Podcasts about Joseph Conrad

In this episode of Chronicles, Luca discusses Heart of Darkness by Joseph Conrad. He explores themes of colonialism, civilisation, and human nature as the characters endure the darkness of the Congo.

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome!, Boryana Dimitrova, Julian Barrington, Danners, Nat Dwight, Jane Agar, Mikkel Hansen, Chris Main, Johnathan Lundy Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome!, Boryana Dimitrova, Julian Barrington, Danners, Nat Dwight, Jane Agar Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

In this interview, Lamorna Ash, author of Don't Forget We're Here Forever: A New Generation's Search for Religion, and one of my favourite modern writers, talked about working at the Times Literary Supplement, netball, M. John Harrison, AI and the future of religion, why we should be suspicious of therapy, the Anatomy of Melancholy, the future of writing, what surprised her in the Bible, the Simpsons, the joy of Reddit, the new Pope, Harold Bloom, New Atheism's mistakes, reading J.S. Mill. I have already recommended her new book Don't Forget We're Here Forever, which Lamorna reads aloud from at the end. Full transcript below.Uploading videos onto Substack is too complicated for me (it affects podcast downloads somehow, and the instructions to avoid this problem are complicated, so I have stopped doing it), and to upload to YouTube I have to verify my account but they told me that after I tried to upload it and my phone is dead, so… here is the video embedded on this page. I could quote the whole thing. Here's one good section.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. TranscriptHenry: Today I am talking to Lamorna Ash. Lamorna is one of the rising stars of her generation. She has written a book about a fishing village in Cornwall. She's written columns for the New Statesman, of which I'm a great admirer. She works for a publisher and now she's written a book called, Don't Forget, We're Here Forever: A New Generation's Search for Religion. I found this book really compelling and I hope you will go and read it right now. Lamorna, welcome.Lamorna Ash: Thank you for having me.Henry: What was it like when you worked at the Times Literary Supplement?Lamorna: It was an amazing introduction to mostly contemporary fiction, but also so many other forms of writing I didn't know about. I went there, I actually wrote a letter, handwritten letter after my finals, saying that I'd really enjoyed this particular piece that somehow linked the anatomy of melancholy to infinite jest, and being deeply, deeply, deeply pretentious, those were my two favorite books. I thought, well, I'll apply for this magazine. I turned up there as an intern. They happened to have a space going.My job was Christmas in that I just spent my entire time unwrapping books and putting them out for editors to swoop by and take away. I'd take on people's corrections. I'd start to see how the editorial process worked. I started reading. I somehow had missed contemporary fiction. I hadn't read people like Rachel Kask or Nausgaard. I was reading them through going to the fiction pages. It made me very excited. Also, my other job whilst I was there, was I had the queries email. You'd get loads of incredibly random emails, including things like, you are cordially invited to go on the Joseph Conrad cycle tour of London. I'd ask the office, "Does anyone want to do this?" Obviously, no one ever said yes.I had this amazing year of doing really weird stuff, like going on Joseph Conrad cycling tour or going to a big talk at the comic book museum or the new advertising museum of London. I loved it. I really loved it.Henry: What was the Joseph Conrad cycling tour of London like? That sounds-Lamorna: Oh, it was so good. I remember at one point we stopped on maybe it was Blackfriars Bridge or perhaps it was Tower Bridge and just read a passage from the secret agent about the boats passing underneath. Then we'd go to parts of the docks where they believe that Conrad stayed for a while, but instead it would be some fancy youth hostel instead.It was run by the Polish Society of London, I believe-- the Polish Society of England, I believe. Again, each time it was like an excuse then to get into that writer and then write a little piece about it for the TLS. I guess, it was also, I was slightly cutting my teeth on how to do that kind of journalism as well.Henry: What do you like about The Anatomy of Melancholy?Lamorna: Almost everything. I think the prologue, Democritus Junior to the Reader is just so much fun and naughty. He says, "I'm writing about melancholy in order to try and avoid melancholy myself." There's six editions of it. He spent basically his entire life writing this book. When he made new additions to the book, rather than adding another chapter, he would often be making insertions within sentences themselves, so it becomes more and more bloated. There's something about the, what's the word for it, the ambition that I find so remarkable of every single possible version of melancholy they could talk about.Then, maybe my favorite bit, and I think about this as a writer a lot, is there's a bit called the digression of air, or perhaps it's digression on the air, where he just suddenly takes the reader soaring upwards to think about air and you sort of travel up like a hawk. It's this sort of breathing moment for a reader where you go in a slightly different direction. I think in my own writing, I always think about digression as this really valuable bit of nonfiction, this sense of, I'm not just taking you straight the way along. I think it'd be useful to go sideways a bit too.Henry: That was Samuel Johnson's favorite book as well. It's a good choice.Lamorna: Was it?Henry: Yes. He said that it was the only book that would get him out of bed in the morning.Lamorna: Really?Henry: Because he was obviously quite depressive. I think he found it useful as well as entertaining, as it were. Should netball be an Olympic sport?Lamorna: [laughs] Oh, it's already going to be my favorite interview. I think the reason it isn't an Olympic-- yes, I have a vested interest in netball and I play netball once a week. I'm not very good, but I am very enthusiastic because it's only played mostly in the Commonwealth. It was invented a year after basketball as a woman-friendly version because women should not run with the ball in case they get overexerted and we shouldn't get too close to contacting each other in case we touch, and that's awful.It really is only played in the Commonwealth. I think the reason it won't become an Olympic sport is because it's not worldwide enough, which I think is a reasonable reason. I'm not, of all the my big things that I want to protest about and care about right now, making that an Olympic sport is a-- it's reasonably low on my list.Henry: Okay, fair enough. You are an admirer of M. John Harrison's fiction, is that right?Lamorna: Yes.Henry: Tell us what should we read and why should we read him?Lamorna: You Should Come With Me Now, is that what it's called? I know I reviewed one of his books years ago and thought it was-- because he's part of that weird sci-fi group that I find really interesting and they've all got a bit of Samuel Delany to them as well. I just remember there was this one particular story in that collection, I think in general, he's a master at sci-fi that doesn't feel in that Dune way of just like, lists of names of places. It somehow has this, it's very literary, it's very odd, it's deeply imaginative. It is like what I wanted adult fiction to be when I was 12 or something, that there's the way the fantasy and imagination works.I remember there was one about all these men, married men who were disappearing into their attics and their wives thought they were just tinkering. What they were doing was building these sort of translucent tubes that were taking them off out of the world. I remember just thinking it was great. His conceits are brilliant and make so much sense, whilst also always being at an interesting slant from reality. Then, I haven't read his memoir, but I hear again and again this anti-memoir he's written. Have you read that?Henry: No.Lamorna: Apparently that's really brilliant too. Then he also, writes those about climbing. He's actually got this one foot in the slightly travel nature writing sports camp. I just always thought he was magic. I remember on Twitter, he was really magic as well. I spent a lot of time following him.Henry: Are you optimistic or pessimistic about the future of writing and literature and books and this whole debate that's going on?Lamorna: It's hard to. I don't want to say anything fast and snappy because it's such a complicated thing. I could just start by saying personally, I'm worried about me and writing because I'm worried about my concentration span. I am so aware that in the same way that a piano player has to be practising the pieces they're going to play all the time. I think partly that's writing and writing, I seem to be able to do even with this broken, distracted form of attention I've got. My reading, I don't feel like I'm getting enough in. I think that means that what I produce will necessarily be less good if I can't solve that.I've just bought a dumb phone on the internet and I hope that's going to help me by no longer having Instagram and things like that. I think, yes, I suppose we do read a bit less. The generation below us is reading less. That's a shame. There's so much more possibility to go out and meet people from different places. On an anthropological level, I think anthropology has had this brilliant turn of becoming more subjective. The places you go, you have to think about your own relationship to them. I think that can make really interesting writing. It's so different from early colonial anthropology.The fact that, I guess, through, although even as I'm saying this, I don't know enough to say it, but I was going to say something about the fact that people, because we can do things like substacks and people can do short form content, maybe that means that more people's voices are getting heard and then they can, if they want to, transfer over and write books as well.I still get excited by books all the time. There's still so much good contemporary stuff that's thrilling me from all over the place. I don't feel that concerned yet. If we all do stop writing books entirely for a year and just read all the extraordinary books that have been happening for the last couple of thousand, we'd be okay.Henry: I simultaneously see the same people complaining that everything's dying and literature is over and that we have an oversupply of books and that capitalism is giving us too many books and that's the problem. I'm like, "Guys, I think you should pick one."Lamorna: [laughs] You're not allowed both those arguments. My one is that I do think it's gross, the bit of publishing that the way that some of these books get so oddly inflated in terms of the sales around them. Then, someone is getting a million pounds for a debut, which is enormous pressure on them. Then, someone else is getting 2K. I feel like there should be, obviously, there should be a massive cap on how large an advance anyone should get, and then more people will actually be able to stay in the world of writing because they won't have to survive on pitiful advances. I think that would actually have a huge impact and we should not be giving, love David Beckham as much as I do, we shouldn't be giving him five million pounds for someone else to go to write his books. It's just crazy.Henry: Don't the sales of books like that subsidize those of us who are not getting such a big advance?Lamorna: I don't think they always do. I think that's the problem is that they do have this wealth of funds to give to celebrities and often those books don't sell either. I still think even if those books sell a huge amount of money, those people still shouldn't be getting ridiculous advances like that. They still should be thinking about young people who are important to the literary, who are going to produce books that are different and surprising and whose voices we need to hear. That feels much more important.Henry: What do you think about the idea that maybe Anglo fiction isn't at a peak? I don't necessarily agree with that, but maybe we can agree that these are not the days of George Eliot and Charles Dickens, but the essay nonfiction periodicals and writing online, this is huge now. Right? Actually, our pessimism is sort of because we're looking in the wrong area and there are other forms of writing that flourish, actually doing great on the internet.Lamorna: Yes, I think so too. Again, I don't think I'm internet worldly enough to know this, but I still find these extraordinary, super weird substats that feel exciting. I also get an enormous amount of pleasure in reading Reddit now, which I only just got into many, many years late, but so many fun, odd things. Like little essays that people write and the way that people respond to each other, which is quick and sharp, and I suppose it fills the gap of what Twitter was.I think nonfiction, I was talking about this morning, because I'm staying with some writers, because we're sort of Cornish, book talk thing together and how much exciting nonfiction has come out this year that we want to read from the UK that is hybrid-y nature travel. Then internationally, I still think there's-- I just read, Perfection by Vincenzo, but there's enough translated fiction that's on the international book list this year that gets me delighted as well. To me, I just don't feel worried about that kind of thing at all when there's so much exciting stuff happening.I love Reddit. I think they really understand things that other people don't on there. I think it's the relief now that when you type in something to Google, you get the AI response. It's something like, it's so nice to feel on Reddit that someone sat down and answered you. Maybe that's such a shame that that's what makes me happy now, that we're in that space. It does feel like someone will tell you not just the answer, but then give you a bit about their life. Then, the particular tool that was passed down by their grandparents. That's so nice.Henry: What do you think of the new Pope?Lamorna: I thought it was because I'd heard all the thing around fat Pope, thin Pope, and obviously, our new Pope is maybe a sort of middle Pope, or at least is closer to Francis, but maybe a bit more palatable to some people. I guess, I'm excited that he's going to do, or it seems like he's also taking time to think, but he's good on migration on supporting the rights of immigrants. I think there's value in the fact of him being American as this being this counterpoint to what's happening in America right now. If feels always feels pointless to say because they're almost the idea of a Pope.I guess, Francis said that, who am I to judge about people being gay, but I think this Pope has so far has been more outly against gay people, but he stood up against JD Vance and his stupid thoughts on theology. I'm quietly optimistic. I guess I'm also waiting for Robert Harris's prophecy to come true and we get an intersex Pope next. Because I think that was prophecy, right? What he wrote.Henry: That would be interesting.Lamorna: Yes.Henry: The religious revival that people say is happening, particularly among young people, how is AI going to make it different than previous religious revivals?Lamorna: Oh, that's so interesting. Maybe first of all, question, sorry, I choked on my coffee. I was slightly questioned the idea if there is a religious revival, it's not actually an argument that I made in the book. When I started writing the book, there wasn't this quiet revival or this Bible studies and survey that suggests that more young people are going to church hadn't come out yet. I was just more, I guess, aware that there were a few people around me who were converting and I thought it'd be interesting if there's a few, there'll be more, which I think probably happens in every single generation, right? Is that that's one way to deal with the longing for meaning we all experience and the struggles in our lives.I was speaking to a New York Times journalist who was questioning the stats that have been coming out because first it's incredibly small pool. It's quite self-selecting that possibly there are people who might have gone to church already. It's still such a small uptick because it makes it hard to say anything definitive. I guess in general, what will the relationship be between AI and religion?I guess, there are so many ways you could go with that. One is that those spaces, religious spaces, are nicely insulated from technology. Not everywhere. Obviously, in some places they aren't, but often it's a space in which you put your phone away. In my head, the desire to go to church is as against having to deal with AI or having to deal with technology being integrated to every other aspect of my life.I guess maybe people will start worshiping the idea of the singularity. Maybe we'll get the singularity and Terminator, or the Matrix is going to happen, and we'll call them our gods because they will feel like gods. That's maybe one option. I don't know how AI-- I guess I don't know enough about AI that maybe you'll have AI, or does this happen? Maybe this has happened already that you could have an AI confession and you'd have an AI priest and they tell you--Henry: Sure. It's huge for therapy, right?Lamorna: Yes.Henry: Which is that adjacent thing.Lamorna: That's a good point. It does feel something about-- I'm sure, theologically, it's not supposed to work if you haven't been ordained, but can an AI be ordained, become a priest?Henry: IndeedLamorna: Could they do communion? I don't know. It's fascinating.Henry: I can see a situation where a young person lives in a secular environment or culture and is interested in things and the AI is the, in some ways, easiest place for them to turn to say, "I need to talk about-- I have these weird semi-religious feelings, or I'm interested." The AI's not going to be like, "Oh, really? That's weird." There's the question of will we worship AI or whatever, but also will we get people's conversions being shaped by their therapy/confessors/whatever chat with their LLM?Lamorna: Oh, it's so interesting. I read a piece recently in the LRB by James Vincent. It was about AI relationships, our relationship with AI, and he looked at AI girlfriends. There was this incredible case, maybe you read about it, about a guy who tried to kill the Queen some years back. His defense was that his AI girlfriend had really encouraged him to do that. Then, you can see the transcripts of the text, and he says, "I'm thinking about killing the Queen." His AI girlfriend is like, "Go for it, baby."It's that thing there of like, at the moment, AI is still reflecting back our own desires or refracting almost like shifting how they're expressed. I'm trying to imagine that in the same case of me saying, "I feel really lonely, and I'm thinking about Christianity." My friend would speak with all of their context and background, and whatever they've got going on for them. Whereas an AI would feel my desire there and go, "That's a good idea. It says online this." It's very straight. It would definitely lead us in directions that feel less than human or other than human.Henry: I also have this thought, you used to, I think you still do, but you see it less. You used to get a Samaritan's Bible in every hotel. The Samaritans, will they start trying to install a religious chatbot in places where people--? There are lots of ways in which you could use it as a distribution mechanism.Lamorna: Which does feel so far from the point. Not to think about the gospels, but that feeling of something I talk about in the book is that, so much of it is human contact. Is that this factor of being changed in the moment, person to person. If I have any philosophy for life at the moment is this sense of desperately needing contact that we are saved by each other all the time, not by our telephones and things that aren't real. It's the surprise.I quote it in the book, but Iris Murdoch describes love is the very difficult realization that someone other than yourself is real. I think that's the thing that makes us all survive, is that reminder that if you're feeling deeply depressed, being like, there is someone else that is real, and they have a struggle that matters as much as mine. I think that's something that you are never going to get through a conversation with a chatbot, because it's like a therapeutic thing. You are not having to ask it the same questions, or you are not having to extend yourself to think about someone else in those conversations.Henry: Which Iris Murdoch novels do you like?Lamorna: I've only read The Sea, The Sea, but I really enjoyed it. Which ones do you like?Henry: I love The Sea, The Sea, and The Black Prince. I like the late books, like The Good Apprentice and The Philosopher's Pupil, as well. Some people tell you, "Don't read those. They're late works and they're no good," but I was obsessed. I was absolutely compelled, and they're still all in my head. They're insane.Lamorna: Oh, I must, because I've got a big collection of her essays. I'm thinking is so beautiful, her philosophical thought. It's that feeling, I know I'm going the wrong-- starting in the wrong place, but I do feel that she's someone I'd really love to explore next, kind of books.Henry: I think you'd like her because she's very interested in the question of, can therapy help, can philosophy help, can religion help? She's very dubious about therapy and philosophy, and she is mystic. There are queer characters and neurodivergent characters. For a novelist in the '70s, you read her now and you're like, "Well, this is all just happening now."Lamorna: Cool.Henry: Maybe we should be passing these books out. People need this right now.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. I think, in my head, it's like it should be one among many and I still question it whilst doing it.Henry: To the extent that there is a religious revival among "Gen Z," how much is it because they have phones? Because you wrote something like, in fact, I have the quote, "There's a sense of terrible tragedy. How can you hold this constant grief that we feel, whether it's the genocide in Gaza or climate collapse? Where do I put all the misery that I receive every single second through my phone? Church can then be a space where I can quietly go and light a candle." Is it that these young people are going to religion because the phone has really pushed a version of the world into their faces that was not present when I was young or people are older than me?Lamorna: I think it's one of, or that the phone is the symptom because the phone, whatever you call it, technology, the internet, is the thing that draws the world closer to us in so many different ways. One being that this sense of being aware of what's happening around in other places in the world, which maybe means that you become more tolerant of other religions because you're hearing about it more. That, on TikTok, there's loads of kids all across the world talking about their particular faiths and their background and which aspera they're in, and all that kind of thing.Then, this sense of horror being very unavoidable that you wake up and it is there and you wake up and you think, "What am I doing? What am I doing here? I feel completely useless." Perhaps then you end up in a church, but I'm not sure.I think a bigger player in my head is the fact that we are more pluralistic as societies. That you are more likely to encounter other religions in schools. I think then the question is, well then maybe that'll be valuable for me as well. I think also, not having parents pushing religion on you makes kids, the fact of the generation above the British people, your parents' generations, not saying religion is important, you go to church, then it becomes something people can become more curious about in their own right as adults. I think that plays into it.I think isolation plays into it and that's just not about technology and the phone, but that's the sense of-- and again, I'm thinking about early 20s, mid 20s, so adults who are moving from place to place, who maybe feel very isolated and alone, who are doing jobs that make them feel isolated and alone, and there are this dearth of community spaces and then thinking, well, didn't people used to go to churches, it would be so nice to know someone older than me.I don't know how this fits in, but I was thinking about, I saw this documentary, The Encampments, like two days ago, which is about the Columbia University encampments and within that, Mahmood Khalil, who's the one who's imprisoned at the moment, who was this amazing leader within the movement and is from Palestine. The phone in that, the sense about how it was used to gather and collect people and keep people aware of what's happening and mean that everyone is more conscious and there's a point when they need more people in the encampments because the police are going to come. It's like, "Everyone, use your phone, call people now." I think I can often be like, "Oh no, phones are terrible," but this sense within protest, within communal activity, how valuable they can be as well.I haven't quite gotten into that thought. I don't know, basically. I think it's so hard. I've grown up with a phone. I have no sense of how much it plays a part in everything about me, but obviously, it is a huge amount. I do think it's something that we all think about and are horrified by whilst also seeing it as like this weird extension of ourselves. That definitely plays into then culturally, the decisions we make to either try and avoid them, find spaces where you can be without them.Henry: How old do you think a child should be when they're first given a phone? A smartphone, like an iPhone type thing?Lamorna: I think, 21.Henry: Yes?Lamorna: No, I don't know. I obviously wouldn't know that about a child.Henry: I might.Lamorna: I'd love to. I would really love to because, I don't know, I have a few friends who weren't allowed to watch TV until they were 18 and they are eminently smarter than me and lots of my other friends. There's something about, I don't know, I hate the idea that as I'm getting older, I'm becoming more scaremongering like, "Oh no, when I was young--" because I think my generation was backed in loads of ways. This thing of kids spending so much less time outside and so much less time being able to imagine things, I think I am quite happy to say that feels like a terrible loss.I read a piece recently about kids in New York and I think they were quite sort of middle-class Brooklyn-y kids, but they choose to go days without their phones and they all go off into the forest together. There is this sense of saying giving kids autonomy, but at the same time, their relationship with a phone is not one of agency. It's them versus tech bros who have designed things that are so deeply addictive, that no adult can let go of it. Let alone a child who's still forming how to work out self-control, discipline and stuff. I think a good parenting thing would be to limit massively these completely non-neutral objects that they're given, that are made like crack and impossible to let go of.Henry: Do you think religious education in schools should be different or should there be more of it?Lamorna: Yes, I think it should be much better. I don't know about you, but I just remember doing loads of diagrams of different religious spaces like, "This is what a mosque looks like," and then I'd draw the diagram. I knew nothing. I barely knew the difference between the Old Testament and the New Testament. In fact, I probably didn't as a teenager.I remember actually in sixth form, having this great philosophy teacher who was talking about the idea of proto antisemitism within the gospels. I was like, "Wait, what?" Because I just didn't really understand. I didn't know that it was in Greek, that the Old Testament was in Hebrew. I just didn't know. I think all these holy texts that we've been carrying with us for thousands of years across the world have so much in them that's worth reading and knowing.If I was in charge of our R.E., I would get kids to write on all holy texts, but really think about them and try and answer moral problems. You'd put philosophy back with religion and really connect them and think, what is Nietzsche reacting against? What does Freud about how is this form of Christianity different like this? I think that my sense is that since Gove, but also I'm sure way before that as well, the sense of just not taking young people seriously, when actually they're thoughtful, intelligent and able to wrestle with these things, it's good for them to have know what they're choosing against, if they're not interested in religion.Also, at base, those texts are beautiful, all of them are, and are foundational and if you want to be able to study English or history to know things about religious texts and the practices of religion and how those rituals came about and how it's changed over thousands of years, feels important.Henry: Which religious poets do you like other than Hopkins? Because you write very nicely about Hopkins in the book.Lamorna: He's my favorite. I like John Donne a lot. I remember reading lots of his sermons and Lancelot Andrews' sermons at university and thinking they were just astonishingly beautiful. There are certain John Donne sermons and it's this feeling of when he takes just maybe a line from one of Paul's letters and then is able to extend it and extend it, and it's like he's making it grow in material or it's like it's a root where suddenly all these branches are coming off it.Who else do I like? I like George Herbert. Gosh, my brain is going in terms of who else was useful when I was thinking about. Oh it's gone.Henry: Do you like W.H. Auden?Lamorna: Oh yes. I love Auden, yes. I was rereading his poems about, oh what's it called? The one about Spain?Henry: Oh yes.Lamorna: About the idea of tomorrow.Henry: I don't have a memory either, but I know the poem you mean, yes.Lamorna: Okay. Then I'm trying to think of earlier religious poets. I suppose things like The Dream of the Rood and fun ways of getting into it and if you're looking at medieval poetry.Henry: I also think Betjeman is underrated for this.Lamorna: I've barely read any Betjeman.Henry: There's a poem called Christmas. You might like it.Lamorna: Okay.Henry: It's this famous line and is it true and is it true? He really gets into this thing of, "We're all unwrapping tinsely presents and I'm sitting here trying to work out if God became man." It's really good. It's really good. The other one is called Norfolk and again, another famous line, "When did the devil first attack?" It talks about puberty as the arrival of the awareness of sin and so forth.Lamorna: Oh, yes.Henry: It's great. Really, really good stuff. Do you personally believe in the resurrection?Lamorna: [chuckles] I keep being asked this.Henry: I know. I'm sorry.Lamorna: My best answer is sometimes. Because I do sometimes in that way that-- someone I interviewed who's absolutely brilliant in the book, Robert, and he's a Cambridge professor. He's a pragmatist and he talks about the idea of saying I'm a disciplined person means nothing unless you're enacting that discipline daily or it falls away. For him, that belief in a Kierkegaardian leap way is something that needs to be reenacted in every moment to say, I believe and mean it.I think there are moments when my church attendance is better and I'm listening to a reading that's from Acts or whatever and understanding the sense of those moments, Paul traveling around Europe and Asia Minor, only because he fully believed that this is what's happened. Those letters and as you're reading those letters, the way I read literature or biblical writing is to believe in that moment because for that person, they believe too. I think there are points at which the resurrection can feel true to me, but it does feel like I'm accessing that idea of truth in a different way than I am accessing truth about-- it's close to how I think about love as something that's very, very real, but very different from experiential feelings.I had something else I wanted to say about that and it's just gone. Oh yes. I was at Hay Festival a couple of weeks ago. Do you know the Philosopher Agnes Callard?Henry: Oh, sure.Lamorna: She gave a really great talk about Socrates and her love of Socrates, but she also came to my talk and she and her husband, who I think met through arguing about Aristotle, told me they argued for about half a day about a line I'd said, which was that during writing the book, I'd learned to believe in the belief of other people, her husband was like, "You can't believe in the belief of other people if you don't believe it too. That doesn't work. That doesn't make sense." I was like, "That's so interesting." I can so feel that if we're taking that analytically, that if I say I don't believe in the resurrection, not just that I believe you believe it, but I believe in your belief in the resurrection. At what point is that any different from saying, I believe in the resurrection. I feel like I need to spend more time with it. What the slight gap is there that I don't have that someone else does, or as I say it, do I then believe in the resurrection that moment? I'm not sure.I think also what I'm doing right now is trying to sound all clever with it, whereas for other people it's this deep ingrained truth that governs every moment of their life and that they can feel everywhere, or perhaps they can't. Perhaps there's more doubt than they suggest, which I think is the case with lots of us. Say on the deathbed, someone saying that they fully believe in the resurrection because that means there's eternal salvation, and their family believe in that too. I don't think I have that kind of certainty, but I admire it.Henry: Tell me how you got the title for this book from an episode of The Simpsons.Lamorna: It's really good app. It's from When Maggie Makes Three, which is my favorite episode. I think titles are horribly hard. I really struck my first book. I would have these sleepless nights just thinking about words related to the sea, and be like, blue something. I don't know. There was a point where my editor wanted to call it Trawler Girl. I said, "We mustn't. That's awful. That's so bad. It makes me sound like a terrible superhero. I'm not a girl, I'm a woman."With this one, I think it was my fun title for ages. Yes, it's this plaque that Homer has put-- Mr. Burns puts up this plaque to remind him that he will never get to leave the power plant, "Don't forget you're here forever."I just think it's a strong and bonkers line. I think it had this element of play or silliness that I wanted, that I didn't think about too hard. I guess that's an evangelical Christian underneath what they're actually saying is saying-- not all evangelicals, but often is this sense of no, no, no, we are here forever. You are going to live forever. That is what heaven means.That sense of then saying it in this jokey way. I think church is often very funny spaces, and funny things happen. They make good comedy series when you talk about faith.Someone's saying she don't forget we're here forever. The don't forget makes it so colloquial and silly. I just thought it was a funny line for that reason.Then also that question people always ask, "Is religion going to die out?" I thought that played into it. This feeling that, yes, I write about it. There was a point when I was going to an Extinction Rebellion protest, and everyone was marching along with that symbol of the hourglass inside a circle next to a man who had a huge sign saying, "Stop, look, hell is real, the end of the world is coming." This sense of different forms of apocalyptic thinking that are everywhere at the moment. I felt like the title worked for that as well.Henry: I like that episode of The Simpsons because it's an expression of an old idea where he's doing something boring and his life is going to slip away bit by bit. The don't forget you're here forever is supposed to make that worse, but he turns it round into the live like you're going to die tomorrow philosophy and makes his own kind of meaning out of it.Lamorna: By papering it over here with pictures of Maggie. They love wordplay, the writers of The Simpsons, and so that it reads, "Do it for her," instead. That feeling of-- I think that with faith as well of, don't forget we're here forever, think about heaven when actually so much of our life is about papering it over with humanity and being like, "Does it matter? I'm with you right now, and that's what matters." That immediacy of human contact that church is also really about, that joy in the moment. Where it doesn't really matter in that second if you're going to heaven or hell, or if that exists. You're there together, and it's euphoric, or at least it's a relief or comforting.Henry: You did a lot of Bible study and bible reading to write this book. What were the big surprises for you?Lamorna: [chuckles] This is really the ending, but revelation, I don't really think it's very well written at all. It shouldn't be in there, possibly. It's just not [unintelligible 00:39:20] It got added right in the last minute. I guess it should be in there. I just don't know. What can I say?So much of it was a surprise. I think slowly reading the Psalms was a lovely surprise for me because they contain so much uncertainty and anguish, and doubt. Imagining those being read aloud to me always felt like a very exciting thing.Henry: Did you read them aloud?Lamorna: When I go to more Anglo Catholic services, they tend to do them-- I never know how to pronounce this. Antiphonally.Henry: Oh yes.Lamorna: Back and forth between you. It's very reverential, lovely experience to do that. I really think I was surprised by almost everything I was reading. At the start of Kierkegaard's Fear and Trembling, he does this amazing thing where he does four different versions of what could be happening in the Isaac and Abraham story underneath.There's this sense of in the Bible, and I'm going to get this wrong, but in Mimesis, Auerbach talks about the way that you're not given the psychological understanding within the Bible. There's so much space for readers to think with, because you're just being told things that happened, and the story moves on quickly, moment by moment. With Isaac and Abraham, what it would mean if Isaac actually had seen the fact that his father was planning to kill him. Would he then lose his faith? All these different scenarios.I suddenly realised that the Bible was not just a fixed text, but there was space to play with it as well. In the book, I use the story of Jacob and the angel and play around with the meaning of that and what would happen after this encounter between Jacob and an angel for both of them.Bits in the Gospels, I love the story of the Gerasene Demoniac. He was a knight. He was very unwell, and no one knew what to do with him. He was ostracised from his community. He would sit in this cave and scream and lacerate himself against the cave walls. Then Jesus comes to him and speaks to him and speaks to the demons inside him. There's this thing in Mark's Gospel that Harold Bloom talks about, where only demons are actually able to perceive. Most people have to ask Christ who he really is, but demons can perceive him immediately and know he's the son of God.The demons say that they are legion. Then Jesus puts them into 1,000 pigs. Is it more? I can't remember. Then they're sent off over the cliff edge. Then the man is made whole and is able to go back to his community. I just think there's just so much in that. It's so rich and strange. I think, yes, there's something about knowing you could sit down and just read a tiny bit of the Bible and find something strange and unusual that also might speak to something you've read that's from thousands of years later.I also didn't know that in Mark's Gospel, the last part of it is addended, added on to it. Before that, it ended with the women being afraid, seeing the empty tomb, but there's no resolution. There's no sense of Christ coming back as spirit. It ended in this deep uncertainty and fear. I thought that was so fascinating because then again, it reminds you that those texts have been played around with and thought with, and meddled with, and changed over time. It takes away from the idea that it's fixed and certain, the Bible.Henry: What did you think of Harold Bloom's book The Shadow of a Great Rock?Lamorna: I really loved it. He says that he treats Shakespeare more religiously and the Bible more like literature, which I found a funny, irreverent thing to say. There's lovely stuff in there where, I think it was Ruth, he was like, maybe it was written by a woman. He takes you through the different Hebrew writers for Genesis. Which again, becoming at this as such a novice in so many ways, realising that, okay, so when it's Yahweh, it's one particular writer, there's the priestly source for particular kinds of writing. The Yahwist is more ironic, or the God you get is more playful.That was this key into thinking about how each person trying to write about God, it's still them and their sense of the world, which is particular and idiosyncratic is forming the messages that they believe they're receiving from God. I found that exciting.Yes, he's got this line. He's talking about the blessings that God gives to men in Genesis. He's trying to understand, Bloom, what the meaning of a blessing is. He describes it as more life into a time without boundaries. That's a line that I just found so beautiful, and always think about what the meaning of that is. I write it in the book.My best friend, Sammy, who's just the most game person in the world, that you tell them anything, they're like, "Cool." I told them that line. They were like, "I'm getting it tattooed on my arm next week." Then got me to write in my handwriting. I can only write in my handwriting, but write down, "More time into life without boundaries." Now they've just got it on their arm.Henry: Nice.Lamorna: I really like. They're Jewish, non-practicing. They're not that really interested in it. They were like, "That's a good line to keep somewhere."Henry: I think it's actually one of Bloom's best books. There's a lot of discussion about, is he good? Is he not good? I love that book because it really just introduces people to the Bible and to different versions of the Bible. He does all that Harold Bloom stuff where he's like, "These are the only good lines in this particular translation of this section. The rest is so much dross.He's really attentive to the differences between the translations, both theologically but also aesthetically. I think a lot of people don't know the Bible. It's a really good way to get started on a-- sitting down and reading the Bible in order. It's going to fail for a lot of people. Harold Bloom is a good introduction that actually gives you a lot of the Bible itself.Lamorna: For sure, because it's got that midrash feeling of being like someone else working around it, which then helps you get inside it. I was reading that book whilst going to these Bible studies at a conservative evangelical church called All Souls. I wasn't understanding what on earth was going on in Mark through the way that we're being told to read it, which is kids' comprehension.Maybe it was useful to think about why would the people have been afraid when Christ quelled the storms? It was doing something, but there was no sense of getting inside the text. Then, to read alongside that, Bloom saying that the Christ in Mark is the most unknowable of all the versions of Christ. Then again, just thinking, "Oh, hang on." There's an author. The author of Mark's gospel is perceiving Christ in a particular way. This is the first of the gospels writing about Christ. What does it mean? He's unknowable. Suddenly thinking of him as a character, and therefore thinking about how people are relating to him. It totally cracks the text open for you.Henry: Do you think denominational differences are still important? Do most people have actual differences in dogma, or are they just more cultural distinctions?Lamorna: They're ritual distinctions. There really is little that you could compare between a Quaker meeting and a Catholic service. That silence is the fundamental aspect of all of it. There's a sense of enlighten.My Quaker mate, Lawrence, he's an atheist, but he wouldn't go to another church service because he's so against the idea of hierarchy and someone speaking from a pulpit. He's like, honestly, the reincarnated spirit of George Fox in many ways, in lots of ways he's not.I guess it becomes more blurry because, yes, there's this big thing in the early 20th century in Britain anyway, where the line that becomes more significant is conservative liberal. It's very strange that that's how our world gets divided. There's real simplification that perhaps then, a liberal Anglican church and a liberal Catholic church have more in relationship than a conservative Catholic church and a conservative evangelical church. The line that is often thinking about sexuality and marriage.I was interested, people have suddenly was called up in my book that I talk about sex a lot. I think it's because sex comes up so much, it feels hard not to. That does seem to be more important than denominational differences in some ways. I do think there's something really interesting in this idea of-- Oh, [unintelligible 00:48:17] got stung. God, this is a bit dramatic. Sorry, I choked on coffee earlier. Now I'm going to get stung by a bee.Henry: This is good. This is what makes a podcast fun. What next?Lamorna: You don't get this in the BBC studios. Maybe you do. Oh, what was I about to say? Oh, yes. I like the idea of church shopping. People saying that often it speaks to the person they are, what they're looking for in a church. I think it's delightful to me that there's such a broad church, and there's so many different spaces that you can go into to discover the church that's right for you. Sorry. I'm really distracted by this wasp or bee. Anyway.Henry: How easy was it to get people to be honest with you?Lamorna: I don't know. I think that there's certain questions that do tunnel right through to the heart of things. Faith seems to be one of them. When you talk about faith with people, you're getting rid of quite a lot of the chaff around with the politeness or whatever niceties that you'd usually speak about.I was talking about this with another friend who's been doing this. He's doing a play about Grindr. He was talking about how strange it is that when you ask to interview someone and you have a dictaphone there, you do get a deeper instant conversation. Again, it's a bit like a therapeutic conversation where someone has said to you, "I'm just going to sit and listen." You've already agreed, and you know it's going to be in a book. "Do you mind talking about this thing?"That just allows this opportunity for people to be more honest because they're aware that the person there is actually wanting to listen. It's so hard to create spaces. I create a cordon and say, "We're going to have a serious conversation now." Often, that feels very artificial. I think yes, the beauty of getting to sit there with a dictaphone on your notebook is you are like, "I really am interested in this. It really matters to me." I guess it feels easy in that way to get honesty.Obviously, we're all constructing a version of ourselves for each other all the time. It's hard for me to know to what extent they're responding to what they're getting from me, and what they think I want to hear. If someone else interviewed them, they would probably get something quite different. I don't know. I think if you come to be with openness, and you talk a bit about your journey, then often people want to speak about it as well.I'm trying to think. I've rarely interviewed someone where I haven't felt this slightly glowy, shimmery sense of it, or what I'm learning feels new and feels very true. I felt the same with Cornish Fisherman, that there was this real honesty in these conversations. Many years ago, I remember I got really obsessed with interviewing my mom. I think I was just always wanting to practice interviewing. The same thing that if there's this object between you, it shifts the dimensions of the conversation and tends towards seriousness.Henry: How sudden are most people's conversions?Lamorna: Really depends. I was in this conversation with someone the other day. When she was 14, 15, she got caught shoplifting. She literally went, "Oh, if there's a God up there, can you help get me out of the situation?" The guy let her go, and she's been a Christian ever since. She had an instantaneous conversion. Someone I interviewed in the book, and he was a really thoughtful card-carrying atheist. He had his [unintelligible 00:51:58] in his back pocket.He hated the Christians and would always have a go at them at school because he thought it was silly, their belief. Then he had this instant conversion that feels very charismatic in form, where he was just walking down an avenue of trees at school, and he felt the entire universe smiling at him and went, "Oh s**t, I better become a Christian."Again, I wonder if it depends. I could say it depends on the person you are, whether you are capable of having an instant conversion. Perhaps if I were in a religious frame of mind, I'd say it depends on what God would want from you. Do you need an instant conversion, or do you need to very slowly have the well filling up?I really liked when a priest said to me that people often go to church and expect to be changed in a moment. He's like, "No, you have to go for 20 years before anything happens." Something about that slow incremental conversion to me is more satisfying. It's funny, I was having a conversation with someone about if they believe in ghosts, and they were like, "Well, if I saw one, then I believe in ghosts." For some people, transcendental things happen instantaneously, and it does change them ultimately instantly.I don't know, I would love to see some stats about which kinds of conversions are more popular, probably more instant ones. I love, and I use it in the book, but William James' Varieties of Religious Experience. He talks about there's some people who are sick-souled or who are also more porous bordered people for whom strange things can more easily cross the borders of their person. They're more likely to convert and more likely to see things.I really like him describing it that way because often someone who's like that, it might just be described as well, you have a mental illness. That some people are-- I don't know, they've got sharper antennae than the rest of us. I think that is an interesting thought for why some people can convert instantly.Henry: I think all conversions take a long time. At the moment, there's often a pivotal moment, but there's something a long time before or after that, that may or may not look a conversion, but which is an inevitable part of the process. I'm slightly obsessed with the idea of quests, but I think all conversions are a quest or a pilgrimage. Your book is basically a quest narrative. As you go around in your Toyota, visiting these places. I'm suspicious, I think the immediate moment is bundled up with a longer-term thing very often, but it's not easy to see it.Lamorna: I love that. I've thought about the long tail afterwards, but I hadn't thought about the lead-up, the idea of that. Of what little things are changing. That's such a lovely thought. Their conversions began from birth, maybe.Henry: The shoplifter, it doesn't look like that's where they're heading. In retrospect, you can see that there weren't that many ways out of this path that they're on. Malcolm X is like this. One way of reading his autobiography is as a coming-of-age story. Another way of reading it is, when is this guy going to convert? This is going to happen.Lamorna: I really like that. Then there's also that sense of how fixed the conversion is, as well, from moment to moment. That Adam Phillips' book on wanting to change, he talks about our desire for change often outstrips our capacity for change. That sense of how changed am I afterwards? How much does my conversion last in every moment? It goes back to the do you believe in the resurrection thing.I find that that really weird thing about writing a book is, it is partly a construction. You've got the eye in there. You're creating something that is different from your reality and fixed, and you're in charge of it. It's stable, it remains, and you come to an ending. Then your life continues to divert and deviate in loads of different ways. It's such a strange thing in that way. Every conversion narrative we have fixed in writing, be it Augustine or Paul, whatever, is so far from the reality of that person's experience.Henry: What did the new atheists get wrong?Lamorna: Arrogance. They were arrogant. Although I wonder, I guess it was such a cultural moment, and perhaps in the same way that everyone is in the media, very excitedly talking about revival now. There was something that was created around them as well, which was delight in this sense of the end of something. I wonder how much of that was them and how much of it was, they were being carried along by this cultural media movement.I suppose the thing that always gets said, and I haven't read enough Dawkins to say this with any authority, but is that the form of religion that he was attempting to denigrate was a very basic form of Christianity, a real, simplified sense. That he did that with all forms of religion. Scientific progress shows us we've progressed beyond this point, and we don't need this, and it's silly and foolish.I guess he underestimated the depth and richness of religion, and also the fact of this idea of historical progress, when the people in the past were foolish, when they were as bright and stupid as we are now.Henry: I think they believed in the secularization idea. People like Rodney Stark and others were pointing out that it's not really true that we secularized a lot more consistency. John Gray, the whole world is actually very religious. This led them away from John Stuart Mill-type thinking about theism. I think everyone should read more John Stuart Mill, but they particularly should have read the theism essays. That would have been--Lamorna: I've only just got into him because I love the LRB Close Reading podcast. It's Jonathan Rée and James Wood. They did one on John Stuart Mill's autobiography, which I've since been reading. It's an-Henry: It's a great book.Lamorna: -amazing book. His crisis is one of-- He says, "The question of religion is not something that has been a part of my life, but the sense of being so deeply learned." His dad was like, "No poetry." In his crisis moment, suddenly realizing that that's what he needed. He was missing feeling, or he was missing a way of looking at the world that had questioning and doubt within it through poetry.There was a bit in the autobiography, and he talks about when he was in this deep depression, whenever he was at 19 or something. That he was so depressed that he thought if there's a certain number of musical notes, one day there will be no more new music because every single combination will have been done. The sense of, it's so sweetly awful thinking, but without the sense-- I'm not sure what I'm trying to say here.I found his crisis so fascinating to read about and how he comes out of that through this care and attention of beautiful literature and thinking, and through his love of-- What was his wife called again?Henry: Harriet.Lamorna: Harriet. He credits her for almost all his thinking. He wouldn't have moved towards socialism without her. Suddenly, humans are deeply important to him. He feels sorry for the fact that his dad could not express love or take love from him, and that that was such a terrible deficiency in his life.Henry: Mill's interesting on religion because he looks very secular. In fact, if you read his letters, he's often going into churches.Lamorna: Oh, really?Henry: Yes, when he's in Italy, because he had tuberculosis. He had to be abroad a lot. He's always going to services at Easter and going into the churches. For a secular person, he really appreciates all these aspects of religion. His stepdaughter was-- there's a diary of hers in their archives. She was very religious, very intense. As a young woman, when she's 16, 17, intensely Catholic or Anglo-Catholic. Really, it's quite startling.I was reading this thing, and I was like, "Wait, who in the Mill household is writing this? This is insane." There are actually references in his letters where he says, "Oh, we'll have to arrive in time for Good Friday so that she can go to church." He's very attentive to it. Then he writes these theism essays, right at the end of his life. He's very open-minded and very interrogatory of the idea. He really wants to understand. He's not a new atheist at all.Lamorna: Oh, okay. I need to read the deism essays.Henry: You're going to love it. It's very aligned. What hymns do you like?Lamorna: Oh, no.Henry: You can be not a hymn person.Lamorna: No. I'm not a massive hymn person. When I'm in church, the Anglican church that I go to in London now, I always think, "Remember that. That was a really nice one." I like to be a pilgrim. I really don't have the brain that can do this off the cuff. I'm not very musically. I'm deeply unmusical.There was one that I was thinking of. I think it's an Irish one. I feel like I wrote this down at one point, because I thought I might be asked in another interview. I had to write down what I thought in case a hymn that I liked. Which sounds a bit like a politician, when they're asked a question, they're like, "I love football." I actually can't think of any. I'm sorry.Henry: No, that's fine.Lamorna: What are your best? Maybe that will spark something in me.Henry: I like Tell Out My Soul. Do you know that one?Lamorna: Oh, [sings] Tell Out My Soul. That's a good one.Henry: If you have a full church and people are really going for it, that can be amazing. I like all the classics. I don't have any unusual choices. Tell Out My Soul, it's a great one. Lamorna Ash, this has been great. Thank you very much.Lamorna: Thank you.Henry: To close, I think you're going to read us a passage from your book.Lamorna: I am.Henry: This is near the end. It's about the Bible.Lamorna: Yes. Thank you so much. This has definitely been my favourite interview.Henry: Oh, good.Lamorna: I really enjoyed it. It's really fun.Henry: Thank you.Lamorna: Yes, this is right near the end. This is when I ended up at a church, St Luke's, West Holloway. It was a very small 9:00 AM service. Whilst the priest who'd stepped in to read because the actual priest had left, was reading, I just kept thinking about all the stories that I'd heard and wondering about the Bible and how the choices behind where it ends, where it ends.I don't think I understand why the Bible ends where it does. The final lines of the book of Revelation are, "He who testifies to these things says, Yes, I am coming soon. Amen. Come, Lord Jesus, the grace of the Lord Jesus be with God's people. Amen." Which does sound like a to-be-continued. I don't mean the Bible feels incomplete because it ends with Revelation. What I mean is, if we have continued to hear God and wrestle with him and his emissaries ever since the first overtures of the Christian faith sounded.Why do we not treat these encounters with the same reverence as the works assembled in the New Testament? Why have we let our holy text grow so antique and untouchable instead of allowing them to expand like a divine Wikipedia updated in perpetuity? That way, each angelic struggle and Damascene conversion that has ever occurred or one day will, would become part of its fabric.In this Borgesian Bible, we would have the Gospel of Mary, not a fictitious biography constructed by a man a century after her death, but her true words. We would have the conversion of the Ethiopian eunuch on the road between Jerusalem and Gaza from Acts, but this time given in the first person. We would have descriptions from the Picts on Iona of the Irish Saint Columba appearing in a rowboat over the horizon.We would have the Gospels of those from the early Eastern Orthodox churches, Assyrian Gospels, Syriac Orthodox Gospels. We would have records of the crusades from the Christian soldiers sent out through Europe to Jerusalem in order to massacre those of other faiths, both Muslim and Jewish. In reading these accounts, we would be forced to confront the ways in which scripture can be interpreted

Joseph Conrad's Heart of Darkness offers more than a critique of empire—it's a meditation on the slipperiness of truth, the fragmentation of self, and the unsettling possibility that meaning is just another European export gone missing. This episode peers into the novella's narrative hall of mirrors, examining its existential fog, moral vertigo, and the peculiar power of a story that both reveals and withholds in the same breath.

Las novelas de Juan Gabriel Vásquez, una de las voces más destacadas de la narrativa latinoamericana actual, dejan entrever la influencia de autores como Joseph Conrad, Gabriel García Márquez y James Joyce en su interés por explorar y reinterpretar el pasado a través de sus libros, profundizando en temas como la relación entre política y sociedad, la percepción de la violencia y el miedo y la vida secreta de figuras clave de la cultura. Sergio Vila-Sanjuán conversa con el autor sobre su trayectoria y visión del mundo, comentando algunas de sus novelas más célebres, como El ruido de las cosas al caer, así como su última publicación, Los nombres de Feliza.Más información de este acto

Marco Rossari"Piccolo dizionario delle malattie letterarie"Einaudi Editorewww.einaudi.itI libri sono una febbre bellissima, e tutti noi ne siamo malati. Ma che succede quando vi viene la sindrome di Salinger? E che cos'è l'intellettualite? Avete mai avuto il complesso di Henry Miller o la paranoia di Pessoa? E il flaubertismo, o il singhiozzo di Dickinson? Compilando questo breve, fulminante dizionario, Marco Rossari ci racconta cosa significhi esser contagiati dal virus delle parole. Perché è vero che la letteratura è spesso un portentoso medicinale, ma nessuno ci aveva mai detto che le controindicazioni possono essere pericolose e divertentissime.Con intelligenza e sarcasmo, Marco Rossari stila un elenco curioso ed esilarante di tic, compulsioni, vizi, vezzi e malattie immaginarie contratte da chi, nella vita, ha scelto di dedicarsi anima e corpo ai libri. Troverete l'antidepressivo Sedaris, il morbo di Bernhard, i medicamenti fasulli dell'autopubblicazione, la plaquette come forma di infezione batterica contratta tramite enjambement e la bukowskite, che sappiamo di avere quando ci svegliamo dopo una sbronza e improvvisamente ci sentiamo scrittori. E poi la temutissima sindrome di Franzen e quella adolescenziale di Siddharta, il borgesismo come forma acuta di labirintite. Chi contrae l'intellettualite legge Bachtin mentre tutta l'Italia guarda Sanremo, invece chi romanza troppo la propria vita potrebbe aver preso il morbo di Zeno… Pubblicato per la prima volta da Italo Svevo Edizioni nel 2016, torna in una nuova versione rivista e ampliata questo divertissement acuminato, perfetto per chi è capace di non prendersi troppo sul serio. Da sfogliare e leggere ad alta voce, da conservare come un talismano e consultare come un oracolo – anzi, un bugiardino.Marco Rossari ha pubblicato per Einaudi i romanzi Nel cuore della notte (2018) e L'ombra del vulcano (2023) e Piccolo dizionario delle malattie letterarie (2025). Nel 2019 ha pubblicato il volume di poesie Le bambinacce (Feltrinelli) a quattro mani con Veronica Raimo. Ha tradotto e curato opere di Francis Scott Fitzgerald, Truman Capote, Anthony Burgess, Charles Dickens, Joseph Conrad, George Orwell e tanti altri. Ha curato l'antologia Racconti da ridere (Einaudi 2017). Scrive per numerose testate e insegna alla scuola Belleville di Milano.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome!, Boryana Dimitrova, Julian Barrington, Danners Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome!, Boryana Dimitrova, Julian Barrington Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

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"Here speaks the man of masts and sails, to whom the sea is not a navigable element, but an intimate companion. The length of passages, the growing sense of solitude, the close dependence upon the very forces that, friendly to-day, without changing their nature, by the mere putting forth of their might, become dangerous to-morrow, make for that sense of fellowship which modern seamen, good men as they are, cannot hope to know." In this volume of essays, more than in any other single work, we get to see clearly just what Joseph Conrad's years working on sail-powered ships meant to him — and they certainly meant a great deal to him, for all Conrad's subsequent fretting that he might be typed as "only" a writer of the sea. This collection is particularly renowned for the lengthy episode titled "The Tremolino", where Conrad gives us, in the character of the real-world Dominic, the model of his fictional Nostromo, as well as an account of personalities and gun-running activities he would later depict in "The Arrow of Gold".  Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Here speaks the man of masts and sails, to whom the sea is not a navigable element, but an intimate companion. The length of passages, the growing sense of solitude, the close dependence upon the very forces that, friendly to-day, without changing their nature, by the mere putting forth of their might, become dangerous to-morrow, make for that sense of fellowship which modern seamen, good men as they are, cannot hope to know." In this volume of essays, more than in any other single work, we get to see clearly just what Joseph Conrad's years working on sail-powered ships meant to him — and they certainly meant a great deal to him, for all Conrad's subsequent fretting that he might be typed as "only" a writer of the sea. This collection is particularly renowned for the lengthy episode titled "The Tremolino", where Conrad gives us, in the character of the real-world Dominic, the model of his fictional Nostromo, as well as an account of personalities and gun-running activities he would later depict in "The Arrow of Gold".  Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Here speaks the man of masts and sails, to whom the sea is not a navigable element, but an intimate companion. The length of passages, the growing sense of solitude, the close dependence upon the very forces that, friendly to-day, without changing their nature, by the mere putting forth of their might, become dangerous to-morrow, make for that sense of fellowship which modern seamen, good men as they are, cannot hope to know." In this volume of essays, more than in any other single work, we get to see clearly just what Joseph Conrad's years working on sail-powered ships meant to him — and they certainly meant a great deal to him, for all Conrad's subsequent fretting that he might be typed as "only" a writer of the sea. This collection is particularly renowned for the lengthy episode titled "The Tremolino", where Conrad gives us, in the character of the real-world Dominic, the model of his fictional Nostromo, as well as an account of personalities and gun-running activities he would later depict in "The Arrow of Gold".  Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Christina Laing, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome!, Boryana Dimitrova Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

In late February in DC, I attended the US premiere of the Bertelsmann Foundation of North America produced documentary “Lithium Rising”, a movie about the extraction of essential rare minerals like lithium, nickel and cobalt. Afterwards, I moderated a panel featuring the movie's director Samuel George, the Biden US Department of Energy Director Giulia Siccardo and Environmental Lawyer JingJing Zhang (the "Erin Brockovich of China"). In post Liberation Day America, of course, the issues addressed in both “Lithium Rising” and our panel discussion - particularly US-Chinese economic rivalry over these essential rare minerals - are even more relevant. Tariffs or not, George's important new movie uncovers the essential economic and moral rules of today's rechargeable battery age. FIVE TAKEAWAYS* China dominates the critical minerals supply chain, particularly in refining lithium, cobalt, and nickel - creating a significant vulnerability for the United States and Western countries who rely on these minerals for everything from consumer electronics to military equipment.* Resource extraction creates complex moral dilemmas in communities like those in Nevada, Bolivia, Congo, and Chile, where mining offers economic opportunities but also threatens environment and sacred lands, often dividing local populations.* History appears to be repeating itself with China's approach in Africa mirroring aspects of 19th century European colonialism, building infrastructure that primarily serves to extract resources while local communities remain impoverished.* Battery recycling offers a potential "silver lining" but faces two major challenges: making the process cost-effective compared to new mining, and accumulating enough recycled materials to create a closed-loop system, which could take decades.* The geopolitical competition for these minerals is intensifying, with tariffs and trade wars affecting global supply chains and the livelihoods of workers throughout the system, from miners to manufacturers. FULL TRANSCRIPTAndrew Keen: Hello, everybody. Last year, we did a show on a new book. It was a new book back then called Cobalt Red about the role of cobalt, the mineral in the Congo. We also did a show. The author of the Cobalt Red book is Siddharth Kara, and it won a number of awards. It's the finalist for the Pulitzer Prize. We also did a show with Ernest Scheyder, who authored a book, The War Below, Lithium, Copper, and the Global Battle to Power Our Lives. Lithium and cobalt are indeed becoming the critical minerals of our networked age. We've done two books on it, and a couple of months ago, I went to the premiere, a wonderful new film, a nonfiction documentary by my guest Samuel George. He has a new movie out called Lithium Rising and I moderated a panel in Washington DC and I'm thrilled that Samuel George is joining us now. He works with the Bertelsmann Foundation of North America and it's a Bertelsman funded enterprise. Sam, congratulations on the movie. It's quite an achievement. I know you traveled all over the world. You went to Europe, Latin America, a lot of remarkable footage also from Africa. How would you compare the business of writing a book like Cobalt read or the war below about lithium and cobalt and the challenges and opportunities of doing a movie like lithium rising what are the particular challenges for a movie director like yourself.Samuel George: Yeah, Andrew. Well, first of all, I just want to thank you for having me on the program. I appreciate that. And you're right. It is a very different skill set that's required. It's a different set of challenges and also a different set of opportunities. I mean, the beauty of writing, which is something I get a chance to do as well. And I should say we actually do have a long paper coming out of this process that I wrote that will probably be coming out in the next couple months. But the beauty of writing is you need to kind of understand your topic, and if you can really understand your topics, you have the opportunity to explain it. When it comes to filming, if the camera doesn't have it, you don't have it. You might have a sense of something, people might explain things to you in a certain way, but if you don't have it on your camera in a way that's digestible and easy for audience to grasp, it doesn't matter whether you personally understand it or not. So the challenge is really, okay, maybe you understand the issue, but how do you show it? How do you bring your audience to that front line? Because that's the opportunity that you have that you don't necessarily have when you write. And that's to take an audience literally to these remote locations that they've never been and plant their feet right in the ground, whether that be the Atacama in Northern Chile, whether that'd be the red earth of Colwaisy in the Democratic Republic of the Congo. And that's the beauty of it, but it takes more of making sure you get something not just whether you understand it is almost irrelevant. I mean I guess you do need to understand it but you need to be able to draw it out of a place. It's easier when you're writing to get to some of these difficult places because you don't have to bring 900 pounds of equipment and you can kind of move easier and you're much more discreet. You can get places much easier as you can imagine, where with this, you're carrying all this equipment down. You're obvious from miles away. So you really have to build relationships and get people to get comfortable with you and be willing to speak out. So it's different arts, but it's also different rewards. And the beauty of being able to combine analysis with these visuals is really the draw of what makes documentary so magic because you're really kind of hitting different senses at the same time, visual, audio, and combining it to hopefully make some sort of bigger story.Andrew Keen: Well, speaking, Sam, of audio and visuals, we've got a one minute clip or introduction to the movie. People just listening on this podcast won't get to see your excellent film work, but everybody else will. So let's just have a minute to see what lithium rising is all about. We'll be back in a minute.[Clip plays]Andrew Keen: Here's a saying that says that the natural resources are today's bread and tomorrow's hunger. Great stuff, Sam. That last quote was in Spanish. Maybe you want to translate that to English, because I think, in a sense, it summarizes what lithium rising is about.Samuel George: Right. Well, that's this idea that natural resources in a lot of these places, I mean, you have to take a step back that a lot of these resources, you mentioned the lithium, the cobalt, you can throw nickel into that conversation. And then some of the more traditional ones like copper and silver, a lot are in poor countries. And for centuries, the opportunity to access this has been like a mirage, dangled in front of many of these poor countries as an opportunity to become more wealthy. Yet what we continue to see is the wealth, the mineral wealth of these countries is sustaining growth around the world while places like Potosí and Bolivia remain remarkably poor. So the question on their minds is, is this time gonna be any different? We know that Bolivia has perhaps the largest lithium deposits in the world. They're struggling to get to it because they're fighting amongst each other politically about what's the best way to do it, and is there any way to it that, hey, for once, maybe some of this resource wealth can stay here so that we don't end up, as the quote said, starving. So that's where their perspective is. And then on the other side, you have the great powers of the world who are engaged in a massive competition for access to these minerals.Andrew Keen: And let's be specific, Sam, we're not talking about 19th century Europe and great powers where there were four or five, they're really only two great powers when it comes to these resources, aren't they?Samuel George: I mean, I think that's fair to say. I think some people might like to lump in Western Europe and the EU with the United States to the extent that we used to traditionally conceive of them as being on the same team. But certainly, yes, this is a competition between the United States and China. And it's one that, frankly, China is winning and winning handily. And we can debate what that means, but it's true. I showed this film in London. And a student, who I believe was Chinese, commented, is it really fair to even call this a race? Because it seems to be over.Andrew Keen: Yeah, it's over. You showed it at King's College in London. I heard it was an excellent event.Samuel George: Yeah, it really was. But the point here is, to the extent that it's a competition between the United States and China, which it is, China is winning. And that's of grave concern to Washington. So there's the sense that the United States needs to catch up and need to catch up quickly. So that's the perspective that these two great powers are going at it from. Whereas if you're the Democratic Republic of Congo, if you are Bolivia, if your Chile, you're saying, what can we do to try to make the most of this opportunity and not just get steamrolled?Andrew Keen: Right. And you talk about a grave concern. Of course, there is grave concern both in Washington, D.C. and Beijing in terms of who's winning this race for these natural resources that are driving our networked age, our battery powered age. Some people might think the race has ended. Some people may even argue that it hasn't even really begun. But of course, one of the biggest issues, and particularly when it comes to the Chinese, is this neocolonial element. This was certainly brought out in Cobalt Red, which is quite a controversial book about the way in which China has essentially colonized the Congo by mining Cobalt in Congo, using local labor and then shipping out these valuable resources back to China. And of course, it's part of a broader project in Africa of the Chinese, which for some critics actually not that different from European 19th century colonialism. That's why we entitled our show with Siddharth Kara, The New Heart of Darkness. Of course, the original Heart of darkness was Joseph Conrad's great novel that got turned into Apocalypse Now. Is history repeating itself, Sam, when it comes to these natural resources in terms of the 19th-century history of colonialism, particularly in Africa?Samuel George: Yeah, I mean, I think it's so one thing that's fair to say is you hear a lot of complaining from the West that says, well, look, standards are not being respected, labor is being taken advantage of, environment is not being taken care of, and this is unfair. And this is true, but your point is equally true that this should not be a foreign concept to the West because it's something that previously the West was clearly engaged in. And so yes, there is echoes of history repeating itself. I don't think there's any other way to look at it. I think it's a complicated dynamic because sometimes people say, well, why is the West not? Why is it not the United States that's in the DRC and getting the cobalt? And I think that's because it's been tough for the United states to find its footing. What China has done is increasingly, and then we did another documentary about this. It's online. It's called Tinder Box Belt and Road, China and the Balkans. And what we increasingly see is in these non-democracies or faulty democracies that has something that China's interested in. China's willing to show up and basically put a lot of money on the table and not ask a whole lot of questions. And if the West, doesn't wanna play that game, whatever they're offering isn't necessarily as attractive. And that's a complication that we see again and again around the world and one, the United States and Europe and the World Bank and Western institutions that often require a lot of background study and open tenders for contracts and democracy caveats and transparency. China's not asking for any of that, as David Dollar, a scholar, said in the prior film, if the World Bank says they're going to build you a road, it's going to be a 10-year process, and we'll see what happens. If China says they'll build you a road a year later, you'll have a road.Andrew Keen: But then the question sound becomes, who owns the road?Samuel George: So let's take the Democratic Republic of the Congo, another great option. China has been building a lot of roads there, and this is obviously beneficial to a country that has very limited infrastructure. It's not just to say everything that China is doing is bad. China is a very large and economically powerful country. It should be contributing to global infrastructure. If it has the ability to finance that, wonderful. We all know Africa, certain African countries can really benefit from improved infrastructure. But where do those roads go? Well, those roads just happen to conveniently connect to these key mineral deposits where China overwhelmingly owns the interest and the minerals.Andrew Keen: That's a bit of a coincidence, isn't it?Samuel George: Well, exactly. And I mean, that's the way it's going. So that's what they'll come to the table. They'll put money on the table, they'll say, we'll get you a road. And, you know, what a coincidence that roads going right by the cobalt mine run by China. That's debatable. If you're from the African perspective, you could say, look, we got a road, and we needed that road. And it could also be that there's a lot of money disappearing in other places. But, you know that that's a different question.Andrew Keen: One of the things I liked about Lithium Rising, the race for critical minerals, your new documentary, is it doesn't pull its punches. Certainly not when it comes to the Chinese. You have some remarkable footage from Africa, but also it doesn't pull its punches in Latin America, or indeed in the United States itself, where cobalt has been discovered and it's the indigenous peoples of some of the regions where cobalt, sorry, where lithium has been discovered, where the African versus Chinese scenario is being played out. So whether it's Bolivia or the western parts of the United States or Congo, the script is pretty similar, isn't it?Samuel George: Yeah, you certainly see themes in the film echoed repeatedly. You mentioned what was the Thacker Pass lithium mine that's being built in northern Nevada. So people say, look, we need lithium. The United States needs lithium. Here's the interesting thing about critical minerals. These are not rare earth minerals. They're actually not that rare. They're in a lot of places and it turns out there's a massive lithium deposit in Nevada. Unfortunately, it's right next to a Native American reservation. This is an area that this tribe has been kind of herded onto after years, centuries of oppression. But the way the documentary tries to investigate it, it is not a clear-cut story of good guy and bad guy, rather it's a very complicated situation, and in that specific case what you have is a tribe that's divided, because there's some people that say, look, this is our land, this is a sacred site, and this is going to be pollution, but then you have a whole other section of the tribe that says we are very poor and this is an opportunity for jobs such that we won't have to leave our area, that we can stay here and work. And these kind of entangled complications we see repeated over and over again. Cobalt is another great example. So there's some people out there that are saying, well, we can make a battery without cobalt. And that's not because they can make a better battery. It's because they want to avoid the Democratic Republic of the Congo. But that cobalt is providing a rare job opportunity. And we can debate the quality of the job, but for the people that are working it, as they say in my film, they say, look, if we could do something else, we would do it. But this is all there is. So if you deprive them of that, the situation gets even worse. And that something we see in Northern Chile. We see it in Nevada. We see in Africa. We see it in Indonesia. What the film does is it raises these moral questions that are incredibly important to talk about. And it sort of begs the question of, not only what's the answer, but who has the right to answer this? I mean, who has right to speak on behalf of the 10 communities that are being destroyed in Northern Chile?Andrew Keen: I have to admit, I thought you did a very good job in the film giving everybody a voice, but my sympathy when it came to the Nevada case was with the younger people who wanted to bring wealth and development into the community rather than some of the more elderly members who were somehow anti-development, anti-investment, anti mining in every sense. I don't see how that benefits, but certainly not their children or the children of their children.Samuel George: I guess the fundamental question there is how bad is that mine going to be for the local environment? And I think that's something that remains to be seen. And one of the major challenges with this broader idea of are we going to greener by transitioning to EVs? And please understand I don't have an opinion of that. I do think anywhere you're doing mining, you're going to have immediate consequences. The transition would have to get big enough that the external the externalities, the positive benefits outweigh that kind of local negativity. And we could get there, but it's also very difficult to imagine massive mining projects anywhere in the world that don't impact the local population. And again, when we pick up our iPhone or when we get in our electric vehicle, we're not necessarily thinking of those 10 villages in the Atacama Desert in Chile.Andrew Keen: Yeah, and I've been up to the Atacama's, perhaps the most beautiful part in the world I've ever seen. It's nice. I saw the tourist side of it, so I didn't see the mining. But I take your point. There is one, perhaps, the most positive section of the film. You went to France. I think it was Calais, you took your camera. And it seems as if the French are pioneering a more innovative development of batteries which benefit the local community but also protect them environmentally. What did you see in northern France?Samuel George: Point, and that gets back to this extractive cycle that we've seen before. Okay, so northern France, this is a story a lot of us will know well because it's similar to what we've see in the Rust Belt in the United States. This is an industrial zone, historically, that faced significant deindustrialization in recent decades and now has massive problems with unemployment and lack of job opportunities, as one of the guys says in the film. Nothing's open here anymore except for that cafe over there and that's just because it has gambling guy. I couldn't have said it any better. This EV transition is offering an opportunity to bring back industrial jobs to whether it's Northern France or the United States of America. So that is an opportunity for people to have these more advanced battery-oriented jobs. So that could be building the battery itself. That could be an auto manufacturing plant where you're making EV electric vehicles. So there is job creation that's happening. And that's further along the development stage and kind of higher level jobs. And we meet students in France that are saying, look, this is an opportunity for a career. We see a long-term opportunity for work here. So we're really studying batteries and that's for university students. That's for people maybe 10, 15 years older to kind of go back to school and learn some skills related to batteries. So there is job creation to that. And you might, you may be getting ready to get to this, but where the real silver lining I think comes after that, where we go back to Georgia in the United States and visit a battery recycling plant.Andrew Keen: Right, yeah, those two sections in the movie kind of go together in a sense.Samuel George: Right, they do. And that is, I think, the silver lining here is that these batteries that we use in all of these appliances and devices and gadgets can be recycled in such a way that the cobalt, the lithium, the nickel can be extracted. And it itself hasn't degraded. It's sort of funny for us to think about, because we buy a phone. And three years later, the battery is half as good as it used to be and we figure well, materials in it must be degrading. They're not. The battery is degrading, the materials are fine. So then the idea is if we can get enough of this in the United States, if we can get old phones and old car batteries and old laptops that we can pull those minerals out, maybe we can have a closed loop, which is sort of a way of saying we won't need those mines anymore. We won't have to dig it up. We don't need to compete with China for access to from Bolivia or Chile because we'll have that lithium here. And yes, that's a silver lining, but there's challenges there. The two key challenges your viewers should be aware of is one, it's all about costs and they've proven that they can recycle these materials, but can they do it in a way that's cheaper than importing new lithium? And that's what these different companies are racing to find a way to say, look, we can do this at a way that's cost effective. Then even if you get through that challenge, a second one is just to have the sheer amount of the materials to close that loop, to have enough in the United States already, they estimate we're decades away from that. So those are the two key challenges to the silver lining of recycling, but it is possible. It can be done and they're doing it.Andrew Keen: We haven't talked about the T word, Sam. It's on everyone's lips these days, tariffs. How does this play out? I mean, especially given this growing explicit, aggressive trade war between the United States and China, particularly when it comes to production of iPhones and other battery-driven products. Right. Is tariffs, I mean, you film this really before Trump 2-0, in which tariffs were less central, but is tariffs going to change everything?Samuel George: I mean, this is just like so many other things, an incredibly globalized ecosystem and tariffs. And who even knows by the time this comes out, whatever we think we understand about the new tariff scenario could be completely outdated.Andrew Keen: Guaranteed. I mean, we are talking on Wednesday, April the 9th. This will go out in a few days time. But no doubt by that time, tariffs will have changed dramatically. They already have as we speak.Samuel George: Here's the bottom line, and this is part of the reason the story is so important and so timely, and we haven't even talked about this yet, but it's so critical. Okay, just like oil, you can't just dig oil out of the ground and put it in the car. It's got to be refined. Lithium, nickel, cobalt, it's got be refined as well. And the overwhelming majority of that refining occurs in China. So even your success story like France, where they're building batteries, they still need to import the refined critical minerals from China. So that is a massive vulnerability. And that's part of where this real fear that you see in Washington or Brussels is coming from. You know, and they got their first little taste of it during the COVID supply chain meltdown, but say in the event where China decided that they weren't gonna export any more of this refined material it would be disastrous for people relying on lithium devices, which by the way, is also the military. Increasingly, the military is using lithium battery powered devices. So that's why there's this urgency that we need to get this on shore. We need to this supply chain here. The problem is that's not happening yet. And okay, so you can slap these tariffs on and that's going to make this stuff much more expensive, but that's not going to automatically create a critical mineral refining capacity in the United States of America. So that needs to be built. So you can understand the desire to get this back here. And by the way, the only reason we're not all driving Chinese made electric vehicles is because of tariffs. The Chinese have really, really caught up in terms of high quality electric vehicles at excellent prices. Now, the prices were always good. What's surprising people recently is the quality is there, but they've basically been tariffed out of the United States. And actually the Biden administration was in part behind that. And it was sort of this tension because on the one hand, they were saying, we want a green revolution, we want to green revolution. But on the other hand, they were seeing these quality Chinese electric vehicles. We're not gonna let you bring them in. But yeah, so I mean, I think the ultimate goal, you can understand why a country that's convinced that it's in a long term competition with China would say we can't rely on Chinese refined materials. Slapping a tariff on it isn't any sort of comprehensive strategy and to me it almost seems like you're putting the horse before the cart because we're not really in a place yet where we can say we no longer need China to power our iPhone.Andrew Keen: And one of the nice things about your movie is it features miners, ordinary people living on the land whose lives are dramatically impacted by this. So one would imagine that some of the people you interviewed in Bolivia or Atacama or in Africa or even in Georgia and certainly in Nevada, they're going to be dramatically impacted by the tariffs. These are not just abstract ideas that have a real impact on people's lives.Samuel George: Absolutely. I mean, for decades now, we've built an economic system that's based on globalization. And it's certainly true that that's cost a lot of jobs in the United States. It's also true that there's a lot jobs and companies that have been built around global trade. And this is one of them. And you're talking about significant disruption if your global supply chains, as we've seen before, again, in the COVID crisis when the supply chains fall apart or when the margins, which are already pretty slim to begin with, start to degrade, yeah, it's a major problem.Andrew Keen: Poorly paid in the first place, so...Samuel George: For the most part, yeah.Andrew Keen: Well, we're not talking about dinging Elon Musk. Tell us a little bit, Sam, about how you made this movie. You are a defiantly independent filmmaker, one of the more impressive that I know. You literally carry two large cameras around the world. You don't have a team, you don't have an audio guy, you don't ever sound guy. You do it all on your own. It's quite impressive. Been you shlep these cameras to Latin America, to Southeast Asia, obviously all around America. You commissioned work in Africa. How did you make this film? It's quite an impressive endeavor.Samuel George: Well, first of all, I really appreciate your kind words, but I can't completely accept this idea that I do it all alone. You know, I'm speaking to you now from the Bertelsmann Foundation. I'm the director of Bertelsman Foundation documentaries. And we've just had this fantastic support here and this idea that we can go to the front line and get these stories. And I would encourage people to check out Bertelsmen Foundation documentation.Andrew Keen: And we should have a special shout out to your boss, my friend, Irene Brahm, who runs the BuzzFeed Foundation of North America, who's been right from the beginning, a champion of video making.Samuel George: Oh, absolutely. I mean, Irene Brahm has been a visionary in terms of, you know, something I think that we align on is you take these incredibly interesting issues and somehow analysts manage to make them extraordinarily boring. And Irene had this vision that maybe it doesn't have to be that way.Andrew Keen: She's blushing now as she's watching this, but I don't mean to make you blush, Sam, but these are pretty independent movies. You went around the world, you've done it before, you did it in the Serbian movie too. You're carrying these cameras around, you're doing all your own work, it's quite an achievement.Samuel George: Well, again, I'm very, very thankful for the Bertelsmann Foundation. I think a lot of times, sometimes people, when they hear a foundation or something is behind something, they assume that somebody's got an ax to grind, and that's really not the case here. The Bertelsman Foundation is very supportive of just investigating these key issues, and let's have an honest conversation about it. And maybe it's a cop-out, but in my work, I often don't try to provide a solution.Andrew Keen: Have you had, when we did our event in D.C., you had a woman, a Chinese-born woman who's an expert on this. I don't think she's particularly welcome back on the mainland now. Has there been a Chinese response? Because I would say it's an anti-Chinese movie, but it's not particularly sympathetic or friendly towards China.Samuel George: And I can answer that question because it was the exact same issue we ran into when we filmed Tinder Box Belt and Road, which was again about Chinese investment in the Balkans. And your answer is has there been a Chinese reaction and no sort of official reaction. We always have people sort of from the embassy or various affiliated organizations that like to come to the events when we screen it. And they're very welcome to. But here's a point that I want to get across. Chinese officials and people related to China on these issues are generally uniformly unwilling to participate. And I think that's a poor decision on their part because I think there's a lot they could say to defend themselves. They could say, hey, you guys do this too. They could say, we're providing infrastructure to critical parts of the world. They could said, hey we're way ahead of you guys, but it's not because we did anything wrong. We just saw this was important before you did and built the network. There are many ways they could defend themselves. But rather than do that, they're extremely tight-lipped about what they're doing. And that can, if you're not, and we try our best, you know, we have certain experts from China that when they'll talk, we'll interview them. But that kind of tight-lip approach almost makes it seem like something even more suspicious is happening. Cause you just have to guess what the mindset must be cause they won't explain themselves. And I think Chinese representatives could do far more and it's not just about you know my documentary I understand they have bigger fish to fry but I feel like they fry the fish the same way when they're dealing with bigger entities I think it's to their detriment that they're not more open in engaging a global conversation because look China is gonna be an incredibly impactful part of world dynamics moving forward and they need to be, they need to engage on what they're doing. I think, and I do think they have a story they can tell to defend themselves, and it's unfortunate that they very much don't do it.Andrew Keen: In our DC event, you also had a woman who'd worked within the Biden administration. Has there been a big shift between Biden policy on recycling, recyclable energy and Trump 2.0? It's still the early days of the new administration.Samuel George: Right. And we're trying to get a grip on that of what the difference is going to be. I can tell you this, the Biden approach was very much the historic approach of the United States of America, which is to try to go to a country like Congo and say, look, we're not going to give you money without transparency. We're not gonna give you this big, you know, beautiful deal. We're going to the cheapest to build this or the cheapest build that. But what we can compete with you is on quality and sustainability and improved work conditions. This used to be the United States pitch. And as we've seen in places like Serbia, that's not always the greatest pitch in the world. Oftentimes these countries are more interested in the money without questions being asked. But the United states under the Biden administration tried to compete on quality. Now we will have to see if that continues with the Trump administration, if that continuous to be their pitch. What we've see in the early days is this sort of hardball tactic. I mean, what else can you refer to what's happening with Ukraine, where they say, look, if you want continued military support, we want those minerals. And other countries say, well, maybe that could work for us too. I mean that's sort of, as I understand it, the DRC, which is under, you know, there's new competition there for power that the existing government is saying, hey, United States, if you could please help us, we'll be sure to give you this heaping of minerals. We can say this, the new administration does seem to be taking the need for critical minerals seriously, which I think was an open question because we see so much of the kind of green environmentalism being rolled back. It does still seem to be a priority with the new administration and there does seem to be clarity that the United States is going to have to improve its position regarding these minerals.Andrew Keen: Yeah, I'm guessing Elon Musk sees this as well as anyone, and I'm sure he's quite influential. Finally, Sam, in contrast with a book, which gets distributed and put in bookstores, doing a movie is much more challenging. What's the goal with the movie? You've done a number of launches around the world, screenings in Berlin, Munich, London, Washington D.C. you did run in San Francisco last week. What's the business model, so to speak here? Are you trying to get distribution or do you wanna work with schools or other authorities to show the film?Samuel George: Right, I mean, I appreciate that question. The business model is simple. We just want you to watch. You know, our content is always free. Our films are always free, you can go to bfnadox.org for our catalog. This film is not online yet. You don't need a password, you don't a username, you can just watch our movies, that's what we want. And of course, we're always on the lookout for increased opportunities to spread these. And so we worked on a number of films. We've got PBS to syndicate them nationally. We got one you can check your local listings about a four-month steel workers strike in western Pennsylvania. It's called Local 1196. That just started its national syndication on PBS. So check out for that one. But look, our goal is for folks to watch these. We're looking for the most exposure as we can and we're giving it away for free.Andrew Keen: Just to repeat, if people are interested, that's bfna.docs.org to find more movies. And finally, Sam, for people who are interested perhaps in doing a showing of the film, I know you've worked with a number of universities and interest groups. What would be the best way to approach you.Samuel George: Well, like you say, we're a small team here. You can always feel free to reach out to me. And I don't know if I should pitch my email.Andrew Keen: Yeah, picture email. Give it out. The Chinese will be getting it too. You'll be getting lots of invitations from China probably to show the film.Samuel George: We'd love to come talk about it. That's all we want to do. And we try, but we'd love to talk about it. I think it's fundamental to have that conversation. So the email is just Samuel.George, just as you see it written there, at BFN as in boy, F as in Frank, N as in Nancy, A. Let's make it clearer - Samuel.George@bfna.org. We work with all sorts of organizations on screenings.Andrew Keen: And what about the aspiring filmmakers, as you're the head of documentaries there? Do you work with aspiring documentary filmmakers?Samuel George: Yes, yes, we do often on projects. So if I'm working on a project. So you mentioned that I work by myself, and that is how I learned this industry, you know, is doing it by myself. But increasingly, we're bringing in other skilled people on projects that we're working on. So we don't necessarily outsource entire projects. But we're always looking for opportunities to collaborate. We're looking to bring in talent. And we're looking to make the best products we can on issues that we think are fundamental importance to the Atlantic community. So we love being in touch with filmmakers. We have internship programs. We're open for nonprofit business, I guess you could say.Andrew Keen: Well, that's good stuff. The new movie is called Lithium Rising, The Race for Critical Minerals. I moderated a panel after the North American premiere at the end of February. It's a really interesting, beautifully made film, very compelling. It is only 60 minutes. I strongly advise anyone who has the opportunity to watch it and to contact Sam if they want to put it on their school, a university or other institution. Congratulations Sam on the movie. What's the next project?Samuel George: Next project, we've started working on a project about Southern Louisiana. And in there, we're really looking at the impact of land loss on the bayous and the local shrimpers and crabbers and Cajun community, as well as of course This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Ben Volk, Tom Forbus, LunaMari8, James Williams, Joe, Dennis Eickhorst, Craig Waide, Timothy Dunham, Tom Rees, jj, Daniel Paulson, Anthony Zizza, Niels Lieshout, Austin, Sherry Buddemeyer, Marie, Stu, Les T, Dinos Bardaklis, Finn, John Wright, Rhyyno, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, Diego Garibay, Schulary Milus, Jeffrey G, JP, Ethon Burns, Scooter, Crimsy Bites, Marissa, James Thomas, Nathan Clark, Y3TI10, Ruby Slider, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Wolfey, Bryan Safarik, Zhane Balzarini, Ms. Wayback, Christina Laing, Jeffrey Porter, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen, Ava-N-LeifRawesome! Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Smith Family, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson, Bryan Safarik, Brock Christensen, Zhane Balzarini, Boulder-Kong, Ms. Wayback, Christina Laing, Jeffrey Porter, Rayyan Hassan, Brianna Demarais, R0c1nante, Psy, Raishiwi, Xstraterrestrial, Mathias Kristensen Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.josephtweedale.com Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson, Bryan Safarik, Brock Christensen, Zhane Balzarini, Boulder-Kong, Ms. Wayback, Christina Laing, Jeffrey Porter, Rayyan Hassan, Brianna Demarais, R0c1nante, Psy, Raishiwi, Xstraterrestrial Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Keith returns for his third game, and it happened at the perfect time to catch his (very early) Oscar predictions just after the nominations were announced. He's a huge film buff, so it was fun to get his thoughts and predictions. This time he was looking for movies, television, and word play categories. He definitely ran into at least a couple of those things, so have a listen and see how he navigated.Episode Links:Oscar Predictions…see the winners: https://www.oscars.org/oscars/ceremonies/2025Go-to Karaoke Song: Kamikaze Karaoke…or “Inside Out” by Eve 6What Are You Into? Seeing all 50 Oscar nominees Last Internet Search: Bob Dylan and the Newport Folk FestivalSomething you learned in the last week: Ships in the Alien franchise are named for Joseph Conrad works.Also be sure to check out the Linktree here: https://linktr.ee/TriviaWorkshop

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.spotlight.com/9177-8942-9750 Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Christal Weems, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson, Bryan Safarik, Brock Christensen, Zhane Balzarini, Boulder-Kong, Ms. Wayback, Christina Laing, Jeffrey Porter, Rayyan Hassan, Brianna Demarais, R0c1nante, Psy, Raishiwi, Xstraterrestrial Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Decía el escritor Adolfo Bioy Casares que la literatura “añade una habitación a la casa de la vida”. Y es que la necesidad de contar historias ha acompañado a los seres humanos desde el principio de los tiempos. El escritor colombiano Juan Gabriel Vásquez afirma en un nuevo podcast de 'Aprendemos juntos 2030' que las novelas nos dan acceso a los secretos más recónditos de las vidas ajenas. “Leemos para habitar a otro, para entender al otro. Esto significa, también, aprender a respetar vidas distintas a la nuestra”. La literatura se convierte así en un buen antídoto contra la polarización. Para Vásquez, el novelista es “una especie de historiador de las emociones”, que indaga en las pasiones que han configurado la historia de nuestros antepasados: “El escritor rescata las emociones que nos importan y nos definen como seres humanos”. Y añade: “Lo hace para contar el lado invisible de lo visible”. Juan Gabriel Vásquez reivindica el poder democrático de la ficción asegurando que, con mucha frecuencia, las novelas son lugares donde pensamos lo que no se puede pensar, y decimos lo que está prohibido decir. Son, por tanto, “lugares de libertad y rebeldía”. Juan Gabriel Vásquez está considerado uno de los novelistas latinoamericanos más importantes de su generación. Su obra se ha traducido a 30 lenguas y se publica en 50 países. Es miembro de la Academia colombiana de la Lengua y ha obtenido numerosos premios, entre ellos el Premio Alfaguara, el Premio Gregor von Rezzori-Città di Firenze, el IMPAC International Dublin Literary Award, el Premio Real Academia Española y el Premio Casa de Amèrica Latina de Lisboa. Ha traducido, entre otras, obras de Joseph Conrad y Victor Hugo. Escribe regularmente artículos de opinión en ‘El Espectador' de Bogotá y ‘El País' de Madrid. En 2016 fue nombrado Caballero de la Orden de las Artes y las Letras de la República francesa y, en 2018, fue condecorado con la Orden de Isabel la Católica.

Editor of First Things Magazine R. R. Reno joins the show to talk about the life and work of Joseph Conrad. Get the After Dark episode and more at patreon.com/artofdarkpod or substack.com/@artofdarkpod. firstthings.com x.com/artofdarkpod x.com/abbielucas x.com/kautzmania […]

“The horror! The horror!” Joseph Conrad's ‘Heart of Darkness' - the inspiration for Francis Ford Coppola's ‘Apocalypse Now' - is one of the most celebrated literary works of all time, though now increasingly contentious. Based on Conrad's own terrible journey into the Congo in 1890, and the horrors he beheld there while it was under the sway of King Leopold of Belgium's monstrous regime, the novella, published in 1899, delves into man's capacity for evil - the primal beast lurking beneath the surface of all humans - and has long stood as the preeminent cultural representation of European colonialism. It tells the story of Mr Kurtz, a great ivory trader who has disappeared deep into the African interior, and appears to have lost his mind, having penetrated some terrifying, ancient truth. Initially, Conrad's disturbing account was viewed as the ultimate attack on imperialism, though aspects of the novella have also invited accusations of racism and imperialism, in part owed to Conrad's own sympathy for Empire. So what is the truth at the heart of 'Heart of Darkness'? And who was Joseph Conrad himself? What horrors did he behold to have inspired such a poignant account of the nightmares within and without…? Join Dominic and Tom as they discuss Joseph Conrad, ‘Heart of Darkness' and the real life events that inspired it, and the long term reverberations of the novella in culture and literary criticism today. EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/restishistory Try it risk-free now with a 30-day money-back guarantee! _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude Editor: Jack Meek Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Can a young Marlowe survive as second mate for the ill-fated ship Judea?  Joseph Conrad, today on The Classic Tales Podcast.   Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Joseph Conrad was a bit of an adventurer, and today's story is autobiographical.   And now, “Youth: a narrative”, by Joseph Conrad   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Can a young Marlowe survive as second mate for the ill-fated ship Judea? Joseph Conrad, today on The Classic Tales Podcast.   Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Joseph Conrad was a bit of an adventurer, and today's story is autobiographical.   And now, “Youth: a narrative”, by Joseph Conrad   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.Details: A General Film Distributors Picture released on December 2, 1936. Produced by Michael Balcon. Screenplay by Charles Bennett, based on the 1907 novelThe Secret Agent by Joseph Conrad. Starring Sylvia Sidney, Oskar Homolka, John Loder, and Desmond Tester. Cinematography by Bernard Knowles. Music by Jack BeaverRanking: 23 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazinesSabotagegot 1,732 ranking points.

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Jason Churray Rhiannon Moushall - www.rhiannonmoushall.com Alyssa Marteja Michelle Mosley Wyatt Henry Paul Warren - paulwarren.carrd.co Chloë Elmore - www.chloevoices.com Rebecca Tanwen - www.rebeccatanwen.com Troy Allan - troyallanvo.com Leonie Schliesing - www.leoniedoesvoices.com Allain Armean - allainarmeanvo.com Toby J. Smith - www.tobyjsmithvo.com Joseph Tweedale - www.spotlight.com/9177-8942-9750 Zachary Scott - www.castingcall.club/zacharyscott Garrett Niall - garrettniall.carrd.co Adam McLaughlin - www.voadam.com Gavaroc - twitter.com/Gavaroc Armand Cabral Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, miguelito_42, Tim Hewerdine, Christal Weems, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson, Bryan Safarik, Brock Christensen, Zhane Balzarini, Boulder-Kong, Ms. Wayback, Christina Laing, Jeffrey Porter, Rayyan Hassan, R0c1nante, Psy, Raishiwi Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

La matiné de este miércoles en el Teatro Luis del Olmo arranca con una adaptación de una de las obras más respetadas y representativas de Joseph Conrad: 'El corazón de las tinieblas'.

durée : 00:58:47 - La Conversation littéraire - par : Mathias Énard - L'écrivain Joseph Conrad est décédé il y a près de cent ans. Une conversation littéraire en compagnie du bédéiste Maël qui adapte "Nostromo" le roman méconnu de Conrad. Yann Brunel préface la réédition d'un hommage à l'écrivain, avec des textes de ses admirateurs dont André Gide et Joseph Kessel. - réalisation : Laure-Hélène Planchet - invités : Maël Auteur et dessinateur de bande dessinée; Yann Brunel Romancier.

In this episode of Wallowing in the Shallows, Rebecca and Tori dive into the bizarre world of Marvel's 'What If' series, discussing the first two episodes of season three. We explore references to other cinematic works, including 'Apocalypse Now,' and Joseph Conrad's 'Heart of Darkness'. We chat a bit about character portrayals, animation styles, and the overall narrative structure of the episodes.MusicApache Rock Instrumental by Sound Atelier licensed through Jamendo Music.The Epical Trailer: Music by Dmitrii Kolesnikov free on PixabaySound EffectRecord Scratch: Sound Effect free on PixabaySourcesBusby Berkeley - WikipediaScreenrant | What If? Season 3 Episode 1 Ending Explained; Easter EggsMasterclass | What Is Bollywood?Cosmopolitan | What If Agatha Harkness Went to Hollywood Episode RecapMarvel.com |Avengers Mech Strike 1 Has the Avengers in a Massive New FightWho Are The Mech Avengers In What If...? Season 3? Marvel Comics May Give Us A Clue

GOOD EVENING: The show begins in the Ohio River Valley where an ambush by Maryland colonists leads to mass murder, including infants, and a cycle of revenge murders along the frontier. CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1883 Ohio River FIRST HOUR 9-915 1/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 915-930 2/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) 930-945 3/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) 945-1000 4/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) SECOND HOUR 10-1015 5/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today.42 illustrations 1015-1030 6/8  Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) 1030-1045 7/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) 1045-1100 8/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – May 28, 2024 by  Robert G. Parkinson  (Author) THIRD HOUR 1100-1115 1/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= In 1845, a fungus began to destroy Ireland's potato crop, triggering a famine that would kill one million Irish men, women, and children—and drive over one million more to flee for America. Ten years later, the United States had been transformed by this stupendous migration, nowhere more than New York: by 1855, roughly a third of all adults living in Manhattan were immigrants who had escaped the hunger in Ireland. These so-called “Famine Irish” were the forebears of four U.S. presidents (including Joe Biden) yet when they arrived in America they were consigned to the lowest-paying jobs and subjected to discrimination and ridicule by their new countrymen. Even today, the popular perception of these immigrants is one of destitution and despair. But when we let the Famine Irish narrate their own stories, they paint a far different picture. In this magisterial work of storytelling and scholarship, acclaimed historian Tyler Anbinder presents for the first time the Famine generation's individual and collective tales of struggle, perseverance, and triumph. Drawing on newly available records and a ten-year research initiative, Anbinder reclaims the narratives of the refugees who settled in New York City and helped reshape the entire nation. Plentiful Country is a tour de force—a book that rescues the Famine immigrants from the margins of history and restores them to their rightful place at the center of the American story. 1115-1130 2/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= 1130-1145 3/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= 1145-1200 4/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= FOURTH HOUR 12-1215 5/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= In 1845, a fungus began to destroy Ireland's potato crop, triggering a famine that would kill one million Irish men, women, and children—and drive over one million more to flee for America. Ten years later, the United States had been transformed by this stupendous migration, nowhere more than New York: by 1855, roughly a third of all adults living in Manhattan were immigrants who had escaped the hunger in Ireland. These so-called “Famine Irish” were the forebears of four U.S. presidents (including Joe Biden) yet when they arrived in America they were consigned to the lowest-paying jobs and subjected to discrimination and ridicule by their new countrymen. Even today, the popular perception of these immigrants is one of destitution and despair. But when we let the Famine Irish narrate their own stories, they paint a far different picture. In this magisterial work of storytelling and scholarship, acclaimed historian Tyler Anbinder presents for the first time the Famine generation's individual and collective tales of struggle, perseverance, and triumph. Drawing on newly available records and a ten-year research initiative, Anbinder reclaims the narratives of the refugees who settled in New York City and helped reshape the entire nation. Plentiful Country is a tour de force—a book that rescues the Famine immigrants from the margins of history and restores them to their rightful place at the center of the American story. 1215-1230 6/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= 1230-1245 7/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= 1245-100 am 8/8: Plentiful Country: The Great Potato Famine and the Making of Irish New York Hardcover – March 12, 2024 by  Tyler Anbinder  (Author) https://www.amazon.com/Plentiful-Country-Potato-Famine-Making/dp/031656480X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr=

7/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1755 Military map of the colonies

2/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1776 English map Ohio River

1/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1755 French map Ohio River 

8/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1805 Ohio River at Marietta

6/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1803-1805 Ohio River

5/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1854 Fort Henry

4/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1789 American map Ohio River

3/8: Heart of American Darkness: Bewilderment and Horror on the Early Frontier Hardcover – by  Robert G. Parkinson  (Author) https://www.amazon.com/Heart-American-Darkness-Bewilderment-Frontier/dp/1324091770 We are divided over the history of the United States, and one of the central dividing lines is the frontier. Was it a site of heroism? Or was it where the full force of an all-powerful empire was brought to bear on Native peoples? In this startingly original work, historian Robert Parkinson presents a new account of ever-shifting encounters between white colonists and Native Americans. Drawing skillfully on Joseph Conrad's famous novella, Heart of Darkness, he demonstrates that imperialism in North America was neither heroic nor a perfectly planned conquest. It was, rather, as bewildering, violent, and haphazard as the European colonization of Africa, which Conrad knew firsthand and fictionalized in his masterwork. At the center of Parkinson's story are two families whose entwined histories ended in tragedy. The family of Shickellamy, one of the most renowned Indigenous leaders of the eighteenth century, were Iroquois diplomats laboring to create a world where settlers and Native people could coexist. The Cresaps were frontiersmen who became famous throughout the colonies for their bravado, scheming, and land greed. Together, the families helped determine the fate of the British and French empires, which were battling for control of the Ohio River Valley. From the Seven Years' War to the protests over the Stamp Act to the start of the Revolutionary War, Parkinson recounts the major turning points of the era from a vantage that allows us to see them anew, and to perceive how bewildering they were to people at the time. For the Shickellamy family, it all came to an end on April 30, 1774, when most of the clan were brutally murdered by white settlers associated with the Cresaps at a place called Yellow Creek. That horrific event became news all over the continent, and it led to war in the interior, at the very moment the First Continental Congress convened in Philadelphia. Meanwhile, Michael Cresap, at first blamed for the massacre at Yellow Creek, would be transformed by the Revolution into a hero alongside George Washington. In death, he helped cement the pioneer myth at the heart of the new republic. Parkinson argues that American history is, in fact, tied to the frontier, just not in the ways we are often told. Altering our understanding of the past, he also shows what this new understanding should mean for us today. 42 illustrations 1781 French map Ohio River

durée : 01:01:09 - Mauvais genres - par : François Angelier - Le dessinateur et graphiste belge Michael Matthys signe, aux éditions Fremok, une fascinante adaptation d'"Au cœur des ténèbres", de Joseph Conrad. - réalisation : Laurent Paulré

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Emma Sherr-Ziarko - emmasherrziarko.com Jason Churray Michelle Mosley Brian Jeffords Peter Wicks - www.spotlight.com/9510-8944-4155 Paul Warren - paulwarren.carrd.co Chloe Elmore - www.chloevoices.com Cory Koehler Rebecca Tanwen - www.rebeccatanwen.com Jimmie Yamaguchi - www.yamavoicethat.com Max Herzfeld - maxherzfeldva.com Eric Willmott - razorwuff.carrd.co Philip Kraaijenhof - philipkraaijenhof.com Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Dex, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Andrei Krishkevich, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, Jess Dougan, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Mike, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, alikabok1966, miguelito_42, Tim Hewerdine, Christal Weems, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson, Curtis Hodges, Bryan Safarik, Brock Christensen Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Emma Sherr-Ziarko - emmasherrziarko.com Jason Churray Michelle Mosley Brian Jeffords Peter Wicks - www.spotlight.com/9510-8944-4155 Paul Warren - paulwarren.carrd.co Chloe Elmore - www.chloevoices.com Cory Koehler Rebecca Tanwen - www.rebeccatanwen.com Jimmie Yamaguchi - www.yamavoicethat.com Max Herzfeld - maxherzfeldva.com Eric Willmott - razorwuff.carrd.co Philip Kraaijenhof - philipkraaijenhof.com Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Austin, Sherry Buddemeyer, Marie, Lisa W, Dex, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Andrei Krishkevich, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, Jess Dougan, JP, Daniel Ebert, Ethon Burns, Scooter, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Mike, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, alikabok1966, miguelito_42, Tim Hewerdine, Christal Weems, Jonathan Johnson, Matthew, Wolfey, Demetrius Gipson Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to part 2 of my interview with Kenneth C. Davis, author of the brand new book THE WORLD IN BOOKS: 52 Works of Great Short Nonfiction – a curated journey through fifty-two of the most significant short nonfiction works ever penned, from ancient times to the present day. Kenneth is also the author of Don't Know Much About® History, which spent 35 consecutive weeks on The New York Times bestseller list, and gave rise to the Don't Know Much About® series of books and audios, which has a combined in-print total of some 4.7-million copies. We covered: - How the editing process reminds him of the myth of Sisyphus - Why his inner critic sounds a lot like Joseph Conrad and E.B. White - A chills-inducing pep talk for reading - The harm caused by the idea of American exceptionalism - Re-examining American's history through a lens of equity - Comparing our current political climate to 1968 and drawing parallels Connect with Ken at https://dontknowmuch.com/. For full show notes with links to everything we discuss, plus bonus photos!, visit katehanley.substack.com. Thank you for listening! And thanks to this week's sponsor, Air Doctor Pro. Visit airdoctorpro.com and use code KATE to save 30% off an amazing indoor air filter *and* receive a free three-year warranty (an $84 value). Learn more about your ad choices. Visit megaphone.fm/adchoices

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Emma Sherr-Ziarko - emmasherrziarko.com Jason Churray Michelle Mosley Brian Jeffords Peter Wicks - www.spotlight.com/9510-8944-4155 Paul Warren - paulwarren.carrd.co Chloe Elmore - www.chloevoices.com Cory Koehler Rebecca Tanwen - www.rebeccatanwen.com Jimmie Yamaguchi - www.yamavoicethat.com Max Herzfeld - maxherzfeldva.com Eric Willmott - razorwuff.carrd.co Philip Kraaijenhof - philipkraaijenhof.com Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Garrison, Austin, David Mcrobbie, Sherry Buddemeyer, Marie, Lisa W, Dex, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Andrei Krishkevich, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, Jess Dougan, JP, Daniel Ebert, Ethon Burns, Scooter, Katie Poole, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Mike, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, alikabok1966, miguelito_42, Tim Hewerdine, Christal Weems, Jonathan Johnson Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Blaming the victim is as old as the hills. It occurs when the victim of a crime or tragedy is held at fault for the harm that befell them. In other words, you had it coming to you. The great scholar Edward Said ruefully remarked that the Palestinians were the victims of the victim hence it was very difficult for them to generate support. Said quoted Joseph Conrad's Heart of Darkness, the “conquest of the earth, which mostly means the taking it away from those who have a different complexion…than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea.” From the Palestinian perspective in the wake of the Holocaust, they were paying for the crimes of Europeans. Interviewed by David Barsamian. Recorded at Boulder Public Library's Canyon Theater.

Tonight we move on to our next deep analysis with a look at the second spy novel in modern literature, the classic from Joseph Conrad, The Secret Agent from 1904. This early British spy novel was amazingly ahead of its time with prescient predictive programming and foreshadowing. I will also compare it to the BBC version with Toby Jones. Next live event here: https://www.toplobsta.com/pages/brohemian-grove Icon Conference: https://www.patristicfaith.com/events/icon2024/ Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Emma Sherr-Ziarko - emmasherrziarko.com Jason Churray Michelle Mosley Brian Jeffords Peter Wicks - www.spotlight.com/9510-8944-4155 Paul Warren - paulwarren.carrd.co Chloe Elmore - www.chloevoices.com Cory Koehler Rebecca Tanwen - www.rebeccatanwen.com Jimmie Yamaguchi - www.yamavoicethat.com Max Herzfeld - maxherzfeldva.com Eric Willmott - razorwuff.carrd.co Philip Kraaijenhof - philipkraaijenhof.com Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Sarah Ames, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Garrison, Austin, David Mcrobbie, Sherry Buddemeyer, Marie, Lisa W, Dex, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Andrei Krishkevich, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, Jess Dougan, JP, Daniel Ebert, Ethon Burns, Scooter, Katie Poole, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Mike, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith, Derek Apodaca, Shawn Rodda, John Beach, Arman G. Miranda, alikabok1966, miguelito_42 Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Elizabeth previews the next season: "The Secret Sharer", published in 1910 by Joseph Conrad.This season is a premium exclusive. To enjoy it and our entire catalog of sleepy books try The Sleepy Bookshelf Premium free for 7 days: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sleepybookshelf.supercast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Are you loving The Sleepy Bookshelf? Show your support by giving us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Follow the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Vote on upcoming books via the Survey on our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sleepybookshelf.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Listen to the music from The Sleepy Bookshelf in a relaxing soundscape on Deep Sleep Sounds:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/watch?v=zxRt2AI7f80⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Having an issue with The Sleepy Bookshelf or have a question for us? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our FAQs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Connect: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you so much for joining us here at The Sleepy Bookshelf. Now, let's open our book for this evening. Sweet dreams

Support this podcast and hear episodes a week early, ad-free at patreon.com/beyondthedark The complete subscription-only series The Strata: Luna is also available now on Patreon. Content Warning: Blood, Gratuitous Violence, Gun SFX, Death Created by Mark R. Healy Cast: Emma Sherr-Ziarko - emmasherrziarko.com Jason Churray Michelle Mosley Brian Jeffords Peter Wicks - www.spotlight.com/9510-8944-4155 Paul Warren - paulwarren.carrd.co Chloe Elmore - www.chloevoices.com Cory Koehler Rebecca Tanwen - www.rebeccatanwen.com Jimmie Yamaguchi - www.yamavoicethat.com Max Herzfeld - maxherzfeldva.com Eric Willmott - razorwuff.carrd.co Philip Kraaijenhof - philipkraaijenhof.com Thanks to my Patrons: Pattynator, Cthulhu Squadron, Pete Turner, Jean-Philippe Peltier, Ian McBride, David Trush, Joseph Conrad, Michael, Steve Churray, Joshua Krull, Ben Volk, George Sterba, Tom Forbus, Soylentbenn, Mark Nazarewicz, Adam, Dan Vorstenbosch, Michelle Elliott, LunaMari8, Richard Webb, Richard Heuer, Tyrome, Lisa Tereso, Knucklehead, Thangalang21, Tallon Denney, James Williams, K Brooke, Joe, Dennis Eickhorst. Craig Waide, Timothy Dunham, David Livingston, Tim Cornish, Tom Rees, Robert Sumner, Michael Thorsen, Sarah Ames, Doreen Strydom, Archellus Bell II, Chilimon, jj, Daniel Paulson, Mason Bauer, Heathin BlaccHeart, Anthony Zizza, Niels Lieshout, David Hentschlofsky, Paula, Joe Martino, Ryan Johnson, Vojtěch, Garrison, Austin, David Mcrobbie, Sherry Buddemeyer, Marie, Lisa W, Dex, Stu, Les T, Dinos Bardaklis, Finn, Crispy Bacon, John Wright, Andrei Krishkevich, Thomas Dean Cummins, Rhyyno, Jodi Beamish, Gianna Carriuolo, Edward Hightower, Daniel Rota, Ruben Carrion, David Coddon, Greg Allensworth, Alex Nicol, JMT, Robin Gomez, Smith Family, Autumn Van Horn, Paul Clawson, silkenpaw, Kirk Jackson, Dzooka, Francine Rosenzweig, Kathrina Muyres, Peter Lea Buckly, Anibal Ceniceros, Ray Hashimi, Jamal Jackson, Dustin Watson, RGK, Diego Garibay, Brian Tapia, Schulary Milus, Jeffrey G, Jess Dougan, JP, Daniel Ebert, Ethon Burns, Scooter, Katie Poole, Crimsy Bites, Jennifer Wilson, Marissa, James Thomas, Carlos Cabrera, Nathan Clark, Freeman, Mike, Daniella Rich, Parker Pearcy, Y3TI10, Ruby Slider, Donald Smith Website: http://thestratapodcast.com Twitter: https://twitter.com/thestratapod Transcripts available at http://patreon.com/beyondthedark Find more podcasts by Mark R. Healy: http://theroadofshadows.com Find and support our sponsors at: fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

We asked, you answered! In response to a listener recommendation, we revisit a conversation from 2017 in which Mike and Jacke discuss Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, and Eleanor Coppola's Hearts of Darkness. PLUS novelist Fred Waitzkin (Searching for Bobby Fisher, Anything Is Good) stops by to discuss his choice for the last book he will ever read. Enjoy this? Try these from our archive: 110 Heart of Darkness - Then and Now 619 Fred Waitzkin on Kerouac, Hemingway, and His New Novel 505 Ford Madox Ford (with Max Saunders) Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices