Podcasts about Laurence Sterne

Níall McLaughlin is this year's recipient of the RIBA Royal Gold Medal—awarded for more than three decades of work ranging from a seaside bandstand at Bexhill to the Stirling Prize-winning library at Magdalene College, Cambridge. To mark the occasion, his practice has released a new book, published by Objectif Edition and co-edited with Bryony Jones. And it's far from your typical architecture monograph.Uncle Toby's Garden, and it takes its title from Tristram Shandy, Laurence Sterne's mid-eighteenth-century novel—a book that seems to have arrived from the future, treating the conventions of the still-young English novel as toys to be dismantled, and anticipating experimental fiction by roughly two centuries. It tries to capture real experience, and the movement of consciousness, in a way that tidy, linear narrative can't.Níall's book is similarly non-linear, organised around digressions rather than buildings. Its title character, Uncle Toby, is a wounded veteran who spends his days re-enacting old battles on his bowling green, in a pastime both trivial and profound. In that spirit, the book reframes architecture as a performance of ritual, collaboration, speculation and play.Fittingly, our conversation took place at 10 Bowling Green Lane, home of the Zaha Hadid Foundation, and the temporary site of the Architecture Foundation's summer programme, POST PRESS. It was recorded on Tuesday 21 July 2026.Link to Níall's lecture Circling a Star - a Daylight Talk: https://www.niallmclaughlin.com/media/circling-a-star-a-daylight-talk/Thanks to Velux for supporting the podcast. Velux.com/design Hosted on Acast. See acast.com/privacy for more information.

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Show Notes: Jenny Davidson describes her continued passion for literature, reading, and writing, her interest in primatology, adventures in Tanzania, and her new hobbies.  Form and Technique in Powerlifting  She details her fitness routine, including powerlifting, running, swimming, triathlon, and yoga. Jenny shares her experience with a longstanding injury affecting her ability to do high-volume aerobic training. Jenny explains the basics of powerlifting, distinguishing it from Olympic lifting. She describes her favorite lift, the deadlift, and the other two main lifts: squat and bench press. Jenny shares her powerlifting achievements, including her recent competitions and her current lifting numbers. She emphasizes the importance of proper form and technique in powerlifting. Health and Community through Fitness Jenny discusses the impact of her exercise routine on her mood and energy levels. She describes how exercise helps her maintain a schedule and provides a sense of community through fitness activities. Jenny shares her experience with yoga and how it has become a significant part of her life. She mentions her weekly private Pilates sessions for therapeutic purposes. A Career in Literature Jenny talks about her career in literature, starting with her graduate studies at Yale. She specializes in 18th-century British literature and has been teaching at Columbia for 25 years. She mentions several books, including Clarissa and Moby Dick. Jenny enjoys teaching a mix of introductory and specialized classes, including comparative European novels and single-author classes. She shares her enthusiasm for teaching complex literary texts and the unique challenges they present.  Recommended 18th Century Literature Jenny recommends Jonathan Swift's Gulliver's Travels and his other prose satires as essential reading. She highlights Frances Burney's novel Evelina and Edward Gibbon's History of the Decline and Fall of the Roman Empire. Jenny also recommends Adam Smith's Wealth of Nations and Edmund Burke's Reflections on the Revolution in France. She mentions Laurence Sterne's Tristram Shandy and A Sentimental Journey as accessible entry points to 18th-century literature. The Rise of Literacy Jenny discusses the rise of literacy and popular print in the late 17th and early 18th centuries. She explains how books like Pamela by Richardson were shared among multiple readers, increasing their reach. Jenny notes the evidence of reading among both elite and working-class individuals. She highlights the importance of marginalia and letters in understanding the reading habits of the time. Reading Habits Jenny shares her unusual relationship with reading, being a very fast reader from a very early age. She describes her reading habits, including rereading books she teaches and reading modern novels for pleasure. Jenny mentions her book, Reading Style: A Life in Sentences, which explores her life as a reader. She reflects on the challenges of finding enough reading material during demanding times of the semester. Primatology in Tanzania Jenny discusses her recent trips to Tanzania and her interest in primatology and being influenced by Jane Goodall from a young age. She shares her experience learning Swahili and conducting oral history interviews with Tanzanian field assistants. Jenny plans to create an oral history digital repository at Columbia and potentially publish essays or a book on her findings. She describes her collaboration with a Tanzanian guide, Rama, and their efforts to revive a tree-planting education program. AI in Humanities Education Jenny discusses the potential and limitations of AI in humanities education. She expresses concerns about students using AI for assignments, viewing it as a form of cheating. Jenny shares her positive experience with using AI for transcription of oral history interviews. She emphasizes the importance of creating a quiet mind and immersive reading environments for deep learning. Harvard Reflections Jenny talks about classes with Barbara Johnson, Elaine Scarry, and Writing Narrative History with Simon Schama. She also mentions the class Judith Clara taught on political obligation, and a class called The Development of the Modern State taught by Stanley Hoffman, Peter Hall, and Tom Ertman. Timestamps: 02:21: Powerlifting and Technique  07:45: Impact of Exercise on Personal Life  10:17: Career in Literature and Teaching  13:00: Recommended 18th-Century Literature  13:15: Reading Public in the 18th Century  26:45: Jenny's Reading Habits  29:09: Tanzania Research and Oral History  35:39: AI and Humanities Education  Links: Facebook: https://www.facebook.com/groups/214744151893608/user/112738 LinkedIn: https://www.linkedin.com/in/jenny-davidson-a89a7b1b5   *AI generated transcript and show notes.  

fWotD Episode 3342: The Path to Rome Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Monday, 29 June 2026, is The Path to Rome.The Path to Rome is a 1902 travelogue by the French-English author and historian Hilaire Belloc. Belloc recounts his pilgrimage from Toul in northeastern France to Rome after encountering an extraordinary statue of Saint Mary in La Celle-Saint-Cloud, France, where he was born. The work contains his account of events in short vignettes, his thoughts on his travels, and asides about the history and geography of places he visits. Belloc also illustrates landmarks, noteworthy geographical features, and explanatory maps to frame his journey and explain his decisions to the audience. It also contains songs for which Belloc provides sheet music and lyrics.The book is mostly written in a stream-of-consciousness style, containing several conversations between Belloc and an imagined reader (who is invariably combative and confused). The genre has been described as a carnivalesque within the tradition of literary modernism, though it foreshadows the later postmodernist style with its employment of complex literary structures, such as metalepsis, embedded narratives, and defamiliarisation. Although the book is written primarily in English, several passages and pieces of dialogue are in other languages, and language mix-ups and comments about the contemporary linguistic landscape figure prominently.The Path to Rome was Belloc's most financially successful work and established him as a serious author. It is considered among the best in his literary canon and the quintessential example of his travel literature. Contemporary reviews were positive, focusing on Belloc's authenticity, shrewd observations, and sense of humour. Retrospectives have similarly praised the book, with much of the acclaim centring on Belloc's complex narrative structure and the focus on the minutiae of everyday life in the towns he visited. Critics have often compared it positively with the works of François Rabelais and Laurence Sterne. Belloc himself had a warm affection for the work; he later recounted that it was "the only book I ever wrote for love".This recording reflects the Wikipedia text as of 00:18 UTC on Monday, 29 June 2026.For the full current version of the article, see The Path to Rome on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Joey.

Movie of the Year: 2006Tristram Shandy: A Cock and Bull StoryThe Tristram Shandy Podcast Opens the 2006 BracketThe Tristram Shandy podcast episode kicks off our brand new 2006 bracket on Movie of the Year. After crowning our way through 1971, the Taste Buds turn to a fresh film year. Moreover, we start with one of the strangest comedies of the decade. Michael Winterbottom's Tristram Shandy: A Cock and Bull Story is a film about making a film of an unfilmable book. Consequently, it makes a perfect launch title for a show that loves movies about movies. In this episode, Ryan, Mike, and Greg dig into metafiction, gender, and the prickly chemistry between Steve Coogan and Rob Brydon. Additionally, two new segments make their debut. Above all, we want to set the tone for a wild 2006 season.About the FilmLaurence Sterne published The Life and Opinions of Tristram Shandy, Gentleman in nine volumes between 1759 and 1767. The novel is famous for being playful, digressive, and nearly impossible to adapt. Notably, the narrator barely manages to get himself born across hundreds of pages. Winterbottom and his team turned that problem into the whole joke. As a result, the movie follows a fictional crew trying to film the book. Steve Coogan plays a vain version of himself, plus Tristram and his father, Walter. Meanwhile, Rob Brydon plays a needling version of himself and Uncle Toby. The screenplay carries the pseudonym "Martin Hardy," although Frank Cottrell-Boyce actually wrote it. Furthermore, the cast includes Keeley Hawes, Shirley Henderson, Dylan Moran, Naomie Harris, Kelly Macdonald, and Jeremy Northam. Gillian Anderson and Stephen Fry also appear as heightened versions of themselves. You can read more at Wikipedia or the original Roger Ebert review.This is the first film episode of our 2006 season. To explore the wider bracket project, visit the Movie of the Year archive. If you enjoy this Tristram Shandy podcast deep dive, our A Clockwork Orange episode from the 1971 run pairs nicely with this conversation about cinematic form.Want to hear how the season began? Start with our 2006 season intro, then dig into the 2006 bracket reveal before this episode.Metafiction and the Unfilmable NovelMetafiction sits at the center of our first discussion. Sterne wrote a novel that constantly reminds you it is a novel. Similarly, Winterbottom built a movie that keeps reminding you it is a movie. The crew breaks the fourth wall, argues about the script, and screens its own dailies. Therefore, the film becomes a hall of mirrors about storytelling itself. The Taste Buds ask a simple question. How do you adapt a book that mocks the idea of adaptation? Furthermore, we trace the lineage from Sterne to modern self-aware comedies. Films like Adaptation and Day for Night come up as obvious cousins. Ultimately, we argue that Winterbottom found the only honest solution. He filmed the failure instead of the book. Consequently, the movie respects Sterne by refusing to tame him.The Battle of the Sexes on ScreenNext, we turn to gender and how the film portrays men and women. The male characters chase status, sex, and screen time with comic desperation. Coogan, in particular, frets about his shoe lifts and his billing. Meanwhile, the women in the film often hold the real power. Kelly Macdonald plays Jenny, who grounds Coogan with calm clarity. Naomie Harris plays Jennie, a production assistant who runs circles around the panicking men. Gillian Anderson arrives late and instantly reshapes the production. By contrast, the men flail and posture. So the Taste Buds debate a thorny point. Does the movie satirize male ego, or does it quietly indulge it? Additionally, we weigh how the battle of the sexes plays inside an 18th-century story. The novel and the film both poke fun at male pride. As a result, the gender comedy spans two very different centuries.Coogan and Brydon Anchor the Tristram Shandy PodcastAbove all, the Coogan and Brydon double act drives this Tristram Shandy podcast conversation. The two comedians play exaggerated, petty versions of themselves. Their rivalry over billing, teeth, and impressions fuels the funniest scenes. Notably, this dynamic later powered the beloved series The Trip. The Taste Buds dig into why their friction feels so real. Brydon needles, Coogan bristles, and the comedy snaps into focus. Furthermore, we discuss how improvisation shapes their banter. The closing Al Pacino impression duel becomes a highlight. Meanwhile, we ask whether the pair actually like each other on screen. The answer stays gloriously unclear. Consequently, their chemistry gives a chilly intellectual film a warm, human pulse.Rushmore: The Mount Rushmore of 2006 TelevisionOur Rushmore segment asks each host to carve a Mount Rushmore of 2006 television. The year was loaded with future classics. For instance, The Wire aired its acclaimed fourth season. Meanwhile, The Office, 30 Rock, and Friday Night Lights were all finding their feet. Additionally, prestige newcomers like Dexter and Heroes premiered to big buzz. The hosts each pick four shows and defend their choices. Naturally, the debate gets heated fast. Listen to the episode to hear which four faces each Taste Bud sets in stone.I Never Metacritic I Didn't LikeThis episode debuts a brand new game called "I Never Metacritic I Didn't Like." The premise is simple and a little dangerous. We pull up a film's Metacritic profile and put the critical consensus on trial. Specifically, we test whether the aggregate score matches our own gut reactions. Tristram Shandy earned strong reviews from critics on release. However, strong scores do not always survive a Taste Buds cross-examination. Therefore, the game lets us argue with the wider critical record in real time. Expect this segment to return throughout the 2006 season. Above all, it gives us a structured excuse to fight about numbers.Why Tristram Shandy Still MattersTristram Shandy still matters because it cracked a problem that had defeated everyone before it. Winterbottom proved you can film an unfilmable book by filming the attempt. Moreover, the movie launched a now-legendary comic partnership. The Coogan and Brydon collaboration grew into The Trip and its many sequels. Additionally, the film remains a sharp, funny lesson in adaptation. Film students and Sterne scholars both still cite it today. Ultimately, the Tristram Shandy 2006 podcast discussion shows why this small comedy punches far above its weight. Notably, it kicks our 2006 bracket off with brains and mischief.Related Episodes from Movie of the Year: 2006The 2006 season is just getting started, so this list will grow each week. For now, revisit the episodes that set up the bracket, plus a favorite from our 1971 run.Movie of the Year 2006: Season IntroThe 2006 Bracket RevealMovie of the Year archiveThe Last Picture Show (1971)FAQ: Tristram Shandy Podcast and FilmWhat is this Tristram Shandy podcast episode about?In this episode, Ryan, Mike, and Greg launch the 2006 bracket by breaking down Michael Winterbottom's comedy. They cover metafiction, gender, the Coogan and Brydon dynamic, and two new segments.What is the movie Tristram Shandy about?The film follows a crew trying to adapt an unfilmable 18th-century novel. As they struggle, the actors' egos and offscreen lives take over the production.Who directed Tristram Shandy: A Cock and Bull Story?Michael Winterbottom directed the film. Frank Cottrell-Boyce wrote the screenplay under the pseudonym "Martin Hardy."Is Tristram Shandy based on a book?Yes. Laurence Sterne wrote The Life and Opinions of Tristram Shandy, Gentleman across nine volumes between 1759 and 1767. You can read more on Wikipedia.Do Steve Coogan and Rob Brydon play themselves?Yes, mostly. Both actors play exaggerated, fictional versions of themselves, and they also play characters in the film within the film. See the full cast on IMDb.Is Tristram Shandy connected to The Trip?Yes, in spirit. This film first paired Coogan and Brydon with Winterbottom, and that chemistry...

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence Sterne. It was published in nine volumes, the first two appearing in 1759, and seven others following over the next 10 years. It was not always held in high esteem by other writers (Samuel Johnson responded that, "Nothing odd can last"), but its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Merriam-Webster's Word of the Day for April 18, 2026 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 describes a gap or passage in an anatomical part or organ, and in linguistics, it refers to the occurrence of two vowel sounds without pause or intervening consonantal sound. // The actor, who's been on hiatus for several years, will be starring in a new film. See the entry > Examples: “Following its return in 2025 after a nearly three-year hiatus, the 52nd American Music Awards are heading back to Las Vegas to be broadcast live from a new venue, the MGM Grand Garden Arena.” — Steven J. Horowitz, Variety, 10 Mar. 2026 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 yawn,” 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.

The 1920s were a tumultuous time for Russia, as the nation careened from the aftermath of revolution to the death of Lenin, the establishment of the Soviet Union, and the slide toward Stalinist totalitarianism. Given all of that serious upheaval, what explains the public's passion for the works of an 18th-century Anglican clergyman best known for his tongue-in-cheek narratives Tristram Shandy and A Sentimental Journey? In this episode, Jacke talks to Peter Budrin about his book Laurence Sterne and His Readers in Early Soviet Russia: The Secret Order of Shandeans. PLUS Edward Watts (The Romans: A 2,000-Year History) stops by to discuss his choice for the last book he will ever read. AND one of the twentieth-century's most provocative literary figures Anaïs Nin on the power of reading. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. 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

It used to be taken for granted that satire uses nasty means to good ends: it ridicules its targets in order to bring about reform.  However, in recent years, the role of satire has been challenged and satirists themselves have quite literally come under attack. Some shocking incidents have prompted serious debate about the relations between free speech and hate speech. This lecture will consider the rights and wrongs of satire in a historical context and in the light of our present situation.This lecture was recorded by Judith Hawley on the 26th of February 2026 at Bernard's Inn Hall, LondonJudith Hawley is Professor Emerita of Eighteenth-Century Literature in the Department of English, Royal Holloway, University of London.As well as publishing essays on Laurence Sterne, encyclopaedias, Siamese twins, amateur performance and Grub Street, she has edited various eighteenth-century texts, including Jane Collier, The Art of Ingeniously Tormenting, and works by the Bluestocking, Elizabeth Carter.Her Very Short Introduction to Satire (OUP) will be published in 2026. Currently she is writing a group biography of Pope, Swift and the Scriblerus Club. She has made numerous appearances on radio and TV and is a frequent contributor to In Our Time (BBC Radio 4). As Trustee of The London Luminaries, she has chaired an on-line lecture series since 2021. She has also lectured to the public at the Society for Antiquaries of which she is a Fellow.The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/ethics-satireGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham College's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-today Website:  https://gresham.ac.ukX: https://x.com/GreshamCollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeBluesky: https://bsky.app/profile/greshamcollege.bsky.social TikTok: https://www.tiktok.com/@greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

He writes like someone crossing a room full of mousetraps.

“Tudo é fácil quando temos vontade própria e estímulo alheio, mas é difícil sermos aquilo que somos. Os outros não deixam.” E ainda que lhes fosse indiferente, que não se acumulasse neles esse rancor de ver alguém tomar um enorme balanço, entregar-se a uma euforia tal que não precisa de outra coisa senão de preencher um instante, até contra o resto da sua vida, como se tivesse um poder de se libertar e esquecer de si mesmo, sendo essa a maior das fantasias, mesmo assim os outros estariam aí para te desmentir. Afinal, aquela chispa ou ferocidade que alguns revelam e os torna capazes de se desembaraçar dos efeitos previstos, de se borrifar no contexto, é aí que se acha o maior dos privilégios. E aquela compulsão mitómana é talvez o último sinal de arrojo, uma vez que a história inventada é sempre mais aliciante do que a maçadora tirania dos factos. Contudo, o grande entrave são os outros, e parece evidente como toda a etiqueta social se desdobra nessas fórmulas mais ou menos sub-reptícias de interromper alguém. Há, no entanto, alguns que sabem torcer pela oposição, viver como felizes desgraçados, muitas vezes até por conta de outrem, gozando os sinais de insubordinação. Depois daquele arranque, vamos citar-vos novamente Santos Fernando para deixar aqui outra pedra angular: “Tive que chegar à evidência de que o nosso semelhante é justamente aquele que em nada se nos assemelha.” Mas há mais… “Gostamos, nos outros, o que os outros não gostam neles.” O amor próprio deve assim ser colhido não em si mesmo mas à volta. Este não é um tempo para os homens andarem muito confiantes de si mesmos, pois isso identifica-os com os piores. Os melhores são os que se fogem, os que escapam. Aqueles que se fazem tão esquecidos de si que muitas vezes páram junto às montras para confirmar os traços do próprio rosto. “É para sabermos quem somos, que transportamos no bolso o bilhete de identidade.” A razão de toda esta solidão em que nos sentimos a dissolver, reféns de um quotidiano que trabalha em nós como ácido, é este excesso de confiança nas aparências, a forma como o espectáculo passou a governar até a metafísica. No fundo, um tipo só podia reconhecer-se nas divisões, na forma como num determinado momento parecia fazer uma escolha contra o de antes, contra si mesmo, romper, partir-se. “O Eu tem um conteúdo que o distingue de si, pois ele é a negatividade pura ou o movimento de se dividir, é a consciência”, escreveu Hegel. “Este conteúdo, na sua diferença, também é o Eu, pois ele é o movimento de se suprimir a si mesmo ou a negatividade pura que é o Eu.” Se temos tanta dificuldade para nos arrastar para fora de casa, fazêmo-lo porque, apesar de tudo, ainda é agradável encontrarmos na rua os nossos desconhecidos, especializarmo-nos na dor dos outros, como diz às tantas uma das personagens do último livro do nosso convidado. Saímos num gesto meio desaforado como quem se diz adeus a si mesmo, batendo com a porta, ofendendo-se os dois mutuamente, o que ficou e o que saiu. Fazemos estes cortes, ignorando-nos para nos conhecermos melhor. Santos Fernando ainda nos coloca diante de uma outra constatação: “– Perdão – exclamou o que tinha experiência da vida, experiência da falibilidade humana e experiência da bisbilhotice: – Só não espreita pelo buraco da fechadura, aquele que tem receio de estar a ser substituído do lado de lá.” Na verdade, esta frase deveria inverter-se, pois o receio mais constante nos nossos dias, um receio pânico, vem não da mera suspeita, mas da consciência de que estamos a ser substituídos do lado de lá, e não apenas por alguém novo ou melhor, mas por alguém muito parecido, um semelhante, um ser apenas um pouco mais indiferente, e, por isso, melhor adaptado às circunstâncias. Aquele que se ri da expressão que fazemos, aquele que nos provoca, esse duplo sinistro que divide connosco o mesmo lance de dados. “Acredito sinceramente ter interceptado muitos pensamentos que os céus destinavam a outro homem”, admitia Laurence Sterne. É uma forma de reconhecer essa capacidade de ocupar o lugar de outro… “Há gente que tem pára-raios para que os raios lhes caiam em casa”, retruca Santos Fernando, sempre à coca de uma oportunidade. Ele poderia concordar com o nosso convidado deste episódio quando ele reconhece que, entre certos seres sem tempo para os grandes arranjos litúrgicos, “Deus manifesta-se sob a forma de um insecto aramaico em risco de extinção”. “Um insecto fugidio, escondido em toda a parte”, adianta. E ainda acrescenta: “A palavra aramaico soa tão bem, não precisamos de mais nada para acreditar.” De resto, a fé já não é essa espécie de utopia transparente, mas algo mais rastejante, que sobrevive à base de impulsos, coincidências meio patéticas, um arranjo fenomenal de ninharias. Às tantas, num daqueles armazéns onde alguns tipos assistem à rotina frenética das mercadorias, esses milhares de produtos destinados a um trânsito internacional que, como nos diz José Gardeazabal, parece imitar o ritmo fértil das grandes migrações, fica claro como vamos sendo reduzidos a essa humildade dos espectadores da catástrofe, e às tantas percebe-se que o homem é precisamente aquilo que toda esta inquietação das mercadorias acaba por destruir, tornando-se um ser inteiramente esmagado, atirado para a margem, desfigurado por essa nova forma de miséria que se foi impondo com o monstruoso desenvolvimento da técnica. Como assinalou Erich Auerbach, “nos seus começos gregos, a poesia europeia possuía o conhecimento de que o homem seria uno – algo de indivisível, constituído pela força e pela forma do corpo, pela razão e pela vontade do espírito, de que o seu destino particular se teria desenvolvido a partir de uma tal unidade, quando à sua volta se reuniam, como que por atracção magnética, as acções e paixões que lhe estavam reservadas, fixando-se nele e formando assim elas mesmas uma parte da sua unidade”. Aquele filólogo e crítico literário vinca que foi “este entendimento que conferiu à epopeia homérica a intuição e a compreensão profunda da estrutura dos acontecimentos possíveis”. “Inventando e sobrepondo acções e paixões do mesmo tipo, Homero deu forma a Aquiles ou a Ulisses, a Helena ou a Penélope; de uma acção que revelava a essência, ou ainda de uma essência que se anunciava numa primeira acção, surgiu ao poeta inventor, de forma necessária e natural, a série e a suma das acções, tornadas idênticas, de todos eles, e ao mesmo tempo a orientação geral do percurso das suas vidas, o seu entrelaçamento no tecido dos acontecimentos, que constitui tanto a sua essência quanto o seu destino.” Mas hoje já não há unidade nos homens porque o destino é precisamente aquilo que faz deles esses seres inertes, dominados por um vazio que escarnece de todos os seus gestos. E também por isso o romance está em crise, pois não sabemos como traduzir alguma inspiração literária que sirva de fôlego a verdadeiras personagens, construindo a sua fictiva autonomia, e que habitem soberanamente essa zona dos mitos criada pelos grandes escritores. Vamos andar por aqui, indagar ainda sobre a forma como o novo paradigma tecnológico infectou a carne. E se, finalmente, e ao cabo de tantos naufrágios, o velho lobo desse mar que há décadas ia pingando pelas torneiras mal fechadas de tantas casas portuguesas lá se despediu de vez, também por aí vamos passar, aproveitando para uivar entre as fronteiras já praticamente apagadas da nossa cultura, e sempre com Gardeazabal a expor-nos a vasta colecção de pulgas colhidas noutras paragens e que a ele o ferram mais fundo e lhe transmitem a sua febre.

Zwischen schrägen Einfällen und der Liebe zu Laurence Sterne entfaltet Markus Orths einen vielschichtigen Roman, der zum Nachdenken einlädt.

Laurence Sterne - Życie i myśli JW Pana Tristrama Shandy Anton Czechow – Utwory wybrane Albert Camus - Notatniki F. Scott Fitzgerald – Ten wielki Gatsby Komiks: Juan Díaz Casales, Giovanni Riagno – Blacksad Stories. Weekly

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You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!How do you film the unfilmable? That's the challenge at the heart of Michael Winterbottom's Tristram Shandy: A Cock and Bull Story, a delightfully meta take on Laurence Sterne's famously chaotic 18th-century novel The Life and Opinions of Tristram Shandy, Gentleman.In this week's episode, the Dads dive into a film that blurs every boundary — between adaptation and behind-the-scenes drama, between actor and character, and between self-awareness and outright parody. Steve Coogan and Rob Brydon play heightened versions of themselves, bickering over screen time, wardrobe choices, and (of course) who does the better impressions. Meanwhile, the “film within a film” takes us through absurd historical reenactments, disastrous prop work, and even a giant model womb.We talk about:Why Sterne's novel was considered “unfilmable” and how the movie leans into that chaos.The deliciously petty dynamic between Coogan and Brydon, and how it later set the stage for The Trip.Cameos from British comedy royalty — Stephen Fry, Dylan Moran, Mark Williams, David Walliams, and more.How the movie juggles philosophical musings, slapstick humour, and industry satire — sometimes all in the same scene.Whether the film is more fun to watch or to talk about.It's part literary experiment, part farce, and part therapy session for Steve Coogan's fragile ego. And while Tristram Shandy might not be everyone's cup of tea, there's plenty to chew on — from postmodern storytelling to the sheer joy of watching talented comedians spark off each other.If you've ever enjoyed The Trip, love films about filmmaking, or just want to hear us wrestle with a movie that refuses to play by the rules, this is an episode you won't want to miss.

In this episode, we are joined by the author Art Bell (@artbellauthor) as we dive into a collection of books that challenge assumptions—about power, identity, reason, and reality. Whether set in the fog of war, the haze of colonial ambition, the grim clarity of existential thought, or the murky alleys of criminal underworlds, each selection forces readers to confront uncomfortable truths and ask harder questions. Ideal for those who crave intellectually provocative reads with moral complexity, sharp insight, and a touch of darkness. If you're the kind of reader who doesn't just enjoy a good story but wants to pick it apart long after the final page, this one's for you. Join the Books to Last Podcast, where book lovers share their top 5 must-read books for a dream getaway. Inspired by BBC's Desert Island Discs, each episode features fun stories, book recommendations, and heartfelt conversations. Tune in for inspiring tales and discover your next great read!Guest Details:Instagram: @artbellauthorLinkedIN: https://www.linkedin.com/in/artbell/Facebook: ArtbellauthorWebsite: artbellwriter.comBook: https://a.co/d/hfD3W81Podcast:W: https://anchor.fm/bookstolastpodTwitter: @BooksToLastPodInstagram: @BooksToLastPodMusic by DAYLILY@daylilyuk on Instagramhttps://open.spotify.com/artist/31logKBelcPBZMNhUmU3Q6Spoiler WarningBooks Discussed:Heart of Darkness by Joseph ConradThe Maltese Falcon by Samuel Dashiell HammettCatch-22 by Joseph HellerThe Stranger by Albert CamusChurchill: Walking with Destiny by Andrew RobertsFear and loathing in Las Vegas by Hunter S. ThompsonThe Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne

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Álvaro Enrigue and critic Maia Gil'Adí begin their conversation considering translation as a living process, one that is internal to the novel form. Álvaro, author of the trippy You Dreamed of Empires (Riverhead, 2024), explains how the opening letter to his translator Natasha mirrors the letter to his editor, Teresa, in Spanish, and how both letters become part of the fiction. Fitting for a novel that crosses Nahua and Mayan, Moctezuma and Cortés, Mexican history and the glam rock band T. Rex. The English translation—which Álvaro calls the book of Natasha—is longer, filled with changes and additions and revisions, and so translation becomes “another life for the book.” From the living book to its contents, Maia asks how You Dreamed of Empires blends the gorgeous and the grotesque, slapstick humor and extreme violence, historical detail and mischievous metafictional departures. Álvaro links his work to Season 9's theme of TECH by pointing out the novel's longstanding use as a tool to laugh about the powerful, to tell them that what they're saying is not true, and to articulate politics through contradiction and humor. After discussing the encounter of Moctezuma and Cortés (or really, of their translators, including a very magical bite of cactus) as the moment that changes everything in history, Álvaro makes a surprising historical swerve in his answer to this season's signature question. Mentions:Álvaro Enrigue, Sudden Death, You Dreamed of Empires, Now I SurrenderNahuaNatasha WimmerTeresa Ariño, AnagramaSergio Pitol, Enrique Vila-Matas, Javier Marías, Roberto BolañoMiguel de Cervantes, Don Quixote; Laurence Sterne; Jonathan Swift, Gulliver's TravelsOctavio Paz saying New Spain was a kingdom in One Earth, Four or Five Worlds: Reflections on Contemporary History, translated by Helen R. Lane.Edward SaidLèse-majestéT. Rex, “Monolith”Gonzalo GuerreroThe Colegio de Santa Cruz de TlatelolcoJosé Emilio PachecoMichel FoucaultMichelangeloSaint Paul, Epistle to the RomansNoam ChomskyTlaxcalas Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

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

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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

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

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.

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.

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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.

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).

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!)

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

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