Podcasts about Laurence Sterne

The panel begins the summer reading of The Life and Opinions of Tristram Shandy, Gentleman with a biographical overview of Laurence Sterne, followed by the first eighteen chapters, with a focus on the novel's metatextual moves and discursive structure.Continue reading

Long before The Weave of US President Donald Trump there was  Laurence Sterne's Tristram Shandy, a wild 18th-century classic from England via Ireland more known for its detours than the autobiography it pretends to be. The OG weave and rather cheeky.

Author Zoe Whittal has written acclaimed scripts and books alike, and breaks down her life in books; Steven Beattie recommends three of his favourite funny books, all of which include serious undertones; musician Jordan Astra talks about funk music and Nike shoes; and writer Ian Williams partakes in ‘speed dating therapy”on this episode of The Next Chapter.Books discussed on this week's show include:The Passion by Jeannette WintersonHeroine by Gail ScottRat Bohemia by Sarah SchulmanThe Argonauts by Maggie NelsonShoe Dog by Phil KnightAnimal Farm by Geroge OrwellNot a River by Selva AlmadaThe List by Yomi AdegokeReally Good, Actually by Monica HeiseyThe Sellout by Paul BeattyThe Life and Opinions of Tristram Shandy, Gentleman by Laurence SterneWhat I Mean to Say by Ian Williams

คอลัมน์ “สดแต่เช้า”ปีที่4 (323) จงให้เกียรติตัวเอง ก่อนที่จะให้เกียรติคนอื่น! “จงให้เกียรติทุกคน จงรักพวกพี่น้อง จงยำเกรงพระเจ้า จงถวายเกียรติแด่จักรพรรดิ” ~‭‭1 เปโตร‬ ‭2‬:‭17‬ ‭THSV11‬‬ “Show respect for all people [treat them honorably], love the brotherhood [of believers], fear God, honor the king.”‭‭ ~1 Peter‬ ‭2‬:‭17‬ ‭AMP‬‬ คุณเห็นด้วยหรือไม่ว่า “การให้เกียรติเป็นการแสดงออกที่ยิ่งใหญ่ที่สุดของความรัก!” "Respect is one of the greatest expressions of love." — Don Miguel Ruiz และคุณเห็นด้วย อีกหรือไม่ที่ว่า “ฉันไม่สนหรอกว่าคุณจะชอบหรือไม่ชอบฉัน ทั้งหมดที่ฉันขอก็คือ คุณจงให้เกียรติฉันในฐานะเป็นมนุษย์คนหนึ่ง!” "I'm not concerned with your liking or disliking me... All I ask is that you respect me as a human being." — Jackie Robinson ใช่ครับทุกคน ตั้งแต่ขอทานผู้ยากจน จนถึงพระมหากษัตริย์ผู้ทรงมั่งคั่ง คนทุกคนล้วนต้องการ การให้เกียรติต่อเขาหรือต่อพระองค์! แต่แท้จริงแล้ว ก่อนที่เราจะเรียกร้องให้ใครให้เกียรติกับเรา เราต้องรู้จักให้เกียรติแก่ตัวของเราเองก่อน! เหมือนคำกล่าวที่ว่า“ถ้าคุณต้องการให้คนอื่นให้เกียรติแก่คุณ สิ่งสำคัญก็คือจงให้เกียรติตัวคุณเองก่อนเพราะมีแต่โดยการให้เกียรติตัวคุณเองเท่านั้น คุณจึงจะทำให้คนอื่นยอมให้เกียรติแก่คุณ!”"If you want to be respected by others, the great thing is to respect yourself. Only by that, only by self-respect will you compel others to respect you.” — Fyodor Dostoevsky ขอพูดซ้ำอีกครั้งว่า การให้เกียรติตัวเราเอง และการให้เกียรติผู้อื่นนั้น สำคัญยิ่งเพราะว่า “การให้เกียรติตัวเอง จะนำให้เรามีศีลธรรม การให้เกียรติคนอื่น จะนำให้เรามีมารยาท!” "Respect for ourselves guides our morals, respect for others guides our manners." — Laurence Sterne ด้วยเหตุนี้ อย่าให้เราทำอะไร ที่ทำให้ตัวเอง1).ไม่มีเกียรติ 2).ไม่คู่ควรกับเกียรติ 3).เสื่อมและเสียเกียรติที่ได้รับมา หรือ4).ไปหลู่เกียรติผู้อื่น และหากว่าเราอยู่ในสภาวะใดสภาวะหนึ่งเช่นนั้น “เราต้องปรับปรุงแก้ไข ไม่ใช่เอาแต่แก้ตัว เราต้องแสวงหาการคู่ควรกับเกียรติ ไม่ใช่หาแต่ความสนใจ!”"Make improvements, not excuses. Seek respect, not attention." — Roy T. Bennett ดังนั้นพี่น้องที่รักเวลานี้ ให้เรามา1.พูดจา หรือโพสต์ 2.แสดงออก หรือ3.กระทำ ทุกสิ่งที่ 1).ให้เกียรติตัวเราเอง และ 2).ให้เกียรติผู้อื่น ที่ทำให้ตัวเราและทุกๆคนล้วนมีความสุขและความยินดี …จะดีไหมครับ ~~~~~~~~~~~~~~~ธงชัย ประดับชนานุรัตน์16กุมภาพันธ์2025 #YoutubeCJCONNECT #thongchaibsc#คริสตจักรแห่งความรัก #churchoflove #ShareTheLoveForward #ChurchOfJoy #คริสตจักรแห่งความสุข #NimitmaiChristianChurch #คริสตจักรนิมิตใหม่ #ฮักกัยประเทศไทย #อัลฟ่า #หนึ่งล้านความ

Tristram Shandy av Laurence Sterne är en av upplysningstidens stora verk. Hur välplanerad kan romanen tänkas vara? Och så talas det om pikareskromanen som genre. Gäster: Klara Klingspor, frilansskribent och redaktör och Stephen Farran-Lee, förläggare och kulturjournalist. Programledare: Mikael Timm.

Leaders are lifelong learners. Without curiosity and a desire for self-awareness, we stagnate.Being insatiable learners, leaders also become teachers of others, passing down the traits and skills to help the next generation of leaders achieve their potential.But it all starts with committing to learning more, every day. In this episode, we'll identify nine characteristics of lifelong learners, ask you questions about five facets of the agile learner, and leave you with four tips to help you on a journey of lifelong learning.This wraps up Season 4. I'll be back with some changes in Season 5 — you won't want to miss it.Timeless Leadership is part of the Timeless & Timely family of publications. Your support is the only thing that makes this possible.Timeless Leadership has been named a Top 50 Podcast in the Management category by Goodpods.Links* Leaders are Readers* All Timeless & Timely entries on Reflection* All Timeless & Timely entries on Self-Awareness* Timeless & Timely newsletterFind all of the books featured on Timeless Leadership.Quotes from this episode“Education never ends, Watson. It is a series of lessons with the greatest for the last.” — Sir Arthur Conan Doyle, 1917“The desire of knowledge, like the thirst of riches, increases ever with the acquisition of it.” — Laurence Sterne, 1760“Curiosity is the lust of the mind.” — Thomas Hobbes, 1651MusicAmericana - Aspiring by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license.   https://creativecommons.org/licenses/by/4.0/Source:   http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1200092Artist: http://incompetech.comContactGet in touch with Scott to discuss a speaking engagement or to find out about his executive coaching and business advisory services. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.timelesstimely.com/subscribe

Chapter 1What is Don QuixoteIn the heart of Spain, the faded grandeur of a bygone age lives on through the adventures of the noble yet delusional Don Quixote, masterfully penned by Miguel de Cervantes. Donning an ancient suit of armor, Quixote sets out as a self-proclaimed knight, driven by his chivalrous illusions and the romantic notion of righting wrongs and protecting the innocent. Alongside him rides Sancho Panza, his loyal squire, whose earthy wisdom and humorous skepticism ground the tale. At its core, "Don Quixote" is a profound exploration of reality versus illusion, truth against fiction, and how these forces shape our lives. Through a series of comedic yet poignant encounters, Cervantes crafts a rich tapestry of 16th-century Spain, inviting readers to question the boundaries of social order and the pursuit of honor. Enduringly relevant, Don Quixote's madcap adventures and resilient idealism celebrate the eternal struggle to maintain morality and hope in a compromising world.Chapter 2 Meet the Writer of Don QuixoteMiguel de Cervantes Saavedra skillfully utilized an array of writing techniques in "Don Quixote" to explore complex themes and emotions. His language style is characterized by irony, parody, and satire, effectively critiquing the chivalric traditions and the societal norms of his time. Cervantes employs a multiperspective narrative, enriching the text with varied viewpoints that engage readers and deepen the interpretive experience.His use of contrasting characters—such as the idealistic Don Quixote and the pragmatic Sancho Panza—highlights the tension between idealism and realism. This contrast is not only humorous but also poignant, illustrating the human struggle between noble aspirations and practical limitations.Dialogue plays a crucial role in conveying characters' emotions and personalities. Cervantes' mastery of dialogic forms adds depth to his characters and often serves to express complex ideas and emotional subtleties. The interplay of high-flown literary language with earthy vernacular speech enhances the novel's thematic exploration of illusion versus reality.In sum, Cervantes' writing in "Don Quixote" brilliantly combines narrative complexity, linguistic dexterity, and stylistic parody to explore the human condition, making profound observations on the nature of perception, personal reality, and the existential impact of literature itself.Chapter 3 Deeper Understanding of Don Quixote"Don Quixote," written by Miguel de Cervantes and first published in two parts in 1605 and 1615, is often regarded as one of the foundational texts of modern Western literature. Its impact and significance span several aspects of literature, culture, and broader societal thinking. Impact on Literature1. Birth of the Novel: "Don Quixote" is frequently cited as the first modern European novel. The narrative's structure—a deep, character-driven story interwoven with social commentary—established a new literary format that distinctly broke from the simpler plots and character developments typical of medieval romances. 2. Literary Realism and Metafiction: Cervantes is credited with pioneering literary realism and metafiction. By openly acknowledging its own fictionality and engaging the reader in dialogues about the nature of truth and fiction, "Don Quixote" laid the groundwork for subsequent literary techniques seen in the works of authors like Laurence Sterne, Gustave Flaubert, and even postmodern writers such as Thomas Pynchon.3. Character Complexity: The deep psychological development and humanization of characters in "Don Quixote" significantly influenced the depiction of characters in Western literature, moving away from idealized protagonists to more flawed, relatable individuals. Cultural Impact1. Quixotic Idealism: The character of Don Quixote

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'Tristram Shandy' was such a hit in its day that you could buy tea trays, watch cases and cushions decorated with its most famous characters and scenes. If much of the satire covered in this series so far has featured succinct and damning portrayals of recognisable city types, Sterne's comic masterpiece seems to offer the opposite: a sprawling and irreducible depiction of idiosyncratic country-dwellers that makes a point of never making its point. Yet many of the familiar satirical tricks are there – from radical shifts in scale to the liberal use of innuendo – and in this episode Clare and Colin look at the ways in which the novel stays true to the traditions of satire while drawing on Cervantes, Rabelais, Locke and the fashionable notion of ‘sentiment' to advance a new kind of nuanced social comedy.This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

Join hosts J.D. Barker, Christine Daigle, Kevin Tumlinson, and Dick Wybrow as they discuss the week's entertainment news, including the Romance Writers of America filing for bankruptcy, Polis Books, and how Costco plans to stop selling books year round. Then, stick around for a chat with Carol LaHines! Carol LaHines: For me, the most affecting stories are those that are leavened with a sardonic sensibility.  Italo Calvino, one of my favorite writers, notes “th[e] particular connection between melancholy and humor,” speaking of how great writing “foregrounds [with] tiny, luminous traces that counterpoint the dark catastrophe.”  I've always veered toward the great literary comic writers—from Cervantes to Laurence Sterne to Pynchon, with a particular reverence for Nabokov, who believed that the best writing places the reader under a spell. My debut novel, Someday Everything Will All Make Sense, was a finalist for the Nilsen Prize for a First Novel and an American Fiction Award. My second novel, The Vixen Amber Halloway, is forthcoming in 2024 (Regal House). My fiction has appeared in journals including Fence, Denver Quarterly, Hayden's Ferry Review, Cimarron Review, The Literary Review, The Laurel Review, South Dakota Review, North Dakota Quarterly, The South Carolina Review, The Chattahoochee Review, The Nebraska Review, North Atlantic Review, Sycamore Review, Permafrost, redivider, Literary Orphans, and Literal Latte. My story, “Papijack,” was selected by judge Patrick Ryan as the recipient of the Lamar York Prize for Fiction. My short stories and novellas have been nominated for a Pushcart Prize and been finalists for the David Meyerson Fiction Prize, the Mary McCarthy Prize, the New Letters short story award, and the Disquiet Literary Prize, among others. My nonfiction includes “New York est une ville a part,” appearing in chantier d'ecriture (Mémoire d'encrier, A. Heminway, ed.). I am a graduate of New York University, Gallatin Division, and of St. John's University School of Law. My teachers include Rick Moody, Phil Schultz, and Sheila Kohler. --- Support this podcast: https://podcasters.spotify.com/pod/show/writersink/support

Cain's Jawbone, a murder mystery cryptic puzzle novella in the form of 100 pages presented in the wrong order, has many millions of possible solutions but only one that is correct. 86 years after it was published, writer, comedian and crossword constructor John Finnemore solved it. And then, craving another 100-page cryptic puzzle murder story, he wrote his own. Get the transcript of this episode, and find links to more information about the people, puzzles and topics therein, at theallusionist.org/solvitude. The original Cain's Jawbone by Edward Powys Mathers, and John Finnemore's new The Researcher's First Murder, are both available to buy from unbound.com. This is the fifth instalment in the Word Play series about word games and puzzles; previous episodes include the history of anagrams, recent developments in crosswords, and turning words into games. The next episode will be about the Scripps Spelling Bee, which I am attending this week. I'll be posting about my Bee time on facebook.com/allusionistshow, instagram.com/allusionistshow and twitter.com/allusionistshow, but members of the Allusioverse will be getting Discord updates lolloping odd essays from the Bee, so if you want those, scoot along to theallusionist.org/donate - and you'll also be keeping this independent podcast going, in return for which you get regular livestreams, inside scoops into the making of this show, watchalong parties, and the company of your fellow Allusionauts in our delightful Discord community. Our ad partner is Multitude. If you want me to talk lovingly and winningly about your product or thing on the show in 2024, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by: • Understance: comfortable, stylish, size-inclusive bras and undies. Shop the range and learn about your own branatomy - like I did! - at understance.com.• Bombas, whose mission is to make the comfiest clothing essentials, and match every item sold with an equal item donated. Go to bombas.com/allusionist to get 20% off your first purchase.  • Squarespace, your one-stop shop for building and running your online empire/new home for your cryptic puzzle that takes months to solve. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist. Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

Joel and Bill wade through Laurence Sterne's wild and digressive masterpiece, and do their best not to get distracted throughout.

Byron's early poems – his so-called 'dark tales' – have been dismissed by critics as the tawdry, slapdash products of an uninteresting mind, and readers ever since have found it difficult not to see them in light of the poet's dramatic and public later life. In a recent piece for the LRB, Clare Bucknell looked past the famous biography to observe the youthful Byron's mind at work in poems such as The Giaour (1813), The Corsair (1814) and Lara (1814), where early versions of the Byronic hero were often characterised by passivity, rumination and choicelessness.Clare discusses the piece with Tom, and talks about her new Close Readings series, On Satire, with Colin Burrow, which features Don Juan alongside works by Jane Austen, Laurence Sterne, John Donne, Muriel Spark and others.Read Clare's piece on Byron: https://lrb.me/byronpodJoin Clare and Colin Burrow for their series on satire next year, and receive all the books under discussion, access to online seminars and the rest of the Close Readings audio, with Close Readings Plus: https://lrb.me/plusytTo subscribe to the audio only, and access all our other Close Readings series:Sign up directly in Apple here: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/byronsc Hosted on Acast. See acast.com/privacy for more information.

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durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit - Par Serge Jouhet - Réalisation Georges Gravier

In the first of three introductions to our full 2024 Close Readings programme, starting in January, Colin Burrow and Clare Bucknell present their series, On Satire. Over twelve episodes, Colin and Clare will attempt to chart a stable course through some of the most unruly, vulgar, incoherent, savage and outright hilarious works in English literature, as they ask what satire is, what it's for and why we seem to like it so much.Authors covered: Erasmus, John Donne, Ben Jonson, Earl of Rochester, John Gay, Alexander Pope, Laurence Sterne, Jane Austen, Lord Byron, Oscar Wilde, Evelyn Waugh and Muriel Spark.Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford, and regular contributors to the LRB.First episode released on 4 January 2024, then on the fourth of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Colin, Clare and special guests including Lucy Prebble and Katherine Rundell; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

In the first of three introductions to our full 2024 Close Readings programme, starting in January, Colin Burrow and Clare Bucknell present their series, On Satire. Over twelve episodes, Colin and Clare will attempt to chart a stable course through some of the most unruly, vulgar, incoherent, savage and outright hilarious works in English literature, as they ask what satire is, what it's for and why we seem to like it so much.Authors covered: Erasmus, John Donne, Ben Jonson, Earl of Rochester, John Gay, Alexander Pope, Laurence Sterne, Jane Austen, Lord Byron, Oscar Wilde, Evelyn Waugh and Muriel Spark.Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford, and regular contributors to the LRB.First episode released on 4 January 2024, then on the fourth of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Colin, Clare and special guests including Lucy Prebble and Katherine Rundell; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

A Political Romance

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Merriam-Webster's Word of the Day for February 24, 2023 is: hiatus • hye-AY-tus • noun In general contexts, hiatus usually refers to a period of time when something, such as an activity or program, is suspended. In biology, hiatus refers to a gap or passage in an anatomical part or organ, and in linguistics, it denotes the occurrence of two vowel sounds without pause or intervening consonantal sound. // The band has been on hiatus for three years, but is returning to live performance this summer. See the entry > Examples: “With the release of The Mandalorian season 3 just over six weeks away, after a two-year hiatus, Lucasfilm dropped a new trailer on Monday, giving us a glimpse of what's next in the adventures of Din Djarin and Grogu.” — Oli Welsh, Polygon.com, 16 Jan. 2023 Did you know? This brief hiatus in your day is brought to you by, well, hiatus. While the word now most often refers to a temporary pause, hiatus originally referred to a physical opening in something, such as the mouth of a cave, or, as the 18th century British novelist Laurence Sterne would have it, a sartorial gap: in the wildly experimental novel Tristram Shandy, Sterne wrote of “the hiatus in Phutatorius's breeches.” Hiatus comes from the Latin verb hiare, meaning “to open wide,” which makes it a distant relation of both yawn and chasm. And that's all we have for now—you may resume your regular activities.

Eesti keeles on ilmunud üks Euroopa kirjanduse omapärasemaid teoseid Inglise valgustusajast, Laurence Sterne'i "Tristram Shandy elu ja arvamused".

Merriam-Webster's Word of the Day for January 16, 2023 is: paladin • PAL-uh-din • noun A paladin is a leading champion of a cause, or a trusted military leader (as for a medieval prince). // The keynote speaker is regarded as a paladin of environmental justice. // The prince summoned the paladin and commended him for his actions in battle. See the entry > Examples: “This collection of stories by one of England's best novelists is both playful and serious in the manner of Laurence Sterne, the 18th-century author of ‘Tristram Shandy.' ... Sterne was the master of the marginal, the random, the inconsequential. In our own day, David Foster Wallace, Geoff Dyer and Ali Smith have become the paladins of this goofy manner.” — Edmund White, The New York Times, 2 Dec. 2016 Did you know? Rome wasn't built in a day, and we know the site where it was founded: Palatine Hill (known as Palatium in Latin), site of the cave where Roman legend tells us Romulus and Remus were abandoned as infants, nursed by a she-wolf, and fed by a woodpecker before being found by a herdsman. In ancient Rome, the emperor's palace was located on the Palatine Hill; since the site was the seat of imperial power, Latin palatium came to mean “imperial” as well as “palace.” From palatium came Latin palatinus, also meaning “imperial” and later “imperial official.” Different forms of these words passed through Latin, Italian, and French, picking up various meanings along the way, and eventually some of those forms made their way into English, including paladin and palace.

Penny Boxall seeks inspiration at Laurence Sterne's Shandy Hall, wondering how to move forward as a writer after the loss of her mother and her previous creative rituals. Jonathan Edwards considers the poet WH Davies, whose extensive body of work forms a bridge between two worlds - the natural beauty of South Wales, and the gritty reality of early 20th century London and its poverty.

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A powerful history of the forgotten lives of black Georgian Britain. Georgian England had a large and distinctive black community. Yet all of them, prosperous citizens or newly freed slaves, ran the risk of kidnap and sale to plantations. Their dramatic, often moving story is told in this audiobook. The idea that Britain became a mixed-race country after 1945 is a common mistake. Even in Shakespeare's England, black people were numerous enough for Queen Elizabeth to demand their expulsion. She was, perhaps, the first to fear that whites would lose their jobs, yet her order was ignored without ill effects. By the eighteenth century, black people could be found in clubs and pubs, there were churches for black people, black-only balls and organisations for helping black people who were out of work or in trouble. Many of them were famous and respected: most notably Francis Barber, Doctor Johnson's esteemed manservant and legatee; George Bridgetower, a concert violinist who knew Beethoven; Ignatius Sancho, a correspondent of Laurence Sterne; and Francis Williams a Cambridge scholar. But many more were ill-paid, ill-treated servants or beggars, some resorting to prostitution or theft. And alongside the free world there was slavery, from which many of these black Britons escaped. The triumphs and tortures of black England, the ambivalent relations between the races, sometimes tragic, sometimes heart-warming, are brought to life in this well-researched and wonderfully listenable account. The black population of Georgian England had been completely ignored until this audiobook changed the conversation, clearing the way for a new kind of history based on the experiences of ordinary people rather than the ruling classes.

Septiembre 1. Tom Jones – Henry Fielding 2. Fanny Hill: Memorias de una cortesana – John Cleland 3. Peregrine Pickle – Tobias George Smollett 4. Cándido, o el optimismo – Voltaire 5. La historia de Rasselas, príncipe de Abisinia – Samuel Johnson 6. Julia, o la nueva Eloísa – Jea-Jacques Rousseau 7. Emilio, o de la educación – Jean-Jacques Rousseau 8. El castillo de Otranto - Horace Walpore 9. El vicario de Wakerfield – Oliver Goldsmith 10. Tristam Shandy – Laurence Sterne 11. Viaje sentimental por Francia e Italia – Laurence Sterne --- Send in a voice message: https://anchor.fm/irving-sun/message

Septiembre 1. Tom Jones – Henry Fielding 2. Fanny Hill: Memorias de una cortesana – John Cleland 3. Peregrine Pickle – Tobias George Smollett 4. Cándido, o el optimismo – Voltaire 5. La historia de Rasselas, príncipe de Abisinia – Samuel Johnson 6. Julia, o la nueva Eloísa – Jea-Jacques Rousseau 7. Emilio, o de la educación – Jean-Jacques Rousseau 8. El castillo de Otranto - Horace Walpore 9. El vicario de Wakerfield – Oliver Goldsmith 10. Tristam Shandy – Laurence Sterne --- Send in a voice message: https://anchor.fm/irving-sun/message

Once upon a time, I watched "The Princess Bride" with my daughter. She liked it but wanted more of the romance stuff in the beginning. Then my Princess Bride journey began. I read the movie's source material, William Goldman's playful, metatextual novel and thought maybe the playfulness and metatextualness is unneeded, considering the jewel of the story at the heart of the book. James and I have been talking about doing a swashbuckling/Erroll Flynn CDC episode for a while. So we talk about "Captain Blood" and "The Sea Hawk." Both are streaming on HBO Max but also elsewhere if you google their titles and the words "streaming" and "free." The Princess Bride, meanwhile, is on Disney Plus. I'll write more here later. Gotta movie on with my life right now (ha! I meant move on with my life but it's a podcast about movies so fun typo!) Show notes: The book I couldn't think of is "The Life and Opinions of Tristram Shandy, Gentleman," by Laurence Sterne. I sort of mangle the description of Nabokov's "Pale Fire." I 100 percent stand by my endorsement of The War Nerd Iliad. Buy it here (https://www.amazon.com/War-Nerd-Iliad-John-Dolan/dp/1627310509)! Today! James was right, Goldman did write the screenplay for "All the Presidents Men." Also, I regret not mentioning my observation that Wallace Shawn stars in the biggest "Andre" movie (My Dinner With Andre) and stars with the biggest Andre ever in a movie (Andre the Giant).

Penny Boxall is the winner of the 2016 Edwin Morgan Poetry Award and the 2018 Mslexia / Poetry Book Society Poetry Competition. She's the author of two collections, Ship of the Line and Who Goes There?, both published by Valley Press. She was born in 1987 and grew up in Aberdeenshire and Yorkshire. We spoke earlier this year and at the time of the interview she was Development Manager at Shandy Hall, Laurence Sterne's house in the North York Moors. Jackie Kay, who was one of the judges the year Boxall won, said of her poetry: ‘Penny Boxall runs a tight ship. Her poems are beautifully crafted. Reading her is to go on an interesting journey of exploration—stopping at fascinating places along the way. She has a curator's mind and is always putting one thing beside another in an unexpected way.'

Mary Colson defends the honour of much-derided Milton Keynes, and explains why, for her, it's an inspiring environment. Martin Day introduces the landscape around Yeovil, and explores how childhood vistas underpin our mental landscapes and writing. Penny Boxall introduces us to Shandy Hall, the intriguing home of Laurence Sterne on the North York Moors.

Post Face, émission littéraire présentée par Caroline Gutmann qui reçoit Frédéric Vitoux, écrivain et critique littéraire français, membre de l'Académie française pour son roman « L'ours et le Philosophe » aux éditions Grasset À propos du livre : «L'ours et le Philosophe» paru aux éditions Grasset L'ours, c'est le sculpteur Etienne Maurice Falconet, auteur de la statue équestre de Pierre Le Grand à Saint-Pétersbourg. Le philosophe, c'est Diderot qui intervint avec empressement auprès de Catherine II pour que son ami bénéficiât de cette commande qui allait assurer sa célébrité dans toute l'Europe. A travers leur amitié, leur correspondance et leur longue querelle épistolaire autour de la notion de postérité, Frédéric Vitoux restitue ici une époque et des hommes essentiels de l'histoire des idées (L'Encyclopédie et ses artisans, Diderot, d'Alembert, Rousseau, Voltaire, ou le trop méconnu chevalier de Jaucourt). A la faveur de rapprochements et de digressions (cet art dans lequel excella Diderot qui se comparait lui-même à un chien de chasse mal dressé), ce sont des moments de sa propre vie qu'il mêle à la matière de son essai , ce qui lui permet de s'exprimer mezza voce sur le débat qui, en son temps, nourrit l'amitié des deux hommes et aboutit à leur rupture. Falconet ne croyait pas à la postérité tandis que Diderot plaçait en elle tous ses espoirs. Ces options antagonistes trahissent le caractère des deux hommes  : Falconet misanthrope, farouche, pessimiste, d'une probité artistique sans faille, mais volontiers brutal (on l'accusera, à tort du reste, d'avoir poussé l'un de ses élèves au suicide par ses jugements intransigeants à son égard), s'aliénant en Russie tous ses interlocuteurs, et pour finir ingrat. Diderot infatigablement dévoué à ses amis, affectif, optimisme et altruiste. Leur fervente amitié se dissipa donc dans la rancune et la défiance en raison de plusieurs maladresses du sculpteur, son refus de tenir sa promesse de recevoir Diderot sous son toit, à Saint-Pétersbourg, quand le philosophe se décida enfin à entreprendre ce long voyage qu'espérait et attendait l'impératrice Catherine II depuis si longtemps mais aussi parce que   Falconet laissa publier, sans l'aval de Diderot, leur correspondance. De Russie, Diderot rentre désabusé de son rêve philosophique consistant à convertir Catherine II aux Lumières  ; Falconet, lui, claquera la porte et n'assistera même pas à l'inauguration de son chef d'œuvre. Rien de désincarné dans cet essai. Le récit de l'amitié des deux hommes donne matière à des retours sur soi de l'auteur  : l'île Saint-Louis qui lui est si chère, où vécurent aussi ses deux personnages  ; des rencontres (Le Marchand  ; Jorge Amado  ; la création du Périscope de l'île Saint-Louis, qui fut l'occasion de la rencontre essentielle avec son épouse Nicole  ; le beau portrait de l'ours Bernard Frank et du non moins ours Céline, plus amer et véhément à son retour d'URSS en 1936 que ne le fut Diderot en 1774  ; la découverte de la divagation d'un Laurence Sterne libérateur, l'auteur de Tristram Shandy dont l'influence fit déterminante pour l'auteur de Jacques le Fataliste…)

Acompaña a Ricardo Cartas en una emisión más de la revista cultural De eso se trata, espacio de ciencia, de cultura, de gastronomía, de libros y más, de lunes a viernes de 08:30 a 10:00 horas. En La Entrevista, el Dr. Frank Loveland Smith, profesor de la Facultad de Artes Plásticas y Audiovisuales, analiza la novela: La vida y las opiniones del caballero Tristram Shandy de Laurence Sterne, la cual fue escrita en el siglo XVIII, (1760-1767), época en que se consideraba que los homúnculos venían en el semen del hombre.

Jared, Oriana and Ned talk about Jared's choice of topic: the Red Book of Westmarch. It's hinted at at the end of The Lord of the Rings when Sam reviews some title pages – a device carried over into the Jackson movie adaptations – but the appendices and part of the introduction both make it clear that the published story is meant to be a translation from Bilbo and Frodo's own handwritten memoirs, covering The Hobbit as well, and thus Tolkien in this conceit is not the author of the text but its translator and editor instead. It fits within Tolkien's own life as an academic and an interpreter and presenter of texts, as well as being part of a lengthy tradition in numerous societies over millennia where writers employ the creative tool of claiming their work as that of others, be they found documents, unearthed manuscripts, discovered letters and so forth. It's something that many readers may simply find an intriguing amusement when it comes to The Lord of the Rings, but it does introduce further questions about perspective and authorial intent worth the consideration. How does framing the story through the lens of certain participants only shape what we might consider a ‘true' history of the events of the book, and what would it mean if other perspectives were shared instead? What other times had Tolkien used this framing in his own creative work as a way to present a tale in a different context, and with what intent? Is Tolkien's work in fact the first postmodern fantasy as such, a self-conscious creation that plays with tropes even as it also establishes new ones in turn? And just what are all those memes about how the main protagonist of the story is really a Maura Labingi about?SHOW NOTES.Jared's doodle. Who wouldn't want the real Red Book of Westmarch?Aw, crypto turned out to be a hype scam market, who knew. (Everyone with sense, of course.) As for Lonely Ape, puh-leez.Do check out Oriana's other podcasts! American Grift and Mission: Recall, both great.The bit from John Howe in Empire – we'll talk about the issue covers that were released next episode.Reports from the Amazon promo event for the hyperfans are…to be expected. (Again, the ones with the cautious optimism are the ones we appreciate more over the raves.)The LOTR on Prime tweet confirming Tyroe Muhafidin as ‘Theo' aka the one with the broken blade.IGN speaks with the scientist who named the most distant star yet found in the universe Earendel.Alan Lee in LitHub on illustrating The Lord of the Rings.Den of Geek tries once and for all to untangle the whole rights question. It's still unclear.Tolkien Gateway's entry on the Red Book of Westmarch.We don't quite use the term in the episode but the concept of the frame story, as discussed on Wikipedia, is a broader category that can include the kind of stories where authors are presenting works they've supposedly found and presented rather than simply written. A key example as Jared discusses would be the epistolary novel, and don't forget the unreliable narrator.Maura Labingi! It is Frodo's real name.Postmodernism in fantasy is a thing and has been discussed in various ways – back in 2010 Brandon Sanderson and Jeff VanderMeer had an exchange on the matter.Thomas Pynchon's written some good work. Or found it, if you will.The Red Book of Hergest, Tolkien's real-world model.Our Farmer Giles of Ham episode. And our Nature of Middle-earth one.How well known was David Foster Wallace for footnotes? This should give you an idea.Jonathan Strange & Mr. Norrell definitely has a LOT of footnotes.The Message Bible, as not recommended by Jared.The Book of Mazarbul in Tolkien Gateway, including Tolkien's own created pages from it, planned as a possible inclusion for the initial printing of The Lord of the Rings.Laurence Sterne, literary badass.John Darnielle interviewed by the New Yorker. (We highly recommend Devil House.)The Manuscript Found in Saragossa, and its 1965 Polish adaptation for film, The Saragossa Manuscript.We forgot to give Nate Thatcher a mention in the episode but he was the listener who pointed us to the lecture Jared mentions watching, Michael Drout's “Lord of the Rings: How To Read J. R. R. Tolkien.”The Cats of Queen Berúthiel! And that's about all we know.Malazan Book of the Fallen by Steven Erikson – worth a read!The 1987 US one-volume edition of The Lord of the Rings designed to look like a Red Book of Westmarch, part of a series of such editions.Support By-The-Bywater through Patreon! (Thanks!)

In the six volumes of the Library of the World's Best Mystery and Detective Stories, Julian Hawthorne presents us thrilling and mysterious short stories from all corners of the world. The GSMC Audiobook Series presents some of the greatest classic novels, audiobooks, and theatrical presentations from a bygone era. Let Golden State Media Concepts take you on a ride through classic audiobooks read by some of the top audiobook performers of all time. This compiled collection of classic audiobooks contains a wide variety of classic Novels. ***PLEASE NOTE*** GSMC Podcast Network presents these shows and audiobooks as historical content and have brought them to you unedited. Remember that times have changed, and some Audiobooks might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate, and give you a glimpse into the past.

Nacido en Tarragona, en 1976, la palabra del escritor y periodista Jorge Carrión está siempre presente desde hace años en el debate público sobre los consumos culturales en medios centrales como The New York Times, o La Vanguardia, así como en sus posteos en las redes sociales. Carrión vivió en Buenos Aires, en Rosario, en Boston y viaja mucho, de manera que el viaje es también uno de los tópicos de sus reflexiones. Gran crítico de series, de libros y de productos culturales de todo formato, Carrión es también la voz del podcast Solaris, uno de los más celebrados en nuestra lengua. Director del Master en Creación Literaria de la UPF-BSM de Barcelona y autor de la trilogía de ficción Los muertos, Los huérfanos y Los Turistas y de los ensayos Teleshakespeare, Librerías y Contra Amazon -una encendida defensa de las librerías y un alerta acerca del poder que los algoritmos están adquiriendo en nuestras vidas-, en plena pandemia publicó Lo viral, un diario fake en el cual analiza los nuevos modos de mirar, de mirarnos y de hacer arte. Ahora es el turno de Membrana (Galaxia Gutemberg), su nueva novela, una historia que transcurre en el año 2100 y que se cuenta a través de una suerte de catálogo de una exhibición sobre el siglo XXI. Narrada en una lengua muy original, Carrión entreteje historias reales con ficciones para narrar el vínculo de la humanidad con la tecnología, imaginando un futuro en el que las inteligencias artificiales buscan desprenderse del imperio de lo humano. Una novela inquietante. En la sección Bienvenidos, Hinde hablé de “El grupo de Bloomsbury”, de Quentin Bell (Taurus) y de “Darwin o el origen de la vejez”, de Federico Jeanmaire (Alianza) y en Libros que sí recomendó “La vida después”, de Donald Antrim (Chai) y “¿Por qué la música?”, de Francis Wolff (Serie Gong). En Voz alta, la escritora María Sonia Cristoff, que acaba de publicar “Derroche” leyó un fragmento de "El derecho a la pereza" de Paul Lafargue y en Te regalo un libro, Héctor Jacinto Gómez, productor de TV - guionista - escritor y que acaba de publicar la novela "Risas de mujeres desnudas" publicada por Obloshka, nos habló de "Vida y Opiniones del Caballero Tristram Shandy" de Laurence Sterne, "Tom Jones. Historia de un expósito" de Henry Fielding y "Los viajes de Gulliver" de Jonathan Swift.

Jonathan Swift, Laurence Sterne, Sheridan Le Fanu, Oscar Wilde, Bram Stoker, Samuel Beckett, Seamus Heaney, James Joyce, Edna O'Brien, Flann O'Brien, Kate O'Brien, Sean O'Casey, Bernard Shaw, William Butler Yeats, Liam O'Flaherty, Maggie O'Farrell, Sally Rooney… Esta es una pequeña selección de algunos de los autores irlandeses más notables. Hay más, muchos más, pero no nos podemos pasar todo el programa haciendo un listado de nombres. La república de Irlanda con poco menos de 5 millones de habitantes según datos del 2018 es un paraíso para la literatura. Poseedores de una lengua propia, el gaélico irlandés moderno, y conocedores y dominadores de la lengua franca de los últimos siglos, el inglés, los escritores y las escritoras irlandesas han alcanzado un puesto de honor en el olimpo literario. ¿Qué hay detrás de esta genial herencia? ¿Es el territorio, la educación, la historia, su cultura…? ¿Qué se escribe hoy en día en Irlanda? ¿Hubieran triunfado ciertos autores si hubieran escrito sus obras en gaélico? Son muchas las preguntas que trataremos de responder en este programa, eso sí, sin olvidarnos de quiénes somos nosotros. Aquí, en La Milana Bonita, hablamos de libros y eso es lo que vamos a hacer. Hoy volveremos a analizar el 'Ulises' y 'Drácula'. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Rob van Essen is schrijver. In 2019 won hij de Libris Literatuur Prijs met zijn autobiografische roman 'De goede zoon'. Eerder al werd zijn verhalenbundel 'Hier wonen ook mensen' bekroond met de J.M.A. Biesheuvelprijs. Literatuur is voor hem niet heilig en hij ergert zich aan het hyperrealisme van veel hedendaagse schrijvers. Zijn culturele landschap toont ons muziek van Ralph Vaughn Williams en literatuur van Laurence Sterne.

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Francesco Leto"Storia delle mie ossa"Mondadorihttps://www.mondadori.it/"Storia delle mie ossa" è un'opera lunare, ironica, struggente. Un incontro fra il Tristram Shandy di Laurence Sterne e le creature innocenti e inquietanti di Tim Burton. A fare gli onori di casa è un narratore sbrigliato e impavido, introverso ed egocentrico a un tempo, determinato a raccontarci tutto di sé, a partire dalla sua educazione sentimentale in un paese fuori dal tempo, immobile e mitologico. Un'infanzia vissuta nell'assenza del padre e accompagnata da un trittico di donne che si sono prese cura, ognuna in modo inusuale, di un bambino pelle e ossa che fin da subito ha cercato di intercettare i tranelli dell'amore. E se è vero che impariamo l'amore da chi ci sta intorno, il protagonista dovrà carpirlo da Euridice, eterna donna bambina che si incanta davanti al poster di Luis Miguel. Dalla Pungolatrice, negoziante arcigna e lunatica, che centellina soldi e carezze. Dalla madre, la Rossa, un'eccentrica insegnante di francese col pallino dell'aerobica e del giardinaggio, i cui fiori però non fioriscono mai... In un ben orchestrato contrappunto tra rievocazione del passato e presente in Francia, dove dà lezioni private di italiano a un ragazzo di cui è segretamente innamorato, il bambino, ormai adulto, capisce di essere un rifugiato sentimentale, sempre alla mercé di un amore che si fa ossessione e frenesia e di un tempo interiore che passa dal "fu" al "sarà" in un batter di ciglia. E sulla sua panchina assolata nel parco di Villemanzy - meta di interminabili passeggiate da flaneur contemporaneo - che il protagonista vive la propria epifania: nemmeno l'amore è un assoluto senza incrinature e diventa parodia di se stesso, perché ogni amore è furioso e insieme ridicolo. Un romanzo inusuale e delicato, divertente, che si snoda con eleganza a partire da uno sguardo eccentrico e anticonformista.Francesco Leto, è nato il 5 Aprile del 1983 a Cirò Marina (Calabria). Ha studiato storia medievale al King's College di Londra e ha fatto un master in Legal and Political Studies alla University College of London (UCL). Tornato in Italia ha collaborato con alcune riviste. Nel 2013 ha pubblicato il suo primo romanzo, Suicide Tuesday (Perrone Editore), selezionato tra i finalisti del Premio Sila '49. Quindi è tornato con “Il cielo resta quello”.Il posto delle paroleascoltare fa pensarehttps://ilpostodelleparole.it/

Acompaña a Ricardo Cartas en una emisión más de la revista cultural De eso se trata, espacio de ciencia, de cultura, de gastronomía, de libros y más, de lunes a viernes de 08:30 a 10:00 horas. En La Entrevista, el Dr. Frank Loveland Smith, profesor de la Facultad de Artes Plásticas y Audiovisuales, analiza la novela: Tristram Shandy de Laurence Sterne, la cual fue escrita en el siglo XVIII, (1760-1767), época en que se consideraba que los homúnculos venían en el semen del hombre.

Laurence Sterne, (born Nov. 24, 1713, Clonmel, County Tipperary, Ire.—died March 18, 1768, London, Eng.) was an English novelist and humorist. Sterne was a clergyman in York for many years before his talents became apparent when he wrote a Swiftian satire in support of his dean in a church squabble. Turning his parishes over to a curate, he began to write Tristram Shandy (1759–67), an experimental novel issued in nine parts in which the story is subordinate to its narrator's free associations and digressions. It is considered one of the most important ancestors of psychological and stream of consciousness fiction. Long afflicted with tuberculosis, Sterne fled the damp air of England and undertook the travels that inspired his unfinished Sentimental Journey Through France and Italy (1768), a comic novel that defies conventional expectations of a travel book.From https://www.britannica.com/summary/Laurence-Sterne. For more information about Laurence Sterne:Previously on The Quarantine Tapes:Eddie S. Glaude, Jr., about Sterne, at 24:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-104-eddie-s-glaude-jrDanielle Spencer about Sterne, at 19:30: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-172-danielle-spencer“300 years of Laurence Sterne”: https://youtu.be/G0_qt4_XeYk“Life and Opinions of Laurence Sterne: the first unapologetic literary celebrity”: https://www.theguardian.com/books/booksblog/2018/mar/18/the-life-and-opinions-of-laurence-sterne-the-first-unapologetic-literary-celebrity“A Writer in Love with Ruins and Fragments”: https://www.newyorker.com/books/page-turner/the-delightfully-out-of-control-sentences-of-a-writer-in-love-with-ruins

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Hello dear friends,If you've watched the wildly-popular Netflix series Bridgerton or the wonderful film The Personal History of David Copperfield starring Dev Patel, you might have experienced and appreciated what today's podcast guest saw: People of color in a fictionalized dramatization of 18th and 19th Century Britain. But in Gretchen Gerzina's case - and unlike most of us - she knows the back stories of the real lives of Black residents of Britain in those eras. Professor Gerzina says she is drawn to “biographies and lives of those who cross boundaries of history, time, place or race” - that's on her website - and her work is all about this. In books like Black London, Black Victorians, and Britain's Black Past, Gerzina bridges all of those boundaries for us - connecting us to people across time, place, and history - and introducing us to some of the Black performers, memoirists, activists and everyday people in Britain in the 18th and 19th centuries. Professor Gerzina joined me a few weeks ago, by Zoom, for today's Austen Connection podcast, and we talked about the lives of some of these Black residents of Britain historically, how she is helping to tell the stories about their lives, and how contemporary fictionalizations of Regency England capture these stories, or not. Enjoy the podcast - and if you prefer to read, here's an excerpt from our conversation. Plain JaneSo, I have been poring through your books, and I really enjoyed Black London [among others]. And … it's just really beautiful the way that you write about what you're doing - reconstructing, repainting history. In a way, you say, to illuminate the unseen vistas of people and places that are part of British history and part of our world history. Really illuminating the stories of the people and the community of Black women and men in [the] Regency era in 18th and 19th century Britain. So would you just talk first, Professor Gerzina, about that, illuminating the unseen? In what ways has this history been erased? And in what ways are you still trying to uncover that history?Gretchen Gerzina So that book was published 25 years ago or so and it's still being read all the time. And in fact, it's available as a free download through the Dartmouth College Library. And it stays in people's minds. The reason I wrote it was that I was actually working on a very different book. And … I went into a bookshop, a very well known bookstore in London, looking for … Peter Fryer's book called Staying Power, the history of Black people in Britain - massive book. And it had just come out in paperback. So I said, “Oh, let me go buy that.” And I went into the bookshop, and I couldn't find it. And I finally went up to a clerk. And I said, “I'm looking for this new this book. It's just been released in paperback.” And she looked at me and said, “Madam, there were no Black people in Britain before the Second World War.” And I said, “Well, no, that's not true.” .. .So I got so angry. I never found the book. I mean, I went to another bookshop, and it was right there. But I got so angry that I went home and put aside the book I was working on and wrote Black London. Now, I wasn't the first to write about this. Other people have written about it. And I wanted to both consolidate some of their research, go back to their research, and really look at everything that I could find. And then try to tell the story of Black people living in England. It was supposed to be called Black London. It was called Black London here but in England it was published as Black England. And of course, the reviewers all said, “Well, this is all about London. Why are you not calling it Black London?” which was amusing. … But I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history. Now a lot of other people are working on this now and have done for a long time. But when I first started working on it, there weren't as many. And it wasn't known. And even now, it's not so much that it's been erased, as has been forgotten. People didn't quite realize that there had been a Black British history that goes back as far as the Romans. And they're still finding, they're excavating, you know, old Roman encampments and finding Black African nobility women. And they are doing documentaries on it. I've been in a few. So it's become quite a well-known issue now. Although there's still a great sense of many British people wanting not to understand or believe that past. I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history.Plain JaneSo I suppose, as you say, this was almost 25 years ago, that Black London came out. You've mentioned in the BBC series that you did, Britain's Black Past, you mentioned that it's a detective job … finding these stories. How have you managed to find the stories that you found? And what was it like putting that into an audio series?Gretchen GerzinaThat was wonderful. And of course, it became a book, which was published when all the new research came out last year. So I was able to update a lot of the things … I've got to say - you're in radio - these producers … who have these independent companies and do the productions for BBC, they're incredible researchers. They sometimes find people that I hadn't been able to find, because we academics think in a very different kind of way than radio and television producers, who are out there finding people. So … I knew a lot of the people and we went to some of the places - but they were able to find some people I didn't know about. And then there were incredible stories … I think I was supposed to originally spend six months doing it. And then I was about to change jobs. And I only had one month. So I think I traveled all over Britain in one month doing the entire series. I would wake up in London and get on the train to Glasgow, spend the afternoon in Glasgow, come back to London. The next day, I go to Bristol, you know, kind of went on and on like that.Plain Jane That [sounds like] a really fun part of it. Gretchen GerzinaYeah, it was very tough. … Going to some of these places to really stand in the houses or on the shore. … But it was quite an adventure, to unearth some of these stories. And to just see how, for many people, these stories still last. People still really care.Plain JaneWhat stories have fascinated you? What have [written about] so many individual stories that are wonderful to hear. But what have you found most surprising and exciting to discover?Gretchen GerzinaThere's one - maybe it's one of the ones you're gonna ask about - which is Nathaniel Wells. And I resisted using that story. But they really pushed me because I hadn't really known it before. Nathaniel Wells was the son of a slave owner. He was mixed race. So he was the son of a [enslaved woman] and a slave owner. The owner … had daughters, but no legitimate sons. … He left this money to this mixed-race son ... He sent him off to England to be educated, as many slave owners did with their mixed-race children. And he went to boarding school and he studied. And then he died when Nathaniel was only 20 or 21, when he became the heir. He spent a lot of money. He was a young guy, and he moved to Wales to Chepstow. And he used the money to buy this enormous place. He built this incredible house. He had acres upon acres of this scenic land that was so gorgeous, that it became a kind of pleasure ground. And people would come - there was an open day - and they could come and walk through the parks and all of the mountains, and it was quite something. But he made his money. His money came from the slave plantation. And in fact, his mother owned slaves, his mother, who had been herself enslaved, and I was very reluctant to tell the story of a - essentially a Black or mixed-race - slave owner living in Britain. He married a succession of wealth, to white women … and his house is a ruin now. But he became the first Black sheriff in Britain. He had this enormous wealth. He didn't die with a lot of money. But his story was one I never expected to find. The one in my heart is always Ignatius Sancho, who's now been a play and everything.Plain JaneWhy is he the one in your heart?Gretchen GerzinaWell, because he was so amusing and so serious at the same time. He was brought as an enslaved child. He managed to get away, he was taken in by the Montague family, finally, away from these “three witches,” I think people call them now, who had owned him, didn't want him to read. So they took him in, he was educated. And he became a butler in their house for many, many years. And then he was a little on the heavy side, and then finally couldn't continue to do all his work. So they gave him a pension, and some money. And he moved to London. And he … set up a shop in Westminster, right near the heart of everything of the movers and shakers of British aristocracy and politics. And people would come into his shop. He married a Black woman, which was unusual at the time. And he wrote these letters, and he knew everybody. I mean, they would come in and talk to him. Laurence Sterne. He wrote to Laurence Sterne and [said], “If you're writing Tristram Shandy, please say something about slavery in there.” And he did. He had his portrait painted by Gainsborough. And it's quite a beautiful portrait. It's unfortunately in Canada - the British realize they made a mistake and are trying to get it back. I don't think they're going to get it. … And he was just somebody that people were so fascinated with - all of his letters have been published, his son arranged that they got published after he died. And he's still considered just a huge character. I mean, he … saw the Gordon riots and wrote about them in his letters. He knew people. And he was kind of the face of 18th century Britain in some ways, even though he's a Black man. He was also the first Black man ever to vote in England.Plain JaneSo many of these people were close to influential people and so therefore having an influence. As you point out, they're the easier ones [to discover], and the people who are able to write their own lives are easier to unearth and to find. But so many of the experiences of Black residents in London during this time were below stairs or quietly or really by necessity a lot of the time having to be under the radar. ...Gretchen Gerzina It's hard because … for instance, the British census doesn't list race. When I first published Black London, some reviewers said that I should have gone to all the rent rolls and seen who was Black. But the rent rolls don't necessarily indicate race. It's really hard to find. But the same thing happens in America. … When my book Mr. And Mrs. Prince came out about 10 years ago - it was about two formerly enslaved people who lived in New England in the 18th century. It was a long time ago. And all the stories that had been written about them were written about other people, most of whom got the facts wrong. They claimed that their ancestor had freed them or things like that, that proved not to be true. I had a publisher ask me if I had a photograph of them. And I said, “There was no photography in the 18th century, you know, what do you expect?” And… in general, you don't have your portrait painted, you don't have a journal, you're too busy getting on in life … If you're literate, you don't necessarily sit down and pen your memoirs, you know. You're just trying to get going. But on the other hand, there were people like Francis Barber, who was the servant of Samuel Johnson, and became his literary executor and heir at the end. And that was much disputed. And people were not very happy about that. So those kinds of people who were educated and were lucky enough to be known [we can learn about]. I actually think that the people who are finding out the most now are people you don't expect - genealogists who are starting to trace back family histories. A lot of white genealogists in Britain, they're finding that they have Black ancestors, and they didn't realize it.Plain Jane I'm a big fan of “Finding Your Roots” with Henry Louis Gates, Jr. It seems like he ends every episode saying, “See how we're all connected? More than we thought we were?” … So yes, I hear you, that's really fascinating - that so many disciplines are sort of reevaluating and re-seeing, looking again, revisioning, all of this history. You're reminding me, when you talk about no photography from 18th century Britain, you're reminding me that not only are you and scholars like you having to honor these unseen histories, but you're actually having to re-tell stories where there's been a campaign of basically very racist imagery. You write about the constant, reinforcing sexualization of Black women from these times; but then also the pro-slavery imagery and campaigns that were put out there. Even the sentimentality. You say that there's sort of two versions that even those that were anti-slavery at the time, were sort of overly sentimentalized versions, like we think of Harriet Beecher Stowe. And, you know, doing a lot of good work, I suppose, and having an influence; but yet, we need to revision those stories as well. And you mentioned that you're just looking for the real people. They're real people in real places. So [you are] … having to, as you say, repaint these people?Gretchen GerzinaWell, I mean, just remember it's all worked very differently in America, and in Paris. And the way that it's memorialized or remembered is very, very different. There were certainly Black people in Britain from hundreds and hundreds of years. But there was not slavery on their soil in the same way that it was here. So they were able to sexualize women by looking at the Jamaican plantations and what happens there with a lot of rape and a lot of punishments. But this is the country, Britain is the countries, I should say, where Black minstrelsy was a television show until the 1970s. Blackface minstrelsy was not only on television, but it was in all the private homes. But at the same time, in the 19th century Uncle Tom's Cabin was the biggest thing going. People loved it, it really spoke to them. So there was Uncle Tom wallpaper. There [were] Topsy dolls. So you would go into a child's nursery and there could be wallpaper and dolls. So that sense that America was terrible, and “Look at us, we're so great. We abolished slavery before you did,” takes away the fact that for the most part, the British actually supported the American South in the Civil War. Because their cotton came from there that fueled their textile mills in the north of Britain. They didn't have the same kind of racism, it worked a little differently, but it certainly existed. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now. But also I just really want to have a shout out to some people who are working on these things now. Miranda Kaufmann's book, Black Tutors, really sparked a huge response. … It became a huge bestseller in England. And there was a lot of pushback when people said there were no Black tutors. And she would show them the images of the people, and then all the documentation, and they didn't want to believe it. I belong within a group that she started, that is looking into Black people in British portraiture, and trying to identify who those people were. And so far, the list has over 300 British paintings that have Black people in them - they're most often a small boy servant or something, but not always. And they're scattered all over. They're in private homes. They're in museums. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now.So there is a kind of visual reality to all of this, where you can see the people and you can understand a bit about their lives. And so people are going into the records trying to find out, who were these people? Were they borrowed sometimes, some painter would say, “Oh, you know, he's got a Black servant, let's put him in the picture and bring him over to a bigger house for a while.” So you know, trying to track them down is difficult. But there's just more and more evidence of this ongoing presence.Plain Jane You point out now in in your works the way these stories have been played, have been part of popular culture through the ages. And I guess our culture - various cultures - have worked out the stories, have worked out some of these things, either effectively or ineffectively, on the stage. And so that brings me to where much of your research deals with - the Regency era, which happens to be where so many contemporary cultural retellings, fan fiction, and romance is taking place. And then of course, we've got Bridgerton. So let me just start with a general question. We're talking about what people typically miss, but how are you experiencing some of these cultural inventions? Gretchen Gerzina Yeah, you know, I'm enjoying the heck out of this stuff. Just like a lot of [us].Sanditon, I can let go. It was, I felt, a travesty. It kept some of the book, but it actually just took things in a direction that I found very difficult. So, for example, in Sanditon, the Jane Austen novel - the fragment because it's incomplete - the heiress from the West Indies is Miss Lambe … She is not necessarily identifiably Black. They know she's mixed race. In the series, they made her a very dark-skinned woman to point out that she in fact was a Black woman. They wanted to make that visual sense very strong for people like “Oh, we're dealing with a Black woman here.” Whereas I think in Austen it was more subtle and probably more accurate about how somebody like her would have been seen. But Bridgerton just went over the top, and I just thought it was fabulous. Because we do know that Queen Charlotte probably had some mixed-race background. She was the wife of King George III. So she's presented as a mixed-race or dark woman … But then by just making everybody in it, you know, it was like saying, “Okay, what if we recognize that all these people were there? And assuming that they could have made their way into the aristocracy, how would this world have looked?” And I think the visual treat of it all is just really great. And we all know that that is not how Regency England looked. But we can say, “You know what? I would like to see what this looks like. If this could have been true, what would it have looked like?” And of course, it's just like a visual feast anyway. It's not just the racial stuff. It's the clothes and the sets.Plain JaneTell us more, Professor Gerzina, about Queen Charlotte. You did an entire Zoom talk event with JASNA, the Jane Austen Society of North America, about these questions, and this sort of casting and Black Britain and its history. And there were hundreds of people on the Zoom. But you talked about Queen Charlotte, and the chat room just went crazy. … So it was very, very lively. So anyway, all of that to say - tell us about Queen Charlotte?Gretchen GerzinaShe had … Portuguese family so that there were a lot of that movement between North Africa, the kind of what we would think of as North Africa today. But she probably had some ancestry through her Portuguese ancestors who might have been Black. When I was doing some research on Black people who left America and moved to Canada after the Revolutionary War, those who had become the British patriots, the Black ones, a lot of them went to Canada. So I was in Nova Scotia at a center there on Black history in the province. And I noticed they had - I think it was a picture of Queen Charlotte on the wall - and I said, “Oh, what do you think of that? Do you think she was part Black?” And he said that Princess Anne had come to visit many years before and had seen the portrait and was asked about it. And she said, “Well, everybody in the royal family knows she was Black.” So that means to me Meghan Markle wasn't the first. So there's some history there. It can't be necessarily proven, but it's pretty well seen as probably true that she had some Black ancestry, and her portraits do seem to indicate that as well. But you know, the other one I really like is David Copperfield. And what you have to do in this - the same as in fiction - is you have to create a world that you will believe. You may not like all the characters, but you have to create a vision of a world that you are saying, “Okay, I'm, I'm willing to go into this world with you.” And see and believe. It's the willing suspension of disbelief, and I'm willing to do that. Do they create a world that I can believe in Bridgerton? We know it's fantasy, and fun, with some historical elements. And yes, I'm willing to throw myself into that world.Plain JaneI was a graduate student at UCL in London, during 1994 and 1995, and everybody was reading Cultural Imperialism. I literally saw people reading it on the tube in London. And I was falling in love with someone who was an Arab-English person with the name Saidi - close to Edward Said's name. So I was as a grad student in literature and also wanting to dive into our views and our histories and how race plays into that. These conversations are still going. Edward Said even writes about Jane Austen. And he writes about Mansfield Park, and he writes - really similar to you writing at the same time - we need to investigate the unseen in these stories, tell the unseen stories, which is so much what you're doing, as well. So my question is - almost going on 25 years, are we getting any better at this? Gretchen Gerzina  Well, you know, there's more being written and more being published all the time. David Olusoga's books. And all of his television programs in England are very well known. He's quite the face of Black British history and studies now. Others have been writing about it for decades. But I think what's interesting is that there's still a kind of resistance to it, to believing it. There are several things going on. One is ... the report the National Trust put out recently, which ... hired some academics and some others to take a look at the colonial and imperial and slave connections between some of the National Trust houses. And I think they listed 93 houses in the National Trust that have some kind of connection. That wasn't to say that they were houses where there was plantation slavery or anything, but a lot of it had to do with the fact that the money that was earned either out of the slave trade, or out of imperialism, or out of colonialism. [It] funded and help build, and perpetuate those houses. A lot of the money that was earned came from, originally, from the slave trade and slavery, and all of those absentee slave owners who had plantations in the West Indies. But also, from the fact that when they, when slavery ended in the West Indies in 1807, that they decided to compensate the slave owners for the loss of the enslaved people who had lived on those plantations. The enslaved people were not compensated, while the slave owners were. And a wonderful book and study done by Nicholas Draper, about the legacy of all of this showed how all of that money that was made from that compensation - built these houses. It funded the philanthropy; huge swaths of London were built based on that money. And all around the country. So they wanted to just say, “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” You know, the houses were filled with porcelain from China. They were built on land that used to be tenanted, but pushed the tenants off and made a beautiful landscape that made it look like it had always been there. And they had built these houses based on that money. When that report came out, the backlash was quite strong. People did not want to hear about this. They thought, “Why do we fund a National Trust, and it spends its money on being woke?” Plain JaneInteresting. They don't see it as factual. They don't see it as history. They see it as politics happening.Gretchen GerzinaYes, they do. And there's also some work being done now on updating the curriculum in schools. So some more of this is being learned at a younger age.Plain JaneSo when you say in 1993, and you've been doing this ever since, among many other things that you're reconstructing, you don't even just mean that figuratively. I mean, your writing takes us down the streets. And really paints a visual picture ...and I would add to that the landscapes of the houses. Also sugar and so much of the economic foundations are part of what I think Edward Said was calling the interplay. … You you paint a picture of, you know, Elizabethan England and … Regency England then as well, and then even Victorian Britain as being a very cruel and violent place. And I think that in many ways, our PBS adaptations [etc] really do [whitewash] these histories in so many ways. You also point out the cruelty, the disease. But what I want to say, besides the cruelty, the disease, and just the ignorance that was rampant in these times, that we tend to forget about - probably, thanks to our screen adaptations - it was there. You found a community of Black residents in London during these times - not just individual people who were famous; they were portrayed on the stage; they were recounted in stories; and many of them were musicians, writers, very fascinating individuals - but also a community. And that was you've talked about how difficult that was to unearth. Can you talk about how you uncovered this community and the difficulty of doing that?Gretchen Gerzina A lot of that came from people who had been researching this for quite a long time. In terms of community, there are people who've been doing tons of research since my book came out. And they have been finding people and they've been finding communities. We can't be sure how much of a community there was. But we do know that there were communities - people lived in certain places and certain areas, they were part of the fabric of the kind of working class. There were people that we call the Sons of Africa. Some people have questioned whether there were as many and met as frequently as was thought … But we do know that they were there. “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” And it was interesting to just think of the fact that in all of these grand houses that had Black servants, that those servants in the households, they socialized with each other. Those servants were meeting in the kitchen. Those servants were talking. And those servants were marrying the white servants, because they were mostly Black men. And then you get a sense of just this kind of other world where if Samuel Johnson is having dinner with Sir Joshua Reynolds, or with the great actors of the period, that their Black servants are probably hanging out, talking to each other. So there was a kind of network of people, definitely, who were living [among] them. And then, of course, after the Revolutionary War in America, when so many Black people had been convinced to fight for the British in exchange for their freedom. A lot of them ended up in Britain, that had been part of the promise. And so they came over in their hundreds. Plain JaneThat's fascinating - I think that you pointed out that something like 20 percent, of the soldiers fighting on both sides in the Revolutionary War with America were Black soldiers. They came back to England. And then you also pointed out they were not allowed, they were actually banned from learning crafts, learning trades ....?Gretchen GerzinaI'm not sure that they so much were banned from learning trades; they just found it difficult to find work. And also if, if they were poor, it's not so easy to move around in England at that time. I mean, physically, it's difficult. But also, it's often difficult to find work. And if you, Heaven forbid, get sick and die, you can't necessarily be buried where you're living because you're not officially part of that parish. So it's a very different kind of system than we might [envision]. And so a lot of people who worked on the British side, and obviously on the American side, in the Revolutionary War, were not just soldiers but they were doing other things: They were guides, they were helping to lead them through different terrain; they were washing clothes, they were cooking. They were following them and giving them advice.And then they also did fight. So, yes, they worked in a variety of ways and the British said, “Hey, come on our side and we'll give you your freedom and we'll give you a pension.” And then, lo and behold, the British lost then, and they came.Plain JaneOkay. So: Dido Belle and Mansfield Park - basically thoughts on that? There's also the book The Woman of Colour and there's this experience of Francis Barber and some of the others that you've mentioned. But  … what are your thoughts on Mansfield Park and is it possible that Jane Austen knew the story of Dido Belle?Gretchen GerzinaIt's possible. I have to think about the timing of it all. So Dido Elizabeth Belle of course, has nothing to do with Mansfield Park, although her great uncle who raised her was Lord Mansfield, who made a famous court decision that a Black person could not be returned to slavery in Jamaica. And that was taken by many people to say that slavery was no longer legal in England, and people ran away and said, “Hallelujah.” But in fact, that's not what the decision was.He also presided over the case of the Zhong [ship], where a slave ship had thrown over a huge number of people ... in order to collect the insurance. And he came down hard on that case. So Dido Elizabeth Belle was raised by him .. but a lot of research has been done since the film Belle was made. And a lot of that film took a lot of liberties with it. So Dido was mixed-race, and her mother was - [but] Dido was not - born into slavery. And that was a misconception. Her mother actually came and lived in England, near her, with her, for some time. And then went back to Pensacola, where she had been living in [an] old property. Dido was given some money, and so she was able to marry. But she didn't marry an abolitionist, like in the film. She married a man who'd been a steward to an important French family. And so that was still a high-up position, but it was not the big raging lawyer abolitionist [as in the film].… And I think the biggest thing about it was that her portrait was just a double portrait of herself, and of their cousin. It became the cover of my Black London book - and was later re-used by The Woman of Colour. So there's a lot of interpreting this portrait that people try to do.So I've spent a lot of time trying to track down the true story, to use the research of these other people who have done such a good job. Plain JaneWhat would you like people to keep in mind as they're watching and reading Regency era histories and romance? Just realize there are real people behind some of this. We know now that Jane Austen was likely an abolitionist, although she didn't write political things in her novels. We know that in Mansfield Park there are mentions of - and we know that the money came from - slavery. And so there was some reference to sugar and some other things in there. So we know that she's aware of it. But she doesn't make it front and center, because that's not what she does as a novelist. But I think it's really good for people who want to read these books - [to know] that there was a more racially diverse society than people realized. And that there were Black people there. And that in the places where she went and lived - because she lived in a number of places, she had to move around a lot - that she would have seen people like this.And so it's really good to remember that this was a very different world and people have now accepted it. And I think to understand and accept that, it makes it more interesting. It doesn't diminish it at all.——-Thank you for listening, reading and being with us, friends.Let us know your thoughts! Have you watched the increasingly diverse casts making up Regency and 19th century British stories like Bridgerton, A Personal History of David Copperfield, and Sanditon? What would you like to see more of in these retellings and screen adaptations? Want to know more about Queen Charlotte? Write us at AustenConnection@gmail.com.If you like this conversation, feel free to share it!And if you'd like to read more about Black life in Britain in the 18th and 19th centuries, here are some of the people and projects that Gretchen Gerzina mentioned during this conversation - enjoy!Gretchen Gerzina's website: https://gretchengerzina.com//BBC program on Britain's Black Past:- https://www.bbc.co.uk/programmes/b07wpf5vSee: National Trust research into the connection to the slave trade in its great houses: https://www.nationaltrust.org.uk/features/addressing-the-histories-of-slavery-and-colonialism-at-the-national-trustThe report: https://nt.global.ssl.fastly.net/documents/colionialism-and-historic-slavery-report.pdfAll things Georgian - Gretchen recommends in interview: https://georgianera.wordpress.com/David Olusoga:  https://www.manchester.ac.uk/discover/magazine/features/david-olusoga/Dido Belle as Fanny Price: http://jasna.org/publications-2/essay-contest-winning-entries/2017/a-biracial-fanny-price/Peter Fryer's Staying Power: https://www.plutobooks.com/9780745338309/staying-power/Mirands Kaufmann's Black Tudors: http://www.mirandakaufmann.com/black-tudors.htmlGet these and all our Austen Connection conversations delivered to your inbox, when you subscribe - it's free! 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In this episode, we read Chapters 16 to 20 of Sense and Sensibility. We talk about how Marianne indulges her feelings, whether Jane Austen knew what Marianne and Willoughby talked about before he left, the clearer picture we get of Edward in these chapters, and Edward's invisible servant.The characters we discuss are Mr and Mrs Palmer. Ellen talks about sensibility and romanticism, which leads into a discussion of Marianne and Elinor's different views of feelings and behaviour. Harriet talks about adaptations, including the Bollywood modernisation, Kandukondain Kandukondain, which she has finally watched. Things we mention:References:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Hannah More, ‘Sensibility' (1782)Oliver Goldsmith, The Vicar of Wakefield (1766)Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759) and A Sentimental Journey (1768)The poetry of George Crabbe (1754-1832)The poetry of William Blake (1757-1827) Samuel Richardson, Pamela (1740) and Clarissa, or, the History of a Young Lady (1748) The works of Sir Walter Scott (1771-1832) The poetry of William Wordsworth (1770-1850), including ‘My Heart leaps up' and ‘Daffodils' The poetry of Samuel Taylor Coleridge (1772-1834), including ‘Kubla Khan' and ‘The Rime of the Ancient Mariner' The poetry of William Blake (1757-1827) The poetry of William Cowper (1731-1800) Artworks:The works of William Turner (1775-1851)Théodore Géricault, The Raft of the Medusa (1818/1819)Eugène Delacroix, Liberty Leading the People (1830)Adaptations of the book:BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book:Sri Surya Films, Kandukondain Kandukondain (2000) – starring Tabu and Aishwarya RaiJoanna Tro

In his book, From Darwin to Derrida: Selfish Genes, Social Selves, and the Meanings of Life (MIT Press), evolutionary biologist David Haig explains how a physical world of matter in motion gave rise to a living world of purpose and meaning. Natural selection is a process without purpose, yet gives rise to purposeful beings who find meaning in the world. Haig proposes that the key to this is the origin of mutable “texts” that preserve a record of what has worked in the world, in other words: genes. These texts become the specifications for the intricate mechanisms of living beings. Haig draws on a wide range of sources to make his argument, from Laurence Sterne's Tristram Shandy to Immanuel Kant's Critique of the Power of Judgment to the work of Jacques Derrida to the latest findings on gene transmission, duplication, and expression. Genes and their effects, he explains, are like eggs and chickens. Eggs exist for the sake of becoming chickens and chickens for the sake of laying eggs. A gene's effects have a causal role in determining which genes are copied. The gene persists if its lineage has been consistently associated with survival and reproduction. Organisms can be understood as interpreters that link information from the environment to meaningful action in the environment. Meaning, Haig argues, is the output of a process of interpretation; there is a continuum from the very simplest forms of interpretation, found in single RNA molecules near the origins of life, to the most sophisticated, like those found in human beings. Life is interpretation—the use of information in choice. David Haig is George Putnam Professor of Organismic and Evolutionary Biology at Harvard University. Because he is a theorist, his research is wide and varied, working on everything from maternal-fetal conflict in human pregnancy to the evolution of plant life cycles. He has a particular interest in genetic conflicts within individual organisms, as exemplified by genomic imprinting. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laurence Sterne's subjective travel book was published in 1768. Mary Newbould and Duncan Large discuss its influence. Plus novelist Philip Hensher on his new book The Friendly Ones and writing fiction about neighbourliness, families and the Bangladesh Liberation War. Walker Nick Hunt discusses his journeys following the pathways taken by European winds such as the Mistral and the Foehn and the conversations he had about nationalism, immigration and myths. Presented by New Generation Thinker Seán Williams.The Friendly Ones by Philip Hensher is published on March 8th. Nick Hunt's book Where the Wild Winds Are: Walking Europe's Winds from the Pennines to Provence is out now. ‘Alas, Poor Yorick!': A Sterne 250-Year Anniversary Conference takes place at Cambridge 18 - 21 March and an Essay Collection is being published called ‘A Legacy to the World': New Approaches to Laurence Sterne's ‘A Sentimental Journey' and other Works to be edited by W.B Gerard, Paul Goring, and M-C. Newbould. A new edition of A Sentimental Journey, illustrated by Martin Rowson, has been published by the Laurence Sterne TrustAn evening of music and readings to commemorate the 250th anniversary of the funeral of Laurence Sterne in the church where the original service took place. St George's, Hanover Square, London W1S 1FX on 22 March 2018 features David Owen Norris, Susanne Heinrich, The Hilliard Ensemble, Patrick Hughes, Carmen Troncoso et al.

No-one attributed more importance to naming the baby than Laurence Sterne's Walter Shandy but his attempts to ensure his son's future success came to naught and all because he couldn't get his trousers on. As the 2016 list of top baby names is revealed to a waiting world, Sophie Coulombeau explores literary archives to uncover the true story of What's In a Name? Just the fears, hopes and frustrations, ambitions and proclivities of British society over the centuries.