devotee of French culture in general and French literature in particular, he moved to Paris in 1903; the relaxed milieu helped him overcome his intense shyness, particularly with women. He spent ten years in France, marrying a Frenchwoman in 1907. In 1912, he moved back to England. He and his wife separated in 1921 and he spent the last years of his life with a new partner, an English actress. He died in 1931 of typhoid fever, having unwisely drunk tap water in France.Many of Bennett's novels and short stories are set in a fictionalised version of the Staffordshire Potteries, which he called The Five Towns. He strongly believed that literature should be accessible to ordinary people and lamented literary cliques and élites. His books appealed to a wide public and sold in large numbers. For this reason and his adherence to realism, writers and supporters of the modernist school, notably Virginia Woolf, belittled him, and his fiction became neglected after his death. During his lifetime his journalistic "self-help" books sold in substantial numbers, and he was also a playwright; he did less well in the theatre than with novels but achieved two considerable successes with Milestones (1912) and The Great Adventure (1913).Studies by Margaret Drabble (1974), John Carey (1992), and others have led to a re-evaluation of Bennett's work. His finest novels, including Anna of the Five Towns (1902), The Old Wives' Tale (1908), Clayhanger (1910) and Riceyman Steps (1923), are now widely recognised as significant works.This recording reflects the Wikipedia text as of 01:18 UTC on Thursday, 27 June 2024.For the full current version of the article, see Arnold Bennett on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Ruth.

This is the full show for April 26, 2024. We ask the American Mamas when SNL will parody John Carey and his climate change predictions. We Dig Deep into Trump's immunity case and possible outcomes. Plus, it's Fake News Friday! And we finish off with a school that made a discovery that will you say, "Whoa!" 

This is the full show for April 12, 2024. We ask the American Mamas when SNL will parody John Carey and his climate change predictions. We Dig Deep into a Wall Street Journal poll and what it suggests about Trump's chances in the election this fall. Plus, it's Fake News Friday! And we finish off with a deep sea fishing trip with an ending that will make you say, "Whoa!" 

Software manufacturers routinely tie up with resellers to get their foot into the federal market. So why would a software company that is already in every department, sign-up with another reseller after 50 years in the market? It may have to do with artificial intelligence. For more on software distribution and technology trends, Federal Drive Host Tom Temin talked with the Vice President of Global Channels for SAS, John Carey. And with the VP of Intelligence and Innovative Solutions at Carahsoft, Michael Shrader. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Software manufacturers routinely tie up with resellers to get their foot into the federal market. So why would a software company that is already in every department, sign-up with another reseller after 50 years in the market? It may have to do with artificial intelligence. For more on software distribution and technology trends, Federal Drive Host Tom Temin talked with the Vice President of Global Channels for SAS, John Carey. And with the VP of Intelligence and Innovative Solutions at Carahsoft, Michael Shrader. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Carey, Professor in Medicine at University of Galway and Consultant Physician at Galway University Hospitals

Today, you'll learn about the hunt for the elusive sixth taste, a new discovery showing how HIV keeps fighting the immune system even with effective treatment, and the altruism of bees. Sixth Taste “And then there were 6 - kinds of taste, that is.” by Darrin S. Joy. 2023. “How does our sense of taste work?” NIH. 2020. “Researchers Say Ammonium Is the Sixth Basic Taste: Here's What to Know.” by Julia Ries. 2023. HIV Immunity Battle “‘Dormant' HIV has ongoing skirmishes with the body's immune system.” by John Carey. 2023. “10 Things to Know About HIV Suppression.” NIH. 2020. “Spontaneous HIV expression during suppressive ART is associated with the magnitude of function of HIV-specific CD4 and CD8 T cells.” by Mathieu Dube, et al. 2023. Altruistic Bees “Honey bees may inherit altruistic behavior from their mothers.” by Katie Bohn. 2023. “Beyond conflict: Kinship theory of intragenomic conflict predicts individual variation in altruistic behaviour.” by Sean T. Bresnahan, et al. 2023. Follow Curiosity Daily on your favorite podcast app to get smarter with Calli and Nate — for free! Still curious? Get exclusive science shows, nature documentaries, and more real-life entertainment on discovery+! Go to https://discoveryplus.com/curiosity to start your 7-day free trial. discovery+ is currently only available for US subscribers. Hosted on Acast. See acast.com/privacy for more information.

"What have you been WATCHING, lady?" my guest, John Carey, to me. This episode of Stranger Connections podcast is about the Hollywood writer and actor strike. I was lucky enough to find an insider who shares behind-the-scenes of behind the scenes action (or lack thereof) in Hollywood. John Carey (author Daniel John Carey) talks about how he helps writers and producers polish their screenplays, scripts and various writing for filmmaking.What is it like to tweak scripts to get ready for the actual filming of a movie?Do reviews of movies matter?What are the changes since the Hollywood strike?What scene was John Carey seen in, in Terminator 2?Thoughts on sex, violence, and weapons in movies . . . will you agree?Connect with John Carey (Daniel John Carey) on Facebook and TwitterBooks: Screenwriting Tribe by Daniel John Carey, Workshop Handbook for Writing and Polishing Film and TV Spec Scripts, Dream Your World, Plant-Based Food Consumption.

John Carey Ollamh sa Scoil Leighis in Ollscoil na Gaillimhe ag labhairt faoi Lá Domhanda Oistéapóróis.

John Carey, Professor in Medicine at University of Galway and Consultant Physician at Galway University Hospitals

We have a message that can save people from eternal suffering in hell! But not everyone wants to hear it. How should we go about sharing this message of salvation with the lost? In this episode, John Carey, Mike Jeffers, and Jack McGovern from Indian Hills Community Church share their best experiences and wisdom regarding day-to-day evangelism. They discuss how every Christian can deliver the gospel of Jesus Christ in simple, powerful, and effective ways.Sound Words is a ministry of Indian Hills Community Church, a Bible teaching church in Lincoln, NE. Follow on Instagram Follow on Facebook Follow on YouTube Follow on Twitter Follow on Threads Visit https://ihcc.org

Dr John Carey, National Parks and Wildlife Service, explains why Ireland's corncrake population is increasing.

John Carey is Professor of Government at Dartmouth College and is a co-founder of Bright Line Watch, a research group which monitors threats to American democracy. In this week's conversation, Yascha Mounk and John Carey discuss whether recent publications casting doubt on the extent of democratic erosion have any merit; why many Americans believe the charges against former President Trump to be politically motivated; and why, no matter the outcome, indicting a former president may trigger a cycle of retaliatory prosecutions. This transcript has been condensed and lightly edited for clarity. Please do listen and spread the word about The Good Fight. If you have not yet signed up for our podcast, please do so now by following this link on your phone. Email: podcast@persuasion.community  Website: http://www.persuasion.community Podcast production by John Taylor Williams, and Brendan Ruberry Connect with us! Spotify | Apple | Google Twitter: @Yascha_Mounk & @joinpersuasion Youtube: Yascha Mounk LinkedIn: Persuasion Community Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

A nurse entered the hospital room to get John Carey's body ready for the morgue.  In the hospital for days with kidney disease, he was presumed dead but in fact John was very much alive.  As the nurse approached him, he moved his eyes causing her to jump across the room.  Later that afternoon he walked out of the hospital and drove himself home.  This is only one of many incredible events that define John's life to date.  Hear more, from his troubled childhood, to his trek to Los Angeles where he found work as a butler, a limousine driver and as a founder of a magazine, among other things.  John is the author of three books, Dream Another Dream , Dream your World and Plant-Based Regenerative Nutrition.  You can follow John on Twitter.

John, Emily and David discuss Biden's approval numbers, authoritarianism on the rise, and they are joined by author Jay Caspian Kang to talk about his new book, The Loneliest Americans.Here are some notes and references from this week's show:FiveThirtyEight, Latest Polls Isaac Chotiner for the New Yorker: “Can Biden's Agenda Survive Inflation?”Jason Furman for the Wall Street Journal: “​​Biden Can Whip Inflation and Build Back Better”The Loneliest Americans, by Jay Caspian KangPew Research Center: “Where Do You Fit In The Political Typology?”Christopher Borrelli for the Chicago Tribune: “What We're Reading: 4 Korean American Memoirs, From Personal Stories To An Unsettling Confrontation on Identity and Assimilation”Anne Appelbaum for the Atlantic: “The Bad Guys Are Winning”Freedom House: “Freedom in the World 2021: Democracy Under Siege”The Dictator's Learning Curve: Inside the Global Battle for Democracy, by William J. DobsonTwitter and Tear Gas: The Power and Fragility of Networked Protest, by Zeynep Tufekci Zeynep Tufekci for the Atlantic: “How the Coronavirus Revealed Authoritarianism's Fatal Flaw”Here's this week's chatter:Emily: Ashley Southall and Jonah E. Bromwich for the New York Times: “2 Men Convicted of Killing Malcolm X Will Be Exonerated After Decades”John: The Faber Book of Reportage, by John Carey; The Way We Live Now, by Anthony Trollope audiobook David: Geoffrey Leavenworth for the New York Times: “One Chaste Marriage, Four Kids, and the Catholic Church”; Spencer Buell for Boston magazine: “New England Hidden Gems You'll Find on the New Atlas Obscura App”; City Cast HoustonListener chatter from Melissa Ocepek: A fox listens to the banjoFor this week's Slate Plus bonus segment Emily, John, and David discuss the most useful friend to have.Tweet us your questions and chatters @SlateGabfest or email us at gabfest@slate.com. (Messages may be quoted by name unless the writer stipulates otherwise.)Podcast production by Jocelyn Frank.Research and show notes by Bridgette Dunlap. Hosted on Acast. See acast.com/privacy for more information.

John, Emily and David discuss Biden's approval numbers, authoritarianism on the rise, and they are joined by author Jay Caspian Kang to talk about his new book, The Loneliest Americans.Here are some notes and references from this week's show:FiveThirtyEight, Latest Polls Isaac Chotiner for the New Yorker: “Can Biden's Agenda Survive Inflation?”Jason Furman for the Wall Street Journal: “​​Biden Can Whip Inflation and Build Back Better”The Loneliest Americans, by Jay Caspian KangPew Research Center: “Where Do You Fit In The Political Typology?”Christopher Borrelli for the Chicago Tribune: “What We're Reading: 4 Korean American Memoirs, From Personal Stories To An Unsettling Confrontation on Identity and Assimilation”Anne Appelbaum for the Atlantic: “The Bad Guys Are Winning”Freedom House: “Freedom in the World 2021: Democracy Under Siege”The Dictator's Learning Curve: Inside the Global Battle for Democracy, by William J. DobsonTwitter and Tear Gas: The Power and Fragility of Networked Protest, by Zeynep Tufekci Zeynep Tufekci for the Atlantic: “How the Coronavirus Revealed Authoritarianism's Fatal Flaw”Here's this week's chatter:Emily: Ashley Southall and Jonah E. Bromwich for the New York Times: “2 Men Convicted of Killing Malcolm X Will Be Exonerated After Decades”John: The Faber Book of Reportage, by John Carey; The Way We Live Now, by Anthony Trollope audiobook David: Geoffrey Leavenworth for the New York Times: “One Chaste Marriage, Four Kids, and the Catholic Church”; Spencer Buell for Boston magazine: “New England Hidden Gems You'll Find on the New Atlas Obscura App”; City Cast HoustonListener chatter from Melissa Ocepek: A fox listens to the banjoFor this week's Slate Plus bonus segment Emily, John, and David discuss the most useful friend to have.Tweet us your questions and chatters @SlateGabfest or email us at gabfest@slate.com. (Messages may be quoted by name unless the writer stipulates otherwise.)Podcast production by Jocelyn Frank.Research and show notes by Bridgette Dunlap. Hosted on Acast. See acast.com/privacy for more information.