Podcasts about literary review

It seems there was too much middle brother energy for Reginald this pod (classic only child behavior!) We don't mind though, since Dom gets to chat with podcaster Travis McElroy! They're tackling the mysterious time-travelling tale of The Seven Deaths of Evelyn Hardcastle by Stuart Turton.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Travis:https://travismcelroy.com/Instagram: @travismcelroyWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

Simon and Rachel speak with ⁠Joshi Herrmann⁠, the founder of local journalism startup ⁠Mill Media⁠. Joshi founded The Mill, a newsletter covering Greater Manchester, as a one-man band in June 2020. The company now has staff writers and editors across six British cities: Manchester⁠, ⁠Glasgow,⁠ Birmingham, ⁠Liverpool⁠, Sheffield and ⁠London⁠. Mill Media is known for deeply reported long reads and its paid newsletter model; it is read by more than 150,000 email subscribers. The company has received investment from figures including Sir Mark Thompson, chief executive of CNN and a former BBC director-general. Joshi was formerly editor-in-chief of ⁠Tab Media⁠, and he has reported for the Times, the Telegraph, the Guardian and the London Evening Standard. We spoke to Joshi about ⁠working at the Standard⁠, his stints at the Tab, and his current venture, which is looking to reinvent local journalism.We have recently also overhauled our offer for those ⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠. Our central reward is a - now greatly expanded - sheaf of successful journalistic pitches, which we've solicited from friends of Always Take Notes. In the package we now have successful pitches to, among others, the New York Times, the Guardian, the New Yorker, the Financial Times, the Economist, the London Review of Books, Vanity Fair, Outside magazine, the Spectator, the Sunday Times, Esquire, Granta, the Literary Review, Prospect, Bloomberg Businessweek and GQ. Anyone who supports the show with $5 per month or more will receive the full compendium. Other rewards include signed copies of our podcast book (see below) and the opportunity to take part in a monthly call with the two of us to workshop your own pitches and writing projects. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

That darn Reginald is off to space, or, somewhere... Luckily Dom had editor and podcaster Sophia ready to join the book club and chat The Martian Chronicles by Ray Bradbury!This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Sophia:BlueSky: @sophiekay.bsky.socialInstagram: @_sophie_kayMoviestruck: https://moviestruck.transistor.fm/Patreon: https://www.patreon.com/moviestruckRolling with Difficulty: https://www.youtube.com/c/RollingwithDifficultyWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

Rachel and Simon speak with the novelist Nnedi Okorafor. Nnedi is a prolific writer of science fiction and fantasy for adults, young adults and children; her best-known titles include the "Binti" trilogy, "Lagoon", the "Nsibidi Script" series and "Who Fears Death". Nnedi has won the Wole Soyinka Prize for Literature as well as the Hugo, Nebula, World Fantasy, Locus and Lodestar awards. Several of her books are currently being adapted for TV. We spoke to Nnedi about the hospital stay that led her to start writing, breaking into the worlds of science fiction and fantasy, and her latest novel, "Death of the Author". We have recently also overhauled our offer for those ⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠. Our central reward is a - now greatly expanded - sheaf of successful journalistic pitches, which we've solicited from friends of Always Take Notes. In the package we now have successful pitches to, among others, the New York Times, the Guardian, the New Yorker, the Financial Times, the Economist, the London Review of Books, Vanity Fair, Outside magazine, the Spectator, the Sunday Times, Esquire, Granta, the Literary Review, Prospect, Bloomberg Businessweek and GQ. Anyone who supports the show with $5 per month or more will receive the full compendium. Other rewards include signed copies of our podcast book (see below) and the opportunity to take part in a monthly call with the two of us to workshop your own pitches and writing projects. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

On Thursday, we featured a conversation with Red Scare author Clay Risen about Joe McCarthy, Donald Trump and the Paranoid Style of American History. Today our subject is one of the best known victims of McCarthyism - the German writer Thomas Mann. In His Liberties essay “Mannhood: The Coming Revival of Democracy,” Morten Hoi Jensen writes about how Mann, as an exile from Nazi Germany, toured the United States in the spring of 1938 lecturing in support of New Deal democracy. Thomas Mann's brave defense of American democracy might now appear as a model for dissenting intellectuals in Trump's America. Especially since Mann himself became a victim of the anti communist witch hunt after the War. Here are the five KEEN ON takeways in our conversation with Morten Hoi Jensen about Thomas Mann:* Thomas Mann was initially a conservative artist who became an advocate for democracy as he witnessed the rise of fascism in Germany. His political views evolved significantly from his earlier "apolitical" stance to becoming an outspoken critic of Nazism.* Mann's 1938 book and lecture tour "The Coming Victory of Democracy" warned Americans that democracy was vulnerable even in the United States. He saw parallels between pre-Nazi Germany and aspects of American society, which later contributed to his decision to leave the US during the McCarthy era.* Mann became a victim of McCarthyism in the 1950s. He was labeled as a "premature anti-fascist" by American reactionaries despite his prominence as a Nobel Prize-winning author who had been welcomed to America and had even visited the White House during the Roosevelt administration.* Throughout his life and work, Mann engaged in intense self-criticism and introspection about Germany's descent into fascism. Unlike many other political commentators, he looked inward and questioned his own early nationalistic writings, wondering if he had inadvertently contributed to Nazi ideology.* Mann's approach to politics was always that of an artist rather than a political analyst. His views were complex and often contradictory, yet his willingness to engage with difficult political questions through both his fiction (particularly in "Doctor Faustus") and his public speaking made him an important moral voice during a tumultuous period in history.Morten Hoi Jensen is the author of A Difficult Death: The Life and Work of Jens Peter Jacobsen, which was published by Yale University Press in 2017 with a foreword by James Wood. His writing has appeared in The Washington Post, The New York Review of Books, Liberties: A Journal of Culture and Politics, The Literary Review, The Los Angeles Review of Books, The Point, The New Republic, The Wall Street Journal, and Commonweal, among other publications. He is represented by Max Moorhead at Massie & McQuilkin.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Ewan Whyte's feature essay, ‘The Cult That Raised Me' – about the United States based Community of Jesus and Grenville Christian College – includes the introduction, “When I was 11, my parents sent me to Grenville Christian College, a prestigious Anglican boarding school in Brockville. It turned out to be a perverse fundamentalist cult that brainwashed, abused and terrorized students. For decades, the school tried to intimidate us into silence. It didn't work.”Ewan Whyte is a writer, art and cultural critic. He has written for the Globe & Mail and the Literary Review of Canada. He is the author of Desire Lines: Essays on Art Poetry & Culture, Shifting Paradigms: Essays on Art and Culture and Entrainment, a book of poetry, and a translation of the rude ancient Roman poet Catullus. His feature essay 'The Cult that Raised Me' was a finalist for a National Magazine Award. Ewan's upcoming book, Mothers of Invention: Essays on the Community of Jesus and Grenville Christian College, will be released in June and is available for preorder now. In advance of its release, Ewan shared some of his research and thoughts about these two organisations.You can support us on Patreon. Sarah Steel's debut book Do As I Say is available on audiobook now.Links:Mothers of Invention: Essays on the Community of Jesus and Grenville Christian College — by Ewan Whyte, Wolsak & Wynn, 2025The Cult That Raised Me — by Ewan Whyte, Toronto Life, 5 January 2021I-Team: Former Members Of Cape Religious Group Allege Emotional Abuse, 'People Don't Realize The Mind Control' — WBZ News, 4 November 2021Aaron Bushnell: Friends struggle to comprehend US airman's Gaza protest death — by Kayla Epstein & Angelica Casas, BBC News, 3 March 2024 Subscribe and support the production of this independent podcast, and you can access early + ad-free episodes at https://plus.acast.com/s/lets-talk-about-sects. Hosted on Acast. See acast.com/privacy for more information.

Simon and Rachel speak to the novelist Ben Okri. Born in Minna, Nigeria, Ben came to England as a child. He attended school in London before returning to Africa with his parents on the eve of the Nigerian Civil War. He came once more to the UK in 1978 and studied at Essex University. Two years later he published his first novel "Flowers and Shadows". A second, "The Landscapes Within", appeared two years afterwards, before two collections of short stories in 1986 and 1988. In 1991 his novel "The Famished Road" won the Booker Prize, the first time a black writer received that award. Ben's subsequent work includes the novel "Astonishing the Gods" (chosen by the BBC in 2019 as "one of the 100 novels that has shaped our world"), the epic poem "Mental Fight" and the play "The Outsider". We spoke to Ben about his early life in Nigeria and Britain, winning the Booker Prize, and his latest novel, "Madame Sosostris & the Festival for the Broken-Hearted". We have recently also overhauled our offer for those ⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠. Our central reward is a - now greatly expanded - sheaf of successful journalistic pitches, which we've solicited from friends of Always Take Notes. In the package we now have successful pitches to, among others, the New York Times, the Guardian, the New Yorker, the Financial Times, the Economist, the London Review of Books, Vanity Fair, Outside magazine, the Spectator, the Sunday Times, Esquire, Granta, the Literary Review, Prospect, Bloomberg Businessweek and GQ. Anyone who supports the show with $5 per month or more will receive the full compendium. Other rewards include signed copies of our podcast book (see below) and the opportunity to take part in a monthly call with the two of us to workshop your own pitches and writing projects. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

Paula Delgado-Kling joins Let's Talk Memoir for a conversation about how her research and reporting on child soldiers, drug trafficking, and the revolutionary armed forces of Columbia (FARC) led her to tell the story of one woman and her family, the relationships we forge with whom we write about, allowing memoir to answer our questions, negotiating language barriers and class differences, coming to truth and understanding, grounding ourselves, hitting upon the structure a book needs, searching for humanity amidst ongoing violence, and her new book Leonor: The Story of a Lost Childhood.   Also in this episode: -working as a journalist -becoming embedded in the story we're covering  -negotiating dangerous environments to gather information   Books mentioned in this episode: Tastes Like War by Grace M. Cho It can take a really long time but that doesn't mean it isn't important or good.   Paula Delgado-Kling holds degrees in comparative literature/French civilizations, international affairs, and creative writing from Brown University, Columbia University, and The New School, respectively. Leonor, for which she received two grants from the Canadian Council for the Arts, is her first book. Excerpts of this book have appeared in Narrative, The Literary Review, Pacifica Literary Review, and Happano.org in Japan. Her work for the Mexican monthly news magazine Gatopardo was nominated for the Simon Bolivar Award, Colombia's top journalism prize, and anthologized in Las Mejores Crónicas de Gatopardo (Random House Mondadori, 2006). Born in Bogota, Colombia and raised in Toronto, Canada, Delgado-Kling now splits her time between Boca Raton, FL and New York City. To learn more, please visit PaulaDelgadoKling.com or follow her on Instagram @PaulaDelgadoKling. Connect with Paula Website: http://pauladelgadokling.com/ Facebook: https://www.facebook.com/profile.php?id=100091961238236 Twitter: https://twitter.com/ColombiaTalk Instagram: https://www.instagram.com/pauladelgadokling/ Get the book: https://www.amazon.com/Leonor-Story-Childhood-Paula-Delgado-Kling/dp/1682194477?crid=1M4ML48WOEEV7&keywords=leonor&qid=1683308327&s=books&sprefix=leonor,stripbooks,97&sr=1-1&linkCode=sl1&tag=ongoicom-20&linkId=986106192c06afd126c43cfe6d22043d&language=en_US&ref_=as_li_ss_tl   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Rachel and Simon speak to the author and academic Clair Wills. She is the Regius Professor of English Literature at the University of Cambridge and the author of several non-fiction books. ⁠"That Neutral Island: A History of Ireland During the Second World War"⁠, published in 2007, won the PEN Hessell-Tiltman History Prize; ⁠"Lovers and Strangers: An Immigrant History of Post-War Britain" ⁠(2017) won the Irish Times International Non-Fiction Book of the Year and was shortlisted for the Orwell Prize. Her latest book, ⁠"⁠⁠Missing Persons, Or My Grandmother's Secrets"⁠ (2024), won Non-Fiction Book of the Year at the Irish Book Awards. We spoke to Clair about combining an academic career with writing for a broad audience, her insider/outsider perspective on Irish culture, and writing about her family and Ireland's Mother and Baby Homes in "Missing Persons". We have recently also overhauled our offer for those ⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠. Our central reward is a - now greatly expanded - sheaf of successful journalistic pitches, which we've solicited from friends of Always Take Notes. In the package we now have successful pitches to, among others, the New York Times, the Guardian, the New Yorker, the Financial Times, the Economist, the London Review of Books, Vanity Fair, Outside magazine, the Spectator, the Sunday Times, Esquire, Granta, the Literary Review, Prospect, Bloomberg Businessweek and GQ. Anyone who supports the show with $5 per month or more will receive the full compendium. Other rewards include signed copies of our podcast book (see below) and the opportunity to take part in a monthly call with the two of us to workshop your own pitches and writing projects. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

Simon and Rachel speak with the novelist Tim Winton. Widely considered one of the greatest living Australian writers, Tim has written 13 novels; his work has been translated into 28 languages. Since his first novel, "An Open Swimmer", won The Australian/Vogel Literary Award in 1981, he has also won the Miles Franklin Literary Award - the most prestigious prize for Australian writing - four times, for "Shallows", "Cloudstreet", "Dirt Music" and "Breath". Tim, who lives in Western Australia, has also twice been shortlisted for the Booker Prize for "The Riders" and "Dirt Music". We spoke to Tim about writing and publishing his debut book in his early 20s, his views on Australian literary culture, and about "Juice", his latest novel, set in a post-apocalyptic future ravaged by climate change. We have recently also overhauled our offer for those who support the podcast on the crowdfunding site Patreon. Our central reward is a - now greatly expanded - sheaf of successful journalistic pitches, which we've solicited from friends of Always Take Notes. In the package we now have successful pitches to, among others, the New York Times, the Guardian, the New Yorker, the Financial Times, the Economist, the London Review of Books, Vanity Fair, Outside magazine, the Spectator, the Sunday Times, Esquire, Granta, the Literary Review, Prospect, Bloomberg Businessweek and GQ. Anyone who supports the show with $5 per month or more will receive the full compendium. Other rewards include signed copies of our podcast book (see below) and the opportunity to take part in a monthly call with the two of us to workshop your own pitches and writing projects. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

Reginald is off fighting fires, but luckily Dom is here to distract and entertain! Joined by Dr. Inés Dawson (PhD), the duo gets philasophical as they discuss Genesis by Bernard Beckett.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Inés:YouTube: https://www.youtube.com/DrawCuriosityTwitch: https://www.twitch.tv/drawcuriosityinstagram: @squeakcodeBlueSky: @ineslauradawson.bsky.socialWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

Atlas Shrugged seems to be everywhere today. Randian villains are in the news. Rand remains influential on the right, from the Reagan era to the modern libertarian movement. Perhaps most significantly, entrepreneurs like Elon Musk and Marc Andreessen who are moving into government with DOGE, have been influenced by Rand, and, fascinatingly, Andreessen only read the novel four years ago. Hollis Robbins (@Anecdotal) and I talked about how Atlas Shrugged is in conversation with the great novels of the past, Rand's greats skills of plotting, drama, and character, and what makes Atlas Shrugged a serious novel, not just a vehicle for ideology. Love it or loathe it, Atlas Shrugged is having a moment. Everyone brings a preconception of Ayn Rand, but she has been opposed by the right and the left ever since she first published. Other than Jennifer Burns' biography, academic study has largely declined to notice Rand. But Rand deserves our serious attention, both as a novelist, and as an influence on the modern world. Here are a couple of excerpts.We talk a lot these days about, “how can I be my best self?” That's what Rand is saying. She's saying, actually, it's not about earning money, it's not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It's about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they're in the happy valley, actually, between them, they have not that much money, right?Also this.What would Ayn Rand think about the influencer economy? Oh, she'd despise it. She would despise it… all these little girls wanting to grow up to be influencers, they're caught in some algorithm, which is awful. Why would you want to spend your life influencing others? Go create something. It's a hard medicine.And.Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she's perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it's important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that's it.TranscriptHenry: Today, I am talking with Hollis Robbins, former dean of the humanities at Utah University and special advisor on the humanities and AI. We are talking about Atlas Shrugged by Ayn Rand. Hollis, hello.Hollis Robbins: Hello. I'm really glad to have this conversation with you. We've known each other for some years and follow each other's work. I was trained as a scholar of 19th-century American, Victorian, and African-American literature, mostly novels, and love having conversations with you about big, deep novels. When I suggested that we read this book, I was hoping you would be enthusiastic about it, so I'm really happy to be having this conversation. It's hard to know who's interviewing you or what conversation this is, but for you coming at this middle-aged. Not quite middle-aged, what are you?Henry: I'm middle enough. No. This is not going to be an interview as such. We are going to have a conversation about Atlas Shrugged, and we're going to, as you say, talk about it as a novel. It always gets talked about as an ideology. We are very interested in it as a novel and as two people who love the great novels of the 19th century. I've been excited to do this as well. I think that's why it's going to be good. Why don't we start with, why are we doing this?Hollis: I wanted to gesture to that. You are one of the leading public voices on the importance of reading literature and the importance of reading novels particularly, though I saw today, Matt Yglesias had a blog post about Middlemarch, which I think he just recently read. I can credit you with that, or us, or those of us who are telling people read the big novels.My life trajectory was that I read Atlas Shrugged and The Fountainhead before I read Dickens, before I read Jane Austen, before I read Harriet Beecher Stowe or Melville or the Brontës. For me, Atlas Shrugged and The Fountainhead were foundational novels as novels. I wondered what it would be like to talk to somebody whose experience was flipped.Henry: Right, I'm 38 and I'd never read this book. I was coming at it partly having read all those other books, but partly for my whole life, people have said, "Oh, that's really a bad book. That's so badly written. That book is no good." The number one thing I can say to people is this book is fun.Hollis: It's really fun. I was going to say usually what I forget to do in talking about books is give the summary. I'm going to hold up my copy, which is my dog-eared copy from high school, which is hilarious. It's got the tiniest print, which I couldn't possibly read now. No underlining, which is interesting. I read this book before I understood that you were supposed to underline when you liked passages in the book.It was interesting to me. I'd probably read it five or six times in my youth and didn't underline anything. The story is--- You can help me fill in the blanks. For readers who haven't read it, there's this young woman, Dagny Taggart, who's the heiress of the Taggart Transcontinental Railroad fortune. She's a woman. This takes place in about, I think, the '40s, '50s. Her older brother, Jim Taggart, is CEO. She's COO, so she's the operations person. It is in some ways the story of her-- It's not quite a bildungsroman. This is the way I tell the story. It's the story of her coming to the realization of how the world works. There's many ways to come at this story. She has multiple boyfriends, which is excellent. Her first boyfriend, his name is Francisco d'Anconia. He's the head of d'Anconia Copper. He too is an heir of this longstanding copper fortune. Her second is a metals magnate, Hank Rearden, who invents this great metal, Rearden metal.Really, it's also the story of the decline of America, and the ways that, in this Randian universe, these villainous group of people who run the country are always taking and extracting from producers. As she's creating and building this great railroad and doing wonderful things and using Rearden metal to do it, something is pulling all the producers out of society, and she's like, "What is going on?"It turns out there's this person, John Galt, who is saying, "I don't like the way the country is run. I don't like this extractive philosophy. I am going to take all the producers and lure them voluntarily to a--" It's a hero's lair. It's not like a James Bond villain lair. It's a hero lair in Colorado called Galt's Gulch. He is John Galt. It ends up being a battle between who is right in a wrong world. Is it the ethical person, Dagny Taggart, who continues to strive and try to be a producer and hold on to her ethics in this corrupt world, or is it somebody saying, "To hell with this. I am going on strike. You guys come with me and let the world collapse." How's that for summary?Henry: No, I think that's great. I couldn't have done a better job. One thing that we can say is that the role of reason, of being a rational person, of making reason the sole arbiter of how you make choices, be they practical, ethical, financial, whatever, that's at the heart of the book, right?Hollis: That's the philosophy. We could go there in a second. I think the plot of the book is that she demonstrates this.Henry: What she has to learn, like what is the big lesson for Dagny, is at the beginning, she hasn't fully understood that the good guys use reason and the bad guys do not, as it were.Hollis: Right. I think that's right. I like thinking about this as a bildungsroman. You said that the book is fun. Her part of the book is fun, but not really fun. The fun part of the book, and you can tell me because every time you kept texting me, "Oh my God, Jim Taggart. Oh my God, Jim Taggart. Oh my God, Jim Taggart."--Henry: These guys are so awful. [laughs]Hollis: They're so awful. The fun parts of the book, the Rand villains are the government entities and the cabals of business leaders who she calls looters and second-handers who run the country and all they do is extract value. Marc Andreessen was on a podcast recently and was all about these Rand villains and these looters. I think, again, to get back to why are we doing this and why are we doing this now, Ayn Rand and Atlas Shrugged is in the air with the second Trump administration.Henry: Yes. In a way, we're doing this because the question is, is this the novel of the future? Right? What we're seeing is it's very influential on the right. Rand's ideas have long been a libertarian inspiration. Elon Musk's read her. You mentioned Andreessen, Peter Thiel, all these people. It goes back to the Reagan days. People in the Republican Party have been quoting Ayn Rand. Then more broadly, we see all these worries about social collapse today. What happens in the plot of Atlas Shrugged is that society does slowly collapse.Dagny has to realize it's because of these people who are not using their reason and they're nationalizing things and taking resource away from proficient entrepreneurs and stuff. It's all about infrastructure, energy, people doing exploitation in the name of the common good, ineffective political leaders, people covering up lies and misdemeanors, people being accepting of what is obviously criminal behavior because it's in the cause of the greater good. We have free speech, all these topics, energy production. We're seeing this in the headlines. When I was reading this book, I was like, "Oh my God, how did she know?"Hollis: How did she know?Henry: How did she know.Hollis: I think the bildungsroman aspect of this as a novel. It's hard to read it as a novel. I think it's hard. By the way, I have to really I applaud you for not, until you got almost to the end of the book, texting me about this person or that person, or how it's political. I admire you for looking at the book and coming to the book as an expert in novels.What she comes to terms with, and it's a real slowly-- It's not even scales falling from her eyes. She doesn't sit and say, "Oh my God, the world is corrupt." She just is like, "That person's corrupt. I'm not going to deal with them. That person's corrupt. I'm not going to deal with them." She just keeps going, but she doesn't ever accept with a fatalism that she's living in this world where every single person who's in charge is going to let her down.Henry: It's also interesting to me that she doesn't complain.Hollis: No.Henry: Now, that reminded me of I wrote about Margaret Thatcher in my book. She was another big one for however hard it was, however difficult it was, why would you complain? Let's just go to work. A lot of people found her difficult for that reason. When I was reading this, I was like, "Ayn Rand clearly has the same idea. You can nationalize every last inch of the economy. I'm going to get up and go to work and try and beat you. I'm not going to sit around and complain." It's a very stern attitude in a way. She's very strict with herself. I found the book to be-- I know Rand is very atheist, but a very Protestant book.Hollis: Yes, it really is.Henry: Intensely Protestant, yes.Hollis: That's a nice way to think about it. A certain kind of Protestant, a Weberian Protestant.Henry: Sure.Hollis: Not a Southern Baptist Protestant who believes in the absence of reason. I was thinking I was teaching in Mississippi years ago. I was teaching a course on Wordsworth and had to do a unit on Voltaire because you can't really understand Wordsworth unless you understand Voltaire. There was a woman in my class. She was a version of Presbyterian who doesn't believe in reason, believes that in the fall, man lost their reason.Therefore, she asked if she could be excused from class because I was talking about Voltaire and the importance of reason. She said, "This is against my religion. If you believe that man has reason, you are actually going about it wrong, so may I be excused?" Which in all the years I've had people ask for excuses to miss class, that was a memorable one.Henry: That's unique. [laughs]Hollis: It's interesting because, again, I should get back to the novel, the opposition from Rand is as strong on the religious right as it is on the left. In fact, very strong. When Atlas Shrugged came out, William F. Buckley famously had Whittaker Chambers write the review. He hated her. He despised her. He despised the fact that she put reason first.Henry: Yes. I think that's worth emphasizing that some people listening will think, "I'm Rand. These nasty ideas, she's on the right." She's been ideologically described in that way so many times. Deirdre McCloskey in the Literary Review has just in the most recent edition written an absolutely scathing article about Rand. That's libertarian opposition to Rand.McCloskey is saying Hayek is the real thing here and Rand would have hated everything that Hayek did. She got everything wrong. I think the opposition to her, as you say, it's on both sides. One thing that's interesting about this novel is that because she created her own philosophy, which people will have different views on how well that went, but there isn't anyone else like this. All the other people like this are her followers.Hollis: Exactly.Henry: She's outside of the other systems of thought in a way.Hollis: We should talk about Rand. I'm going to quote a little bit from this book on feminist interpretation of Ayn Rand. Let's talk a little bit, if we can, about Dagny as the heroine of a novel, or a hero, because one of the really interesting things about reading Rand at this moment is that she's got one pronoun, he, him, man. She is in this era where man means man and women. That there isn't men and women, he and she, and now it's he, she, and them. She is like, "There's one pronoun." Even she talks about the rights of man or man believes. She means everybody, but she only means man too. It's interesting.I was very much part of the first pronoun wars in the 1980s when women scholars were like, "He and she." Now we're thrown out the window with that binary. Again, we don't need to talk about pronouns, but it's really important to understanding Rand and reading this novel, how much she embraces men and the male pronoun, even while she is using it both ways, and even while her story is led by this woman. She's beautiful. She's beautiful in a very specific way. She's tall, she's slender, she's got great cheekbones, she's got great shoulders, she's got long legs.Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she's perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it's important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that's it.Henry: I want to be Dagny.Hollis: I want to be Dagny. I want to have capes, right?Henry: There's a very important scene, it's not too much of a plot spoiler, where Hank Rearden has invented this new metal. It's very exciting because it's much more efficient and it's much stronger and you can build new bridges for the trains and everything. He makes a bracelet of his new metal. It's a new steel alloy, I think, and gives it to his wife. His wife basically doesn't care.She's not really interested in what it takes to earn the money, she just wants to have the money. You get the strong impression throughout the book that some of the people that Rand is most scathingly disapproving of are wives who don't work. None of those people come out well. When Dagny goes to a party at the Rearden house and she is romantically involved with Hank Rearden, she sees the bracelet.Hollis: She isn't then, right? Isn't she not then?Henry: No, but they have feelings for each otherHollis: Right. Reasonable feelings for each other.Henry: That's right, reasonable feelings, but they're not currently acting on those feelings. She sees the bracelet and she exchanges her, I think, diamonds-Hollis: Diamond bracelet.Henry: -for the Rearden metal bracelet with the wife. It's this wonderful moment where these two opposite ideals of womanhood that Rand is presenting. It's a great moment of heroism for Dagny because she is saying, "Who cares about glittering diamonds when you have a new steel alloy that can make this incredible bridge?" It sounds crazy, but this is 1957. Dagny is very much what you might call one of the new women.Hollis: Right.Henry: I think in some ways, Rand-- I don't like the phrase she's ahead of her time. I've read a lot of 1950s fiction. This is not the typical woman.Hollis: No, this is not Cheever. This is not a bored suburban housewife at a time when the way the '50s are taught, certainly in America, it's like women could work during the war, then they were suburban housewives, there was bored, there were key parties and all sorts of Cheever sorts of things. This is not that. I read this first. I was only 15 years after it was published, I think, in the '60s, early '70s reading it.This, to me, seemed perfectly normal and everything else seemed regressive and strange and whiny. There's a lot to be said for reading this novel first. I think if we can talk a little bit about these set pieces because I think for me reading it as a novel and hearing you talk about it as a novel, that novels, whether we're thinking about-- I want to see if you want to compare her to Dorothea or just to any other Victorian women novel that you can think of. That's the closest, right? Is there anybody that's closest to Dorothea from Middlemarch? Is that there are these set pieces. People think that Rand-- the idea is that she's not a great writer. She is a great writer. She started in Hollywood. Her first book, The Fountainhead, was made into a movie. She understands plotting and keeping the reader's attention. We go forward, we go backwards. There's her relationship with Francisco d'Anconia that we see her now, years after, then we have flashbacks to growing up and how they became lovers.There are big meeting set pieces where everybody's in the room, and we have all the backstories of the people in the room, what is going to happen. There are these big party scenes, as you say. For example, this big, glorious, glamorous party at the Rearden house, Francisco is there. Francisco and Hank Rearden get in a conversation, and she's like, "I want to go see what my old boyfriend is talking to the guy I like about."There are these moments where you're not supposed to come at the book that way in this serious philosophical way. Then later on when there's this wonderful scene where Francisco comes to see Dagny. This is much later. Hank and Dagny are lovers, so he has a key to her apartment. He walks in and everybody sees immediately what's going on. It's as good as any other farce moment of somebody hiding behind a curtain, right?Henry: Yes.Hollis: Everything is revealed all at once. She's very good at scenes like that.Henry: Yes, very good. She's very good at high drama. One of the phrases that kept coming back to me was that this book is a melodrama of ideas.Hollis: Yes.Henry: Right? It's not a novel of ideas as such, it's a melodrama of ideas. I think one thing that people who think she's a bad writer will say is it's melodrama, the characters are flat, the prose is not lyrical, all these different things. Whereas when I read it, I was like, "She's so good at melodrama." I feel like, in some ways, it does not feel like a 1950s novel because there's so much excitement about technology, so much feminism, just so many things that I do not associate--Maybe I'm being too English, but I don't read John Cheever, for example, and think, "Oh, he loves the train." Whereas this book is very, very exciting as a story about inventing a new kind of train that goes really fast," which sounds silly, but that's a really Dickensian theme, that's in Middlemarch. Actually, that's what Matt Yglesias was talking about in his excellent piece today. What does feel very 1950s is you've got the Hollywood influence. The dialogue, I think, is not always great, but it is often great.I often would read pages and think, "This would actually be really good in, not an A++ movie, but in a decent crime movie or something. This would be quite good dialogue." There's a comic book aesthetic to it in the way that the scenes play out. Just a lot of these '50s aesthetics actually are present in the book. I'm going to read one paragraph. It's from part one. I think we should read out loud a few bits to give people a sense.Hollis: Yes.Henry: This is when Dagny has built a new train line using grid and metal to make the bridge so that it can go over a valley. I think that's right. The train can do 100 miles an hour. It's this very, very exciting new development. It means that energy can be supplied to factories, and so it's a huge, big deal. This is when she's on the train going at 100 miles an hour and she just can't believe it's happening."Things streaked past a water tank, a tree, a shanty, a grain silo. They had a windshield wiper motion. They were rising, describing a curve, and dropping back. The telegraph wires ran a race with the train, rising and falling from pole to pole, in an even rhythm like the cardiograph record of a steady heartbeat written across the sky. She looked ahead at the haze that melted rail and distance, a haze that could rip apart at any moment to some shape of disaster.""She wondered why she felt safer than she had ever felt in a car behind the engine. Safer here where it seemed as if should an obstacle rise, her breast and the glass shield would be the first to smash against it. She smiled, grasping the answer. It was the security of being first with full sight and full knowledge of one's own course, not the blind sense of being pulled into the unknown by some unknown power ahead."That's not MFA prose or whatever, but it turns the pages. I think she's very good at relating we're on the train and it's going very fast to how Dagny is thinking through the philosophical conundrum that is basically going to drive the whole plot forwards. I was reminded again and again of what Virginia Woolf said about Walter Scott, where she compared Scott to Robert Louis Stevenson. She said that Stevenson had beautiful sentences and dapper little adjectives. It was all jeweled and carefully done. You could marvel over each sentence.She said, "Whereas Scott, it's just page after page and no sentence is beautiful," but she says, "He writes at the level of the page. He's not like Stevenson. He's not writing at the level of the sentence. You have to step into the world." You can say, 'Oh, that wasn't a very good sentence,' but my goodness, the pages keep turning and you're there in the world, right?Hollis: Exactly.Henry: I think she made a really important point there and we just undervalue that so much when we say, oh, so-and-so is not a good writer. What we mean is they're not a Robert Louis Stevenson, they're a Walter Scott. It's like, sure, but Walter Scott was great at what he did. Ayn Rand is in the Walter Scott inheritance in the sense that it's a romance, it's not strictly realistic novel. You have to step into the world. You can't spend your whole time going, "Was that a great sentence? Do I really agree with what she just--" It's like, no, you have to go into this utopian sci-fi universe and you have to keep turning the pages. You get caught up and you go, "Wow, this is this is working for me."Hollis: Let me push back on that-Henry: Yes, good.Hollis: -because I think that was a beautiful passage, one of my favorite passages in this book, which is hard to say because it's a really, really big book. It's a memorable passage because here she is in a place at this moment. She is questioning herself. Isn't she questioning why? Why do I feel safe? Then it strikes her. In this moment, all interior while all this stuff is happening. This whole Rearden metal train bridge set piece is one of the highlights of at least the first half of the book. You come away, even if we've had our entire life up to her, understanding her as a philosophical this woman. How is that different from Dorothea or from Elizabeth Bennet? Yes, Elizabeth Bennet, right?Henry: Oh, no, I agree. My point was purely about prose style, which was to say if you say, "Oh, she writes like a Walter Scott, not like a Robert Louis Stevenson," you're going to deny yourself seeing what you've just said, which is that actually, yes, she has the ability to write philosophical characters.Hollis: When I first read Pride and Prejudice, I read it through the lens of Rand. Now, clearly, these heroines had fewer choices. Dorothea marries Casaubon, I don't know how you pronounce it, because she thinks he's a Randian expert, somebody who's got this grand idea. She's like, "Whoa, I want to be part of this endeavor, the key to all mythologies." Then she's so let down. In the Randian sense, you can see why she would have wanted him.Henry: That's right. I think George Eliot would have strongly disagreed with Rand philosophically. The heroines, as you say, what they're doing in the novel is having to realize that there are social conventions I have to understand and there are things I have to learn how to do, but actually, the key to working all that out is more at the moral philosophical level. This is what happens to Dagny. I think it's on the next page from what I just read. There's another passage where it says that she's in the train and she's enjoying. It's working and she's thrilled that her train is working. She was trying not to think, but she couldn't help herself.She said, "Who made the train. Is it the brute force of muscle? Who can make all the dials and the levers? How is it possible that this thing has even been put together?" Then she starts thinking to herself, "We've got a government who's saying it's wrong to do this, you're taking resources, you're not doing it for the common good." She says, "How can they regard this as evil? How can they believe that this is ignoble to have created this incredible thing?"She says she wants to be able to toss the subject out of the window and let it get shattered somewhere along the track. She wants the thoughts to go past like the telegraph poles, but obviously, she can't. She has this moment of realization that this can't be wrong. This type of human accomplishment can't be against the common good. It can't be considered to be ignoble. I think that is like the Victorian heroines.To me, it was more like Fanny Price, which is that someone turns up into a relatively closed system of ideas and keeps their own counsel for a long time, and has to admit sometimes when they haven't got it right or whatever. Basically, in the end, they are vindicated on fairly straightforward grounds. Dagny comes to realize that, "I was right. I was using my reason. I was working hard. I was being productive. Yes, I was right about that." Fanny, it's more like a Christian insight into good behavior, but I felt the pattern was the same.Hollis: Sure. I'll also bring up Jane Eyre here, right?Henry: Yes.Hollis: Jane Eyre, her relationship, there's a lot to be said of both Mr. Darcy and Mr. Rochester with Hank Rearden because Hank Rearden has to come to his sense. He's married. He doesn't like his wife. He doesn't like this whole system that he's in. He wants to be with a woman that's a meeting of the mind, but he's got all this social convention he has to deal with. Rochester has to struggle, and of course, Bertha Mason has to die in that book. He ends up leaving his wife, but too late. If we're going to look at this novel as a novel, we can see that there are these moments that I think have some resonance. I know you don't seem to want to go to the Mr. Darcy part of it.Henry: No. I had also thought about Jane Eyre. My thought was that, obviously, other than being secular because Jane Eyre is very Christian, the difference is that Hank Rearden and Dagny basically agree that we can't conduct our relationship in a way that would be morally compromising to her. They go through this very difficult process of reasoning like, "How can we do this in a good way?"They're a little bit self-sacrificing about it because they don't want to upset the moral balance. Whereas Mr. Rochester, at least for the first part of the book, has an attitude that's more like, "Yes, but she's in the attic. Why does it matter if we get married?" He doesn't really see the problem of morally compromising Jane, and so Jane has to run away.Hollis: Right.Henry: One of the interesting things about Rand, what is different from like Austen and the Brontës and whatever, is that Dagny and Hank are not in opposition before they get together. They have actually this unusual thing in romance and literature, which is that they have a meeting of minds. What gets in the way is that the way their minds agree is contra mundum and the world has made this problem for them.Hollis: I think in a way, that's the central relationship in--Henry: Yes. That was how I read it, yes.Hollis: Yes. The fact as we think about what the complications are in reading this novel as a novel is that here is this great central romance and they've got obstacles. She's got an old boyfriend, he's married. They've got all these things that are classic obstacles to a love story. Rand understands that enough to build it, that that will keep a lot of readers' interest, but then it's like, "That's actually not the point of my book," which is how the second half or the last third of the novel just gets really wiggy." Again, spoiler alert, but Hank is blackmailed to be, as the society is collapsing, as things are collapsing--Henry: We should say that the government has taken over in a nationalizing program by this point.Hollis: Right, because as John Galt is pulling all the thought leaders and the industrialists and all the movers of the world into his lair, things are getting harder and harder and harder, things are getting nationalized. Some of these big meetings in Washington where these horrible people are deciding how to redistribute wealth, again, which is part of the reason somebody like Congressman Paul Ryan would give out copies of Atlas Shrugged to all of his staffers. He's like, "You've got to read this book because we can't go to Washington and be like this. The Trumpian idea is we've got to get rid of people who are covering up and not doing the right thing."They've blackmailed Hank Rearden into giving up Rearden Metal by saying, "We know you've been sleeping with Dagny Taggart." It's a very dramatic point. How is this going to go down?Henry: Right. I think that's interesting. What I loved about the way she handled that romance was that romance is clearly part of what she sees as important to a flourishing life. She has to constantly yoke it to this idea that reason is everything, so human passion has to be conducted on the basis that it's logically reasonable, but that it therefore becomes self-sacrificing. There is something really sad and a little bit tragic about Hank being blackmailed like that, right?Hollis: Yes. I have to say their first road trip together, it's like, "Let's just get out of here and go have a road trip and stay in hotels and have sex and it'll be awesome." That their road trip is like, "Let's go also see some abandoned factories and see what treasures we might find there." To turn this love road trip into also the plot twist that gets them closer to John Galt is a magnificent piece of plot.Henry: Yes. I loved that. I know you want to talk about the big John Galt speech later, but I'm going to quote one line because this all relates to what I think is one of the most central lines of the book. "The damned and the guiltiest among you are the men who had the capacity to know yet chose to blank out reality." A lot of the time, like in Brontë or whatever, there are characters like Rochester's like that. The center of their romance is that they will never do that to each other because that's what they believe philosophically, ethically. It's how they conduct themselves at business. It's how they expect other people to conduct themselves. They will never sacrifice that for each other.That for them is a really high form of love and it's what enables huge mutual respect. Again, it's one of those things I'm amazed-- I used to work in Westminster. I knew I was a bit of a libertarian. I knew lots of Rand adjacent or just very, very Randian people. I thought they were all insane, but that's because no one would ever say this. No one would ever say she took an idea like that and turned it into a huge romance across hundreds of pages. Who else has done that in the novel? I think that's great.Hollis: It really is hard. It really is a hard book. The thing that people say about the book, as you say, and the reason you hadn't read it up until now, is it's like, "Oh, yes, I toyed with Rand as a teenager and then I put that aside." I put away my childish things, right? That's what everybody says on the left, on the right. You have to think about it's actually really hard. My theory would be that people put it away because it's really, really hard, what she tried is hard. Whether she succeeded or not is also hard. As we were just, before we jumped on, talking about Rand's appearance on Johnny Carson, a full half hour segment of him taking her very seriously, this is a woman who clearly succeeded. I recently read Jennifer Burn's biography of her, which is great. Shout out to Jennifer.What I came away with is this is a woman who made her living as a writer, which is hard to do. That is a hard thing to do, is to make your living as a writer, as a woman in the time difference between 1942, The Fountainhead, which was huge, and 57, Atlas Shrugged. She was blogging, she had newsletters, she had a media operation that's really, really impressive. This whole package doesn't really get looked at, she as a novelist. Again, let me also say it was later on when I came to Harriet Beecher Stowe, who is another extraordinary woman novelist in America who wrote this groundbreaking book, which is filled--I particularly want to shout out to George Harris, the slave inventor who carried himself like a Rand hero as a minor character and escapes. His wife is Eliza, who famously runs across the ice flows in a brave Randian heroine escape to freedom where nobody's going to tell them what to do. These women who changed literature in many ways who have a really vexed relationship or a vexed place in academia. Certainly Stowe is studied.Some 20 years ago, I was at an event with the great Elaine Showalter, who was coming out with an anthology of American women writers. I was in the audience and I raised my hand, I said, "Where's Ayn Rand?" She was like, "Ha, ha, ha." Of course, what a question is that? There is no good reason that Ayn Rand should not be studied in academia. There is no good reason. These are influential novels that actually, as we've talked about here, can be talked about in the context of other novels.Henry: I think one relevant comparison is let's say you study English 19th-century literature on a course, a state-of-the-nation novel or the novel of ideas would be included as routine, I think very few people would say, "Oh, those novels are aesthetically excellent. We read them because they're beautifully written, and they're as fun as Dickens." No one's saying that. Some of them are good, some of them are not good. They're important because of what they are and the barrier to saying why Rand is important for what she is because, I think, people believe her ideas are evil, basically.One central idea is she thinks selfishness is good, but I think we've slightly dealt with the fact that Dagny and Hank actually aren't selfish some of the time, and that they are forced by their ethical system into not being selfish. The other thing that people say is that it's all free-market billionaire stuff, basically. I'm going to read out a passage from-- It's a speech by Francisco in the second part. It's a long speech, so I'm not going to read all eight pages. I'm going to read this speech because I think this theme that I'm about to read out, it's a motif, it's again and again and again.Hollis: Is this where he's speaking to Hank or to Dagny?Henry: I think when he's speaking to Dagny and he says this."Money will not purchase happiness for the man who has no concept of what he want. Money will not give him a code of values if he has evaded the knowledge of what to value, and it will not provide him with a purpose if he has evaded the choice of what to seek. Money will not buy intelligence for the fool, or admiration for the coward, or respect for the incompetent."The man who attempts to purchase the brains of his superiors to serve him with his money replacing his judgment ends up by becoming the victim of his inferiors. The men of intelligence desert him, but the cheats and the frauds come flocking to him, drawn by a law which he has not discovered, that no man may be smaller than his money."Hollis: That's a good--Henry: Right? It's a great paragraph. I feel like she says that in dozens of ways throughout the book, and she wants you to be very clear when you leave that this book is not a creed in the name of just make money and have free market capitalism so you can be rich. That paragraph and so many others, it's almost biblical in the way she writes it. She's really hammering the rhythms, and the tones, and the parallels. She's also, I think, trying to appropriate some of the way the Bible talks about money and turn it into her own secular pseudo-Aristotelian idea, right?Hollis: Yes.Henry: We talk a lot these days about, how can I be my best self? That's what Rand is saying. She's saying, actually, it's not about earning money, it's not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It's about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they're in the happy valley, actually, between them, they have not that much money, right?Hollis: Right.Henry: The book does not end in a rich utopia, it's important to say.Hollis: It's interesting. A couple of things. I want to get this back since we're still in the novel. Let me say when we get to Galt's great speech, which is bizarre. He says a similar thing that I'll bring in now. He says, "The mother who buys milk for her baby instead of a hat is not sacrificing because her values are feeding the baby. The woman who sacrifices the hat to feed her baby, but really wants the hat and is only feeding the baby out of duty is sacrificing." That's bad. She's saying get your values in order. Understand what it is you want and do that thing, but don't do it because somebody says you have to. She says this over and over in many ways, or the book says this.Henry: We should say, that example of the mother is incidental. The point she's always making is you must think this through for yourself, you must not do it because you've been told to do it.Hollis: Right, exactly. To get back to the love story aspects of the book because they don't sit and say they love each other, even all the great romances. It's not like, "I love you. I love you." It's straight to sex or looks and meetings of the minds. It's interesting. We should deal with the fact that from The Fountainhead and a little bit in this book, the sex is a little rapey. It's a difficult thing to talk about. It's certainly one of the reasons that feminists, women writers don't approve of her. In the book, it's consensual. Whatever one wants to think about the ways that people have sex, it is consensual in the book. Also in The Fountainhead.I'm sure I'll get hate mail for even saying that, but in her universe, that's where it is. What's interesting, Francisco as a character is so interesting. He's conflicted, he's charming, he's her first lover. He's utterly good in every way. He ends up without her. Hank is good. Hank goes through his struggles and learning curve about women prioritizing. If you don't like your wife, don't be married to your wife. It's like he goes through his own what are my values and how do I live them.I know you think that this is bizarre, but there's a lot of writing about the relationship of Hank and Francisco because they find themselves in the same room a lot. They happen to have both been Dagny's lovers or ex-lovers, and they really, really like each other. There's a way that that bonding-- Homosexuality does not exist in her novels, whatever, but that's a relationship of two people that really are hot for one another. There is a lot of writing. There are queer readings of Rand that make a lot of that relationship.Again, this isn't my particular lens of criticism, but I do see that the energy, which is why I asked you which speech you were reading because some of Francisco's best speeches are for Hank because he's trying to woo Hank to happy valley. Toward the end when they're all hanging out together in Galt's Gulch, there's clearly a relationship there.Henry: Oh, yes. No, once you pointed out to me, I was like, "That makes sense of so many passages." That's clearly there. What I don't understand is why she did that. I feel like, and this is quite an accomplishment because it's a big novel with a lot of moving parts, everything else is resolved both in terms of the plot, but also in terms of how it fits her philosophical idea. That, I think, is pretty much the only thing where you're left wondering, "Why was that in there? She hasn't made a point about it. They haven't done anything about it." This I don't understand. That's my query.Hollis: Getting ready to have this conversation, I spent a lot of time on some Reddit threads. I ran Atlas Shrugged Reddit threads where there's some fantastic conversations.Henry: Yes, there is.Hollis: One of them is about, how come Francisco didn't end up with anybody? That's just too bad. He's such a great character and he ends up alone. I would say he doesn't end up alone, he ends up with his boyfriend Hank, whatever that looks like. Two guys that believe in the same things, they can have whatever life they want. Go on.Henry: Are you saying that now that they're in the valley, they will be more free to pursue that relationship?Hollis: There's a lot of things that she has said about men's and women's bodies. She said in other places, "I don't think there'll ever be a woman president because why would a woman want to be president? What a woman really wants is a great man, and we can't have a president who's looking for a great man. She has to be a president." She's got a lot of lunacy about women. Whatever. I don't understand. Someplace I've read that she understands male homosexuality, but not female homosexuality. Again, I am not a Rand scholar. Having read and seen some of that in the ether, I see it in the book, and I can see how her novel would invite that analysis.I do want to say, let's spend a few seconds on some of the minor characters. There are some really wonderful minor characters. One of them is Cherryl Taggart, this shop girl that evil Jim Taggart meets one night in a rainstorm, and she's like, "Oh, you're so awesome," and they get married. It's like he's got all this praise for marrying the shop girl. It's a funny Eliza Doolittle situation because she is brought into this very wealthy society, which we have been told and we have been shown is corrupt, is evil, everybody's lying all the time, it's pretentious, Dagny hates it.Here's the Cherryl Taggart who's brought into this. In the beginning, she hates Dagny because she's told by everybody, "Hate Dagny, she's horrible." Then she comes to her own mini understanding of the corruption that we understand because Dagny's shown it in the novel, has shown it to us this entire time. She comes to it and she's like, "Oh my God," and she goes to Dagny. Dagny's so wonderful to her like, "Yes. You had to come to this on your own, I wasn't going to tell you, but you were 100% right." That's the end of her.Henry: Right. When she meets Taggart, there's this really interesting speech she has where she says, "I want to make something of myself and get somewhere." He's like, "What? What do you want to do?" Red flag. "What? Where?" She says, "I don't know, but people do things in this world. I've seen pictures of New York," and she's pointing at like the skyscrapers, right? Whatever. "I know that someone's built that. They didn't sit around and whine, but like the kitchen was filthy and the roof was leaking." She gets very emotional at this point. She says to him, "We were stinking poor and we didn't give a damn. I've dragged myself here, and I'm going to do something."Her story is very sad because she then gets mired in the corruption of Taggart's. He's basically bit lazy and a bit of a thief, and he will throw anyone under the bus for his own self-advancement. He is revealed to be a really sinister guy. I was absolutely hissing about him most of the time. Then, let's just do the plot spoiler and say what happens to Cherryl, right? Because it's important. When she has this realization and Taggart turns on her and reveals himself as this snake, and he's like, "Well, what did you expect, you idiot? This is the way the world is."Hollis: Oh, it's a horrible fight. It's the worst fight.Henry: Right? This is where the melodrama is so good. She goes running out into the streets, and it's the night and there are shadows. She's in the alleyway. Rand, I don't have the page marked, but it's like a noir film. She's so good at that atmosphere. Then it gets a little bit gothic as well. She's running through the street, and she's like, "I've got to go somewhere, anywhere. I'll work. I'll pick up trash. I'll work in a shop. I'll do anything. I've just got to get out of this."Hollis: Go work at the Panda Express. Henry: Yes. She's like, "I've got to get out of this system," because she's realized how morally corrupting it is. By this time, this is very late. Society is in a-- it's like Great Depression style economic collapse by this point. There really isn't a lot that she could do. She literally runs into a social worker and the social-- Rand makes this leering dramatic moment where the social worker reaches out to grab her and Cherryl thinks, "Oh, my God, I'm going to be taken prisoner in. I'm going back into the system," so she jumps off the bridge.This was the moment when I was like, I've had this lurking feeling about how Russian this novel is. At this point, I was like, "That could be a short story by Gogol," right? The way she set that up. That is very often the trap that a Gogol character or maybe a Dostoevsky character finds themselves in, right? That you suddenly see that the world is against you. Maybe you're crazy and paranoid. Maybe you're not. Depends which story we're reading. You run around trying to get out and you realize, "Oh, my God, I'm more trapped than I thought. Actually, maybe there is no way out." Cherryl does not get a lot of pages. She is, as you say, quite a minor character, but she illustrates the whole story so, so well, so dramatically.Hollis: Oh, wow.Henry: When it happens, you just, "Oh, Cherryl, oh, my goodness."Hollis: Thank you for reading that. Yes, you could tell from the very beginning that the seeds of what could have been a really good person were there. Thank you for reading that.Henry: When she died, I went back and I was like, "Oh, my God, I knew it."Hollis: How can you say Rand is a bad writer, right? That is careful, careful plotting, because she's just a shop girl in the rain. You've got this, the gun on the wall in that act. You know she's going to end up being good. Is she going to be rewarded for it? Let me just say, as an aside, I know we don't have time to talk about it here. My field, as I said, is 19th century African American novels, primarily now.This, usually, a woman, enslaved woman, the character who's like, "I can't deal with this," and jumps off a bridge and drowns herself is a fairly common and character. That is the only thing to do. One also sees Rand heroes. Stowe's Dred, for example, is very much, "I would rather live in the woods with a knife and then, be on the plantation and be a slave." When you think about, even the sort of into the 20th century, the Malcolm X figure, that, "I'm going to throw out all of this and be on my own," is very Randian, which I will also say very Byronic, too, Rand didn't invent this figure, but she put it front and center in these novels, and so when you think about how Atlas Shrugged could be brought into a curriculum in a network of other novels, how many of we've discussed so far, she's there, she's influenced by and continues to influence. Let's talk about your favorite minor character, the Wet Nurse.Henry: This is another great death scene.Hollis: Let's say who he is, so the government sends this young man to work at the Rearden Mills to keep an eye on Hank Rearden.Henry: Once they nationalize him, he's the bureaucrat reporting back, and Rearden calls him the Wet Nurse as an insult.Hollis: Right, and his job, he's the Communist Party person that's in every factory to make sure that everything is--Henry: That's right, he's the petty bureaucrat reporting back and making sure everyone's complying.Hollis: He's a young recent college graduate that, Hank, I think, early on, if it's possible even to find the Wet Nurse early scene, you could tell in the beginning, too, he's bright and sparkly right out of college, and this is, it seems like a good job for him. He's like, "Woohoo, I get to be here, and I get to be--" Yes, go ahead.Henry: What happens to him is, similarly to Cherryl, he has a conversion, but his conversion is not away from the corruption of the system he's been in, he is converted by what he sees in the Rearden plant, the hard work, the dedication, the idealism, the deep focus on making the metal, and he starts to see that if we don't make stuff, then all the other arguments downstream of that about how to appropriate, how to redistribute, whatever, are secondary, and so he becomes, he goes native, as it were. He becomes a Reardenite, and then at the end, when there's a crowd storming the place, and this crowd has been sent by the government, it's a fake thing to sort of--Hollis: Also, a very good scene, very dramatic.Henry: She's very good at mobs, very good at mobs, and they kill, they kill the Wet Nurse, they throw him over. He has a couple of speeches in dialogue with Rearden while he's dying, and he says--Hollis: You have to say, they throw him, they leave him on this pile of slag. He crawls up to the street where Rearden happens to be driving by, and car stops, and so that finding the Wet Nurse there and carrying him in his arms, yes.Henry: That's right, it's very dramatic, and then they have this dialogue, and he says, "I'd like to live, Mr. Rearden, God, how I'd like to, not because I'm dying, but because I've just discovered tonight what it means to be alive, and it's funny, do when I discovered it? In the office, when I stuck my neck out, when I told the bastards to go to hell, there's so many things I wish I'd known sooner, but it's no use crying over spilt milk," and then Rearden, he goes, "Listen, kid, said Rearden sternly, I want you to do me a favor." "Now, Mr. Rearden?" "Yes, now." "Of course, Mr. Rearden, if I can," and Rearden says, "You were willing to die to save my mills, will you try and live for me?"I think this is one of those great moments where, okay, maybe this isn't like George Eliot style dialogue, but you could put that straight in a movie, that would work really well, that would be great, right? I can hear Humphrey Bogart saying these things. It would work, wouldn't it?She knows that, and that's why she's doing that, she's got that technique. He's another minor character, and Rand is saying, the system is eating people up. We are setting people up for a spiritual destruction that then leads to physical destruction. This point, again, about it's not just about the material world. It's about your inner life and your own mind.I find it very moving.Hollis: These minor characters are fantastic. Then let's talk a little bit about Eddie Willers, because I think a lot about Eddie Willers. Eddie Willers, the childhood three, there were three young people, we keep going back to this childhood. We have Dagny, Francisco, because their parents were friends, and then Eddie Willers, who's like a neighborhood kid, right?Henry: He's down the street.Hollis: He lives down the street. He's like the neighborhood kid. I don't know about you. We had a neighborhood kid. There's always neighborhood kids, right? You end up spending time with this-- Eddie's just sort of always there. Then when they turn 15, 16, 17, and when there's clearly something going on between Dagny and Francisco, Eddie does take a step back, and he doesn't want to see.There's the class issues, the status issues aren't really-- they're present but not discussed by Rand. Here we have these two children heirs, and they don't say like, "You're not one of us, Eddie, because you're not an heir or an heiress." He's there, and he's got a pretty good position as Dagny's right-hand man in Taggart Transcontinental. We don't know where he went to college. We don't know what he does, but we know that he's super loyal, right?Then when she goes and takes a break for a bit, he steps in to be COO. James is like, "Eddie Willers, how can Eddie Willers be a COO?" She's like, "It's really going to be me, but he's going to be fine." We're not really supposed to identify with Eddie, but Eddie's there. Eddie has, all through the novel, all through the big old novel, Eddie eats lunch in the cafeteria. There's always this one guy he's having lunch with. This is, I don't know, like a Greek chorus thing, I don't quite know, but there's Eddie's conversations with this unknown person in the cafeteria give us a sense, maybe it's a narrator voice, like, "Meanwhile, this is going on in the world." We have these conversations. This guy he's having lunch with asks a lot of questions and starts asking a lot of personal questions about Dagny. Then we have to talk to-- I know we've gone for over an hour and 15 minutes, we've got to talk about Galt's Speech, right? When John Galt, toward the end, takes over the airwaves and gives this big three-hour speech, the big three-hour podcast as I tweeted the other day, Eddie is with Dagny.Henry: He's in the radio studio.Hollis: He's in the studio along with one of John Galt's former professors. We hear this voice. Rand says, or the narrator says, three people in the room recognize that voice. I don't know about you, did you guess that it was Galt before that moment that Eddie was having lunch with in the cafeteria?Henry: No, no, no, I didn't.Hollis: Okay, so you knew at that moment.Henry: That was when I was like, "Oh, Eddie was talking, right?" It took me a minute.Hollis: Okay, were you excited? Was that like a moment? Was that a big reveal?Henry: It was a reveal, but it made me-- Eddie's whole character puzzles me because, to me, he feels like a Watson.Hollis: Yes, that's nice, that's good.Henry: He's met Galt, who's been under their noses the whole time. He's been going through an almost Socratic method with Galt, right? If only he could have paid a little bit more attention, he would have realized what was going on. He doesn't, why is this guy so interested in Dagny, like all these things. Even after Galt's big speech, I don't think Eddie quite takes the lesson. He also comes to a more ambiguous but a bad end.Hollis: Eddie's been right there, the most loyal person. The Reddit threads on Eddie Willers, if anybody's interested, are really interesting.Henry: Yes, they are, they're so good.Hollis: Clearly, Eddie recognizes greatness, and he recognizes production, and he recognizes that Dagny is better than Jim. He recognizes Galt. They've been having these conversations for 12 years in the cafeteria. Every time he goes to the cafeteria, he's like, "Where's my friend, where's my friend?" When his friend disappears, but he also tells Galt a few things about Dagny that are personal and private. When everybody in the world, all the great people in the world, this is a big spoiler, go to Galt's Gulch at the end.Henry: He's not there.Hollis: He doesn't get to go. Is it because of the compromises he made along the way? Rand had the power to reward everybody. Hank's secretary gets to go, right?Henry: Yes.Hollis: She's gone throughout the whole thing.Henry: Eddie never thinks for himself. I think that's the-- He's a very, I think, maybe one of the more tragic victims of the whole thing because-- sorry. In a way, because, Cherryl and the Wet Nurse, they try and do the right thing and they end up dying. That's like a more normal tragedy in the sense that they made a mistake. At the moment of realization, they got toppled.Eddie, in a way, is more upsetting because he never makes a mistake and he never has a moment of realization. Rand is, I think this is maybe one of the cruelest parts of the book where she's almost saying, "This guy's never going to think for himself, and he hasn't got a hope." In a novel, if this was like a realistic novel, and she was saying, "Such is the cruelty of the world, what can we do for this person?" That would be one thing. In a novel that's like ending in a utopia or in a sort of utopia, it's one of the points where she's really harsh.Hollis: She's really harsh. I'd love to go and look at her notes at some point in time when I have an idle hour, which I won't, to say like, did she sit around? It's like, "What should I do with Eddie?" To have him die, probably, in the desert with a broken down Taggart transcontinental engine, screaming in terror and crying.Henry: Even at that stage, he can't think for himself and see that the system isn't worth supporting.Hollis: Right. He's just going to be a company man to the end.Henry: It's as cruel as those fables we tell children, like the grasshopper and the ants. He will freeze to death in the winter. There's nothing you can do about it. There are times when she gets really, really tough. I think is why people hate her.Hollis: We were talking about this, about Dickens and minor characters and coming to redemption and Dickens, except Jo. Jo and Jo All Alones, there are people who have redemption and die. Again, I don't know.Henry: There's Cherryl and the Wet Nurse are like Jo. They're tragic victims of the system. She's doing it to say, "Look how bad this is. Look how bad things are." To me, Eddie is more like Mr. Micawber. He's hopeless. It's a little bit comic. It's not a bad thing. Whereas Dickens, at the end, will just say, "Oh, screw the integrity of the plot and the morals. Let's just let Mr. Micawber-- let's find a way out for him." Everyone wants this guy to do well. Rand is like, "No, I'm sticking to my principles. He's dead in the desert, man. He's going to he's going to burn to death." He's like, "Wow, that's okay."Hollis: The funny thing is poor John Galt doesn't even care about him. John Galt has been a bad guy. John Galt is a complicated figure. Let's spend a bit on him.Henry: Before we do that, I actually want to do a very short segment contextualizing her in the 50s because then what you say about Galt will be against this background of what are some of the other ideas in the 50s, right?Hollis: Got it.Henry: I think sometimes the Galt stuff is held up as what's wrong with this novel. When you abstract it and just say it, maybe that's an easier case to make. I think once you understand that this is 1957, she's been writing the book for what, 12 years, I think, or 15 years, the Galt speech takes her 3 years to write, I think. This is, I think the most important label we can give the novel is it's a Cold War novel. She's Russian. What she's doing, in some ways, is saying to America, "This is what will happen to us if we adopt the system of our Cold War enemies." It's like, "This is animal farm, but in America with real people with trains and energy plants and industry, no pigs. This is real life." We've had books like that in our own time. The Mandibles by Lionel Shriver said, that book said, "If the 2008 crash had actually gone really badly wrong and society collapsed, how would it go?" I think that's what she's reacting to. The year before it was published, there was a sociology book called The Organization Man.Hollis: Oh, yes. William Whyte.Henry: A great book. Everyone should read that book. He is worrying, the whole book is basically him saying, "I've surveyed all these people in corporate America. They're losing the Protestant work ethic. They're losing the entrepreneurial spirit. They're losing their individual drive. Instead of wanting to make a name for themselves and invent something and do great things," he says, "they've all got this managerial spirit. All the young men coming from college, they're like, 'Everything's been done. We just need to manage it now.'" He's like, "America is collapsing." Yes, he thinks it's this awful. Obviously, that problem got solved.That, I think, that gives some sense of why, at that moment, is Ayn Rand writing the Galt speech? Because this is the background. We're in the Cold War, and there's this looming sense of the cold, dead hand of bureaucracy and managerialism is. Other people are saying, "Actually, this might be a serious problem."Hollis: I think that's right. Thank you for bringing up Whyte. I think there's so much in the background. There's so much that she's in conversation with. There's so much about this speech, so that when you ask somebody on the street-- Again, let me say this, make the comparison again to Uncle Tom's Cabin, people go through life feeling like they know Uncle Tom's Cabin, Simon Legree, Eliza Crossing the Ice, without having ever read it.Not to name drop a bit, but when I did my annotated Uncle Tom's Cabin, this big, huge book, and it got reviewed by John Updike in The New Yorker, and I was like, "This is freaking John Updike." He's like, "I never read it. I never read it." Henry Louis Gates and then whoever this young grad student was, Hollis Robbins, are writing this book, I guess I'll read it. It was interesting to me, when I talk about Uncle Tom's Cabin, "I've never read it," because it's a book you know about without reading. A lot of people know about Atlas Shrugged without having read it. I think Marc Andreessen said-- didn't he say on this podcast that he only recently read it?Henry: I was fascinated by this. He read it four years ago.Hollis: Right, during COVID.Henry: In the bibliography for the Techno-Optimist Manifesto, and I assumed he was one of those people, he was like you, he'd read it as a teenager, it had been informative. No, he came to it very recently. Something's happening with this book, right?Hollis: Huge things are happening, but the people who know about it, there's certain things that you know, you know it's long, you know that the sex is perhaps not what you would have wanted. You know that there's this big, really long thing called John Galt's Speech, and that it's like the whaling chapters in Moby-Dick. People read Moby-Dick, you're like, "Oh, yes, but I skipped all the chapters on cetology." That's the thing that you say, right? The thing that you say is like, "Yes, but I skipped all the John Galt's Speech." I was very interested when we were texting over the last month or so, what you would say when you got to John Galt's Speech. As on cue, one day, I get this text and it's like, "Oh, my God, this speech is really long." I'm like, "Yes, you are the perfect reader."Henry: I was like, "Hollis, this might be where I drop out of the book."Hollis: I'm like, "Yes, you and the world, okay?" This is why you're an excellent reader of this book, because it is a frigging slog. Just because I'm having eye issues these days, I had decided instead of rereading my copy, and I do have a newer copy than this tiny print thing, I decided to listen on audiobook. It was 62 hours or whatever, it was 45 hours, because I listen at 1.4. The speech is awesome listening to it. It, at 1.4, it's not quite 3 hours. It's really good. In the last few days, I was listening to it again, okay? I really wanted to understand somebody who's such a good plotter, and somebody who really understands how to keep people's interest, why are you doing this, Rand? Why are you doing this, Ms. Rand? I love the fact that she's always called Miss. Rand, because Miss., that is a term that we

Greg Marchildon speaks with Patrice Dutil about his book, Sir John A. Macdonald - And The Apocalyptic Year 1885. In 1885, Sir John A. Macdonald faced a series of unprecedented challenges during his long political career. These included threats to Canada's sovereignty, armed resistance in the North-West, food insecurity among Indigenous peoples, a financial crisis jeopardizing the Canadian Pacific Railway, protests against Chinese immigration, nationalist dissent in Quebec, a devastating smallpox epidemic in Montreal, and opposition to expanding voting rights. Political historian Patrice Dutil examines how Macdonald, at the height of his powers, managed these crises, stabilized his government, and helped secure the future of Canada. Patrice Dutil is the author or editor of a dozen books, and a professor at Toronto Metropolitan University. He founded and edited the Literary Review of Canada and led the Champlain Society for seven years and used to be a host on Witness to Yesterday. Dutil is a senior fellow at the Bill Graham Centre and the Macdonald-Laurier Institute. His works include Ballots and Brawls: The 1867 Canadian General Election and Prime Ministerial Power in Canada (co-edited with Roger Hall). Image Credit: Simon & Schuster If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

On Sunday, December 15th, a crowd of 50 people gathered at Zibby's Bookshop to listen to an intimate conversation between Elisa Albert and Zibby Owens. They discussed Elisa's book HUMAN BLUES, her writing process, Zibby's anthology ON BEING JEWISH NOW, and the controversy at the Albany Book Festival about which Elisa wrote a powerful essay entitled, "An Invitation to the Anti-Zionists: You refused to sit on a literary panel with me. I invite you to my Shabbes table instead, so we can actually talk to each other and face her fears." Spoiler: no one accepted her invitation. Bio:Elisa Albert is the author of the novels Human Blues, After Birth, The Book of Dahlia, the story collection How This Night is Different, and the essay collection The Snarling Girl. Her work has been published in n+1, Tin House, Bennington Review, The New York Times, Michigan Quarterly Review, The Literary Review, Philip Roth Studies, Paris Review, Los Angeles Review of Books, Longreads, The Cut, Time Magazine, Post Road, Gulf Coast, Commentary, Salon, Tablet, Washington Square, The Rumpus, The Believer and in many anthologies. She has taught creative writing at Columbia University's School of the Arts, The College of Saint Rose, Bennington College, Texas State University, University of Maine, and the Fine Arts Work Center in Provincetown. A Pushcart Prize nominee, finalist for the Sami Rohr Prize and Paterson Fiction Prize, winner of the Moment Magazine debut fiction prize, and Literary Death Match champion, Albert has served as Writer-in-Residence at the Netherlands Institute for Advanced Study in Holland and at the Hanse-Wissenschaftkolleg in Germany. Now there's more! Subscribe to Moms Don't Have Time to Read Books on Acast+ and get ad-free episodes. https://plus.acast.com/s/moms-dont-have-time-to-read-books. Hosted on Acast. See acast.com/privacy for more information.

Sarah LaBrie joins Let's Talk Memoir for a conversation about the year her mom was diagnosed with schizophrenia and the legacy of mental illness in her family, rethinking ambitions in light of tragedy and grief, releasing emotional pressure with writing, when fiction doesn't cut it, finding company for our mental illness stories, knowing why you want to write a memoir, learning to stop punishing ourselves, being a workaholic, processing our stories through writing, and her new memoir No One Gets to Fall Apart.   Also in this episode: -contemplating our parents' backstory -reading as much as you can -ketamine therapy   Books mentioned in this episode: Beautiful Days by Zack Williams Heartberries by Terese Marie Mailhot The Book of Eels by Patrik Svensson Memorial Drive by Natasha Tretheway Braiding Sweetgrass and all books by Robin Wall Kimmerer   Sarah LaBrie is from Houston, TX and is the author of the memoir No One Gets to Fall Apart (HarperCollins, October 2024). She is a TV writer, memoirist, and librettist. Sarah was most recently a producer on the HBO and Starz television show, Minx. She has also written on Blindspotting (Starz), Made for Love (MAX), and Love, Victor (Hulu/Disney). Her libretti have been performed at Walt Disney Concert Hall. Her fiction also appears in Electric Literature's Recommended Reading, Guernica, The Literary Review, and the Los Angeles Review of Books. She has held residencies at Yaddo, UCross and the Virginia Center for the Creative Arts. She holds an MFA from New York University, where she was a Writers in the Schools Fellow. Connect with Sarah: Website: https://www.sarahlabrielivesinlosangeles.com/ Get her book: https://www.harpercollins.com/products/no-one-gets-to-fall-apart-sarah-labrie?variant=41476933419042 IG: @itsmesarahlabrie twitter: @sarah_labrie tiktok: sarahlabrie62 – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd Substack: https://substack.com/@ronitplank Newsletter sign-up: https://ronitplank.com/#signup   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Sarah LaBrie is the author of the debut memoir No One Gets to Fall Apart, available from Harper Books. LaBrie is a writer from Houston, Texas. Her libretti have been performed at Walt Disney Concert Hall and her fiction appears in Guernica, The Literary Review, and the Los Angeles Review of Books. She has held residencies at Yaddo, UCross and the Virginia Center for the Creative Arts. She lives in Los Angeles where she has written for television shows including Minx (Starz), Blindspotting (Starz), Made for Love (MAX), and Love, Victor(Hulu). She holds an MFA from NYU where she was a Writers in the Schools fellow. *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah LaBrie was in her early thirties when her mother was found on a highway outside Houston, screaming at passing cars and paranoid that she would be murdered by invisible assailants. She was ultimately diagnosed with schizophrenia—and in an instant, the entirety of LaBrie's childhood came into sharp focus. In her harrowing, clear-sighted, and painfully honest debut memoir, NO ONE GETS TO FALL APART (Publication Date: October 22, 2024; $27.99), LaBrie traces a year spent grappling with the enormity of her mother's diagnosis. With compassion and vulnerability, she reflects on the consequences of being raised by someone with mental illness, processes her own obsessive behavior and unhealthy ambition, and examines her fear of inheriting the disorder or passing it along to her own future children.   In childhood, LaBrie's relationship with her mother is marked at turns by violence and all-consuming closeness. She's erratic, easily angered and cruel, but also loving and protective, committed to LaBrie's education and artistry and to making huge sacrifices as a single mom so her daughter could lead a stable life. Digging into the events that led to her psychotic break, LaBrie traces the line from the dysphoria that plagued her great-grandmother, a granddaughter of slaves, to her own experience with depression as a scholarship student at Brown. At the same time, she navigates a decades-long fixation on a novel she can't finish but can't abandon, her complicated feelings about her white partner, and a fraught friendship colored by betrayal. Spanning the globe from Houston's Third Ward to Paris to New York to Los Angeles, and touching on work by James Baldwin, Franz Kafka and Walter Benjamin, NO ONE GETS TO FALL APART is an unflinching chronicle of one woman's attempt to forge a new future by making sense of history.     A writer from Houston, Sarah LaBrie's libretti have been performed at Walt Disney Concert Hall, and her fiction appears in Guernica, The Literary Review, and the Los Angeles Review of Books. She now lives in Los Angeles where she has written for television shows including Minx, Blindspotting, Made for Love, and Love, Victor. “In 2017, I learned from my grandmother that my mother had been experiencing schizophrenic delusions for months,” she explains. “We were estranged and no one told me, because no one thought it was a big deal. That same year, my best friend shared private information with the world that I wasn't ready to reveal, then ‘broke up with me' when I found myself unable to talk about it with her. I was working a job I hated while my friends all seemed to be coming into their own, and my partner, the son of prominent psychology professors from Boston, had grown up with a life so different from mine I didn't think he would ever understand. I started writing the book out of loneliness. I wanted to reconstruct all these broken parts into layers as opposed to puzzle pieces. I wanted to convey that there are many different ways to understand the past and how it makes us who we are.”  

Shakespeare is often associated with tragedy, but did you know that he changed the genre? In this episode, Rhodri Lewis, professor of English at Princeton University and author of Shakespeare's Tragic Art, explores how Shakespeare redefined tragedy in ways that still feel modern today. Through a close examination of plays like Titus Andronicus, Romeo and Juliet, and King Lear, Lewis explains how Shakespeare shifted the traditional classical form of tragedy, introducing characters who deceive themselves and struggle to understand their own nature. From the slasher-style Titus to the complex interiority of Juliet, Shakespeare experimented with plot, language, and character to push the boundaries of tragic drama, giving audiences an unsettling yet profoundly human insight into the flawed nature of existence. Rhodri Lewis teaches English at Princeton University. His previous books include Hamlet and the Vision of Darkness (Princeton) and Language, Mind, and Nature: Artificial Languages in England from Bacon to Locke. Outside the academy, he writes for publications including The Times Literary Supplement, Prospect, The Literary Review, and The Los Angeles Review of Books. From the Shakespeare Unlimited podcast. Published October 21, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

​​I think if we can reimagine what matters to us and pursue that, then perhaps there's a chance that we can stop this truly self-destructive pursuit of infinite more, and in material terms, become happy with enough, without giving up the idea of personal growth and evolution, because I do think that is core to what it is to be human and even just alive. Life is about growth. The history of life on earth is one of ever more complexity and richness. And I think it would be like, I just don't agree with the argument that we have to stop growing. I think that's totally impossible and depressing. And I think that's often how economic arguments about degrowth versus growth get framed and understood is, well, we just have to sacrifice, and the good times are over, and now it's just less of everything for everybody. And I guess it's kind of depressing, but that's just reality. I don't think it needs to be depressing. In fact, I think it has to not be depressing for it to work. I think it has to be exciting. And the way that I can get excited about it is to think, wow, well, let's just tell better stories and let's focus on. Let's have some fun. Like, we can. Let's enjoy our lives and find ways to enjoy them that can be grown. And to me, art is just the best, most wonderful, inexhaustible resource in all of its forms.Hi listeners, This is the 3rd last episode of this 5th season of the conscient podcast. I have produced 54 regular episodes since February of this year plus 6 bonus episodes so that's a lot of content to digest and I invite you to take your time.  It's been a lot of fun and I thank all of my guests and their collaborators for their generosity. I'm going to take a break after the last episode, e208 with my daughter Clara Schryer. I'm going to take some time to breathe a bit and prepare for season 6 which will start in 2025 on the theme of ‘arts and culture in times of crisis and collapse'.So, back to episode e206. Meet Arno Kopecky who is, I think, an upbeat realist. Like I did with e196 alice irene whittaker (part 2) - homing, a book review I will read the introduction to the episode at the top of my conversation, with Arno present, but before we jump in to our conversation, I wanted to share a quote from that episode to give you a preview of what's coming: If we look into the past, when I think of what art has done to deal with political problems, for example, or social problems, I think of civil rights and I think of people like Nina Simone, I think of Billie Holiday, I think of Toni Morrison and people and all the so many people like them who produced just incredible music and works of art that absolutely had a message but also sort of transcended that message or found a way. It's so hard to put into words for me how they did what they did. But I feel like there is a whole rich body of work that emanated and proceeded from the atrocity that was slavery and racism and a clear social justice tragedy. But you didn't hear the word social justice in any of Mina Simone's songs or Toni Morrison's books. You know, you heard stories, you heard an outpouring, you felt an emotion, and that moved and transported people, and that operates on such a deep societal level. I feel like it's almost, you know, I think art has a way of seeding social awareness and imagination, and that is almost a precursor or a prerequisite for social change. That then also requires political movements and politicians and civil society and all kinds of the realm of reason and logic and journalism and fact and argument.So, with no further ado, here is my conversation with Arno, recorded on the morning of September 11, 2024 in Vancouver. Arno Kopecky's 2014 book The Oil Man and the Sea: Navigating the Northern Gateway won the 2014 Edna Staebler Award.Arno is a journalist and writer who lives just down the street from me here in east Vancouver so I invited him to talk, and to do a soundwalk with me about his most recent book, The Environmentalist's Dilemma: Promise and Peril in an Age of Climate Crisis, published by ECW press. I was also curious about Arno's thoughts on art, the ecological crisis and the multiple dilemmas that we face as we work our way through the trappings and self destructive tendencies of modernity, while trying to retain, in a sustainable way, some of its benefits.There are many great stories and tales in the book, such as the dilemma faced by people on a boat about to fall over Niagara Falls : should they ignore it, should they change directions or simply accept their fate and have a drink? I recommend the book, in particular the audiobook version narrated by Marvin Kaye, who really brings this set of essays to life.The Environmentalist's Dilemma confirms that our planet is dying due to gross misbehaviour, however, Arno also observes that humanity, ironically, is doing better than ever. What's that about?I enjoyed the book because it provided me with insights into a daily dilemma : how to live well and comfortably in this world while denouncing and rethinking it fundamentally. I remember listening to the book while biking to Victoria BC and having to stop to catch my breath at a passage in chapter 6 called ‘let's get drunk and celebrate the future', where Kopecky suggests that we get drunk and give up, to which I screamed out loud : yes, yes,! I'm in! It was a cathartic moment for me because I sometimes feel like giving up hope and just getting drunk or high or… It's actually quite sane to say these things out loud. It allowed a reader like me to break through emotional barriers and find ways to get on with the work of reimagining life on earth, one step at a time.I was happy to see that the book has been well received as witnessed by some of the positive reviews I read. For example, the Literary Review of Canada wrote that : In the author's hands, the book's titular dilemma emerges in all its richness, ambiguity, and tension as a foundational opportunity and challenge for contemporary environmentalism.Well said. I agree. Kopecky questions some of our most ingrained assumptions and biases with journalistic rigour and may I say humour. The Ormsby Review observed that :The value of The Environmentalist's Dilemma is this hope, that though we are in some ways stuck within a system that limits our options, we can make little acts of rebellion against the system. Our little actions may add to the little actions of millions of others, and may one day change the world.Now I have to admit that I've always believed that the accumulated impact of millions and even billions of small scale local actions can change the world. For example, in the final chapter 13 ‘Every Little Thing', Kopecky writes about Czech writer and politician Vaclav Havel and how his words and grit helped to ignite a seemingly impossible revolution in Eastern Europe in the 1980s.Can we do this again at a global scale?How can we laugh at our predicament and still do the hard work ahead of us? Fortunately, Arno is sitting right in front of me here in east Vancouver, on this morning of September 11th, 2024 and has kindly agreed to talk with me about all of this. Arno's recommendations were:Res Rules by Chief Clarence Louie Tarun Nayar (modern biology) *Episode Chapters (generated by AI and reviewed by Claude Schryer)IntroductionClaude welcomes journalist and author Arno Kopecky, setting the stage for a discussion on his latest book, ‘The Environmentalist Dilemma.' The conversation hints at the complex relationship between modernity and sustainability.The Environmentalist DilemmaKopecky explores the paradox of living well in a world facing environmental destruction, sharing personal reflections on the emotional struggles tied to ecological awareness. The chapter emphasizes the challenges of reconciling modern comforts with environmental concerns.Hope, Small Actions, and Personal BackgroundKopecky discusses the importance of hope through small, individual actions and shares his journey from a middle-class upbringing to becoming an environmental journalist. He highlights pivotal moments that shaped his awareness of environmental issues.The Housing Crisis and Urban DevelopmentThe conversation shifts to the housing crisis in Vancouver, where Kopecky supports urban densification as a potential solution. He acknowledges the complexities of balancing development with environmental concerns.The Paradox of Progress and Environmental CrisisKopecky delves into the paradox of modern life, discussing how improvements in quality of life coincide with unprecedented environmental threats. He articulates the conflict between enjoying modern benefits and confronting ecological degradation.Reimagining Growth, Happiness, and ArtKopecky challenges societal obsessions with growth, proposing a new understanding of happiness that values creativity and art. He explores the role of art in fostering resilience and community in times of crisis.Art and Social ChangeKopecky discusses the historical role of art in addressing social injustices, citing influential figures like Nina Simone and Toni Morrison. He argues that while art can seed social awareness, it must be complemented by political movements for real change.The Power of Individual Action and Navigating Modern FreedomKopecky reflects on the impact of individual actions through the story of Vaclav Havel's shopkeeper, illustrating the potential for broader societal change. He also discusses the paradox of modern freedom and the need for a collective shift towards sustainability.Personal Transformation and Literature in CrisisKopecky shares a personal narrative about his father's transformation into an environmental activist, highlighting the potential for change at any stage of life. He also references literature's response to the ecological crisis, calling for more storytelling on these pressing issues.Imagining a Sustainable Future and RecommendationsKopecky concludes with a hopeful vision for a future prioritizing relationships and community over consumption. He shares recommendations for further exploration, encouraging listeners to engage with diverse narratives that challenge conventional perspectives. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

Send us a textYou'll be quickly drawn into Paula's story of researching, writing, and publishing her book that shares the heart-wrenching details of child soldiers in Colombia alongside her own coming-of-age reflection as someone who was born, but not raised, in Colombia. Paula Delgado-King is the author of Leonor. It's her first book that started as a policy paper when she was a grad student at Columbia University in International Affairs back in 2001. At the time, Paula was interested in what the United Nations was doing to help children exercise their rights and she focused her attention on Bogotá, Colombia. It was a natural point of focus for Paula who is originally from Bogotá, having been born there, but her family was forced to leave when she was 9 due to threats against her family. When she traveled to Bogotá, to start researching and reporting about the experiences of children, it was her connection with Leonor, a young girl from a halfway home in Bogotá, that had her eager to return every couple of months to learn the latest in her story. Paula's passion and dedication to sharing this story is evident. It took her a long time, but she knew it needed to be out in the world. As writers, it's interesting to think about how long it can take to get our stories into the world. You may be able to relate to what Paula has to share in this episode and find you're ready to write your story. Paula's book is a unique blend of nonfiction and memoir. An exploration of a culture that's familiar, yet at the same time not familiar, and writing with an awareness of needing to effectively explore her experience in connection with Leonor's. Paula was pulled into Leonor's story because of her experience as a woman who was under attack simply for being a woman. She kept in touch with Leonor for about 19 years to ensure she correctly captured the truth and the details of Leonor's experience. Paula made the decision to eventually add her own story to help make Leonor's story more accessible to a reader. It's an exploration of connecting with her heritage and exploring her own coming of age story when she wasn't able to grow up in Colombia. There were certainly many challenges in the writing process to weave her story with Leonor's. She was very thoughtful and diligent in making sure she was true to her voice and Leonor's voice. It's not an easy topic, but it will make you stop and reflect on your own life. You also don't want to miss hearing about Paula's writing process and balancing it with motherhood. She also shares about navigating rejection and what she learned along the way. It's an episode that is sure to inspire, so go ahead and click the button below to listen. Who is Paula Delgado-Kling? Paula Delgado-Kling holds degrees in comparative literature/French civilizations, international affairs, and creative writing from Brown, Columbia, and the New School, respectively. ​Leonor​, for which she received two grants from the Canadian Council for the Arts, is her first book. Excerpts of this book have appeared in Narrative, The Literary Review, Pacifica Literary Review, and Happano.org in Japan. Lately, Paula's side gig is that she has, to her great surprise, become a tennis mom.You can connect with her online here: IG @pauladelgadokling FacebooWe invite you to subscribe to our email list to be the first to know about our weekly podcast episodes and upcoming group programs for writers! If you prefer video versions of the podcast or want to leave a comment on this specific episode, you can find all of them on our YouTube channel.

Today's guest is Anil Ananthaswamy - an award-winning science writer and former staff writer and deputy news editor for New Scientist magazine. He is a 2019-20 MIT Knight Science Journalism Fellow and has been a guest editor for the science writing program at the University of California, Santa Cruz, and organizes and teaches an annual science writing workshop at the National Centre for Biological Sciences in Bengaluru, India.He is a freelance feature editor for PNAS Front Matter. He writes regularly for New Scientist, Quanta, Scientific American, PNAS Front Matter and Nature, and has contributed to Nautilus, Matter, The Wall Street Journal, Discover and the UK's Literary Review, among others.He has written four award-winning books including The Edge of Physics: Dispatches from the Frontiers of Cosmology - voted book of the year in 2010 by UK's Physics World,The Man Who Wasn't There: Tales from the Edge of the Self - was long-listed for the 2016 Pen/E. O. Wilson Literary Science Writing Award, Through Two Doors at Once: The Enigmatic Story of our Quantum Reality- was named one of Smithsonian's Favorite Books of 2018 and one of Forbes's 2018 Best Books About Astronomy, Physics and Mathematics.And his latest book, Why Machines Learn: The Elegant Math Behind Modern AI which Geoffrey Hinton labelled "A masterpiece."In this episode, we discuss his start in life, why he went from a career in software to writing and dig deeper into Why Machines Learn including a history of neural networks.But, before we get into today's episode, a quick word from our sponsor, Paddle - and this is especially for the all the mobile devs in my audience. Paddle has produced an invaluable web monetisation guide (for FREE)! As they say, selling your app on the web isn't just about avoiding hefty app store fees, it actually gives you the freedom and opportunity to leverage a direct-to-consumer model where you can reach a bigger audience, enhance your marketing efforts, and experiment with different ways to monetize and grow your app. So, if you are interested in learning more, then do head here to get your FREE web monetisation guide from Paddle.Please enjoy my conversation with Anil Ananthaswamy.Anil website / TwitterWhy Machines Learn: The Elegant Math Behind Modern AIDanielle Twitter / Instagram / Substack Newsletter / YouTubeEpisode image: Rajesh Krishnan

On the Saturday August 24, 2024 edition of The Richard Crouse Show we'll meet David Huebert. As the author of two books of short fiction, two poetry collections, and the new novel, Oil People, described by Quill and Quire as “inventive,” “hallucinatory,” and “lushly poetic,” The Literary Review of Canada called him “One of the most captivating authors of the last decade.” He says that after many years of research, writing, and editing, his debut novel, “Oil People,” is now ready for readers. We'll also get to know Ruth Reichl, the New York Times bestselling author of five memoirs, the novel “Delicious!,” and the cookbook “My Kitchen Year.” She was editor in chief of Gourmet magazine, and previously served as restaurant critic for The New York Times, as well as food editor and restaurant critic for the Los Angeles Times. She has been honored with six James Beard Awards. Today we'll talk about her new book “The Paris Novel,” which follows Stella St. Vincent, an introverted thirtysomething, who finds purpose in a search for art, fashion and food on a 1983 Paris trip.

On the Saturday August 24, 2024 edition of The Richard Crouse Show we'll meet David Huebert. As the author of two books of short fiction, two poetry collections, and the new novel, Oil People, described by Quill and Quire as “inventive,” “hallucinatory,” and “lushly poetic,” The Literary Review of Canada called him “One of the most captivating authors of the last decade.” He says that after many years of research, writing, and editing, his debut novel, “Oil People,” is now ready for readers. We'll also get to know Ruth Reichl, the New York Times bestselling author of five memoirs, the novel “Delicious!,” and the cookbook “My Kitchen Year.” She was editor in chief of Gourmet magazine, and previously served as restaurant critic for The New York Times, as well as food editor and restaurant critic for the Los Angeles Times. She has been honored with six James Beard Awards. Today we'll talk about her new book “The Paris Novel,” which follows Stella St. Vincent, an introverted thirtysomething, who finds purpose in a search for art, fashion and food on a 1983 Paris trip.

Lean Out is back from our annual summer hiatus — and we have a special episode for you today. Many of you know that Tara wrote “The Trust Spiral,” the 2024 Massey Essay on the state of the media, a partnership between Massey College at the University of Toronto and the Literary Review of Canada. Before Lean Out went on summer break, Massey College hosted a public discussion about this essay, and Tara was lucky enough to be interviewed by someone she greatly admires.Rudyard Griffiths is co-founder and chair of the Munk Debates. He's also a senior fellow at the Munk School of Global Affairs and Public Policy, and the executive director of The Hub.Special thanks for today's episode go to Emily Mockler and Jonathan Rose and everyone at Massey College, to Kyle Wyatt and the team at the Literary Review of Canada, and of course to Rudyard Griffiths.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

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

Carol LaHines' debut novel, Someday Everything Will All Make Sense, was a finalist for the Nilsen Prize for a First Novel and an American Fiction Award. Her fiction has appeared in literary journals including Fence, Hayden' s Ferry Review, Denver Quarterly, Cimarron Review, The Literary Review, The Laurel Review, North Dakota Quarterly, South Dakota Review, The South Carolina Review, The Chattahoochee Review, Sycamore Review, Permafrost, redivider, Literary Orphans, and Literal Latte. She lives in New York City. Killer Women is copyrighted by Author on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #carollahines

Carol LaHines' debut novel, Someday Everything Will All Make Sense, was a finalist for the Nilsen Prize for a First Novel and an American Fiction Award. Her fiction has appeared in literary journals including Fence, Hayden' s Ferry Review, Denver Quarterly, Cimarron Review, The Literary Review, The Laurel Review, North Dakota Quarterly, South Dakota Review, The South Carolina Review, The Chattahoochee Review, Sycamore Review, Permafrost, redivider, Literary Orphans, and Literal Latte. She lives in New York City. Killer Women is copyrighted by Author on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #carollahines

That bug...it couldn't be...but Reginald was in this bed last night!? Oh well, while we unravel that existential nightmare, special guest and horror YouTuber Ryan Hollinger is here to help Dom discuss The Metamorphosis by Franz Kafka.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Ryan:YouTube: https://www.youtube.com/@RyanHollingerTwitch: https://www.twitch.tv/horrorhollingerPatreon: https://www.patreon.com/ryanhollingerTwitter: @ryanhollingerInstagram: @horrorhollingerWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

Notes and Links to Kate Brody's Work        For Episode 232, Pete welcomes Kate Brody, and the two discuss, among other topics, her early love of, and interest in, writing and reading, The Dave Matthews Band, formative and transformative teachers in grad school and 2nd grade, and salient themes and topics and craft decisions from her novel, Rabbit Hole, including online sleuthing, true crime, moralizing or lack thereof in fiction, and grieving.        Kate Brody lives in Los Angeles, California. Her work has appeared in The New York Times, The Guardian, Lit Hub, CrimeReads, Electric Lit, The Rumpus, and The Literary Review, among other publications. She holds an MFA from NYU. Rabbit Hole is her debut. Buy Rabbit Hole   Review of Rabbit Hole in Alta Journal by Jessica Blough   Kate Brody's Website At about 1:50, Lukewarm/Warm Dave Matthews Band takes! At about 3:40, Kate talks about growing in New Jersey and about her childhood relationship with the written word, as well as her connections to Maine, a setting for her book At about 7:00, Pete and Kate reflect on beautiful, long reading days At about 8:00, Kate gives background on her reading and writing life in adolescence and beyond At about 10:00, Kate discusses the transformative short story and writing classes and texts at NYU, including inspiration from Mary Gaitskill's work and teaching and Professor ‘s guidance At about 13:00, Tali Axelrod's (Doctor Axelrod) influence on Kate's writing trajectory is highlighted  At about 14:25, Kate shouts out Lindsay Hunter, Alexandra Tanner, and Jennifer Bell as contemporary writers who thrill her At about 16:55, Kate discusses how teaching informs her writing and vice versa At about 20:50, Pete shouts out Rabbit Hole's dynamic first line, as given kudos by Jean Kyoung Frazier on the book blurb, and Kate provides background on the line's genesis and her choice to use present tense right away At about 24:30, Pete remarks on the “banality of grief” done so well At about 25:30, Angie is characterized and the book's exposition discussed; Kate remarks on the memories and objects left behind by Angie, while speaking to experiences in her life that connect to the book's events At about 29:30, The two discuss ideas of legacy and remembrance, as shown through the characters in the book At about 30:15, Clare's marital situations and the unique family background of the Angstroms is highlighted and explained by Kate At about 33:35-Pete asks for casting suggestions for Teddy, the narrator's mother, Clare At about 34:10-Kate discusses research and connections for the parts of the book on Reddit and true crime and crime fiction  At about 39:25, Pete brings up ideas of secrets that Teddy held about his sister and the rearrangement of memory that comes after loss At about 40:30, Michaela, “Mickey,” is characterized At about 46:00, Kate responds to Pete's asking about Bill and how she sees him; she expands on ideas of moralizing in literature  At about 49:30, Kate outlines some “detours” in the plot At about 50:25, Pete highlights a chaotic and funny scene that involves a dinner scene At about 52:00, Kate talks about the scenes involving Teddy and the gun range and the importance of her having a gun At about 56:10, The two discuss a cringeworthy and craftily-drawn and hilarious school dance scene At about 59:15, Pete makes points about loneliness as a theme running throughout the book, and Kate reflects on this throughline At about 1:04:00, Kate discusses ways of coping with trauma in the book At about 1:05:00, Pete highlights Kate keen writing regarding unfulfilled potential and shares a moving  At about 1:08:50, Kate talks about her exciting next book At about 1:10:55, P&T Knitwear, Skylight Books, and Vroman's are highlighted as good places to buy her book       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.     I am very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership! Check out my recent interview with Gina Chung on the website.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    Thanks to new Patreon member, Jessica Cuello, herself a talented poet and former podcast guest.     This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 233 with Jazmina Barrera Velasquez, who is a fellow at the Foundation for Mexican Letters. Her book of essays, Cuerpo extraño, was awarded the Latin American Voices prize from Literal Publishing in 2013, and she is the editor and co-founder of Ediciones Antílope, and author of, most recently, Cross-Stitch.     The episode will go live on April 30 or May 1.    Please go to ceasefiretoday.org, where you will find 10+ ways to call for a ceasefire in Gaza.

As regular readers of this Substack will know, this spring Tara has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada. You can read it here.The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. To mark the occasion, we are  presenting a series of encore interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation, which originally aired in November of 2023.George Packer is a staff writer at The Atlantic, and the author of ten books. You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of this Substack will know, this spring Tara has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada. You can read it here. The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. To mark the occasion, we are presenting a series of encore interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation, which originally aired in January of 2024.Michael Powell is a staff writer at The Atlantic and a former reporter at The New York Times, where he covered free speech, college campuses, and identity politics.  He's also the author of Canyon Dreams: A Basketball Season on the Navajo Nation.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of Tara's Substack will know, this spring she has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada, where it's published.The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. Leading up to its publication next week, we will be re-running podcast interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation, which originally aired in July of 2023.Peter Menzies is a former newspaper executive and a former vice chair of the CRTC, the Canadian Radio-television and Telecommunications Commission. He's now a senior fellow at the Macdonald-Laurier Institute and a frequent commentator on the Canadian media.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of Tara's Substack will know, this spring she has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada, where it's published.The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. Leading up to its publication next week, we will be re-running podcast interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation, which originally aired in December of 2022. Freddie deBoer is an American journalist. His latest book is How Elites Ate the Social Justice Movement.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of Tara's Substack will know, this spring she has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada, where it's published.The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. Leading up to its publication next week, we will be re-running podcast interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation, which originally aired in March of 2023. Steve Krakauer is the executive producer of The Megyn Kelly Show and the host of The Fourth Watch podcast. His recent book is Uncovered: How the Media Got Cozy with Power, Abandoned Its Principles, and Lost the People.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of Tara's Substack will know, this spring Tara has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada, where it's published. The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. Leading up to its publication next week, we will be re-running podcast interviews with some of the journalists that helped shape Tara's thinking for this essay. Starting with today's conversation — one of Lean Out's most popular episodes on the Canadian media (which originally aired in July of 2023). Jen Gerson is a Calgary journalist, and co-founder of the Canadian outlet The Line. You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

As regular readers of this Substack will know, this spring Tara has been writing the Massey Essay on the state of the media — a partnership between Massey College at the University of Toronto and the Literary Review of Canada, where it's published.The annual essay honours the legacy of the long-time CBC producer Vincent Massey Tovell. This year's essay explores the collapse of public trust in the media. Leading up to its publication next week, we will be re-running podcast interviews with some of the journalists that helped shape Tara's thinking for this essay. Including today's conversation (which originally aired in September of 2022.)David Greenberg is a professor of history and of journalism and media studies at Rutgers University. In 2022, he published a longform piece titled “The War on Objectivity in American Journalism” in the Liberties journal.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

Content Warning: The Dog DiesReginald is off, somewhere, we guess, luckily Dom found podcaster Lucas to fill his spot! They talk about American school traumatizer Where the Red Fern Grows by Wilson Rawls.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Lucas:Twitter: @Wildfire_KingDCOMedy Podcast: https://www.audioentropy.com/#/dcomedy/Patreon: https://www.patreon.com/lucastylerWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

Ewan Whyte is a writer, translator and author. He has written for the Globe & Mail and The Literary Review of Canada. He is the author of the books, Desire Lines: Essays on Art Poetry & Culture, Shifting Paradigms: Essays on Art and Culture. Entrainment, a book of poetry, and a translation of the rude ancient Roman poet Catullus. His feature essay "The Cult that Raised Me" on the Community of Jesus/Grenville Christian College was a finalist for a National Magazine Award.   for two extra episodes a month and exclusive content please visit patreon.com/thenickbryantpodcast nickbryantnyc.com epstienjustice.com

Bellingham poet Elizabeth Vignali buzzes in to read from her newest book and also to read and discuss Dorianne Laux⁠'s poem "Facts about the Moon. Elizabeth Vignali is the author of the poetry collection House of the Silverfish (Unsolicited Press 2021) and three chapbooks, the most recent of which is Endangered [Animal] (Floating Bridge Press 2019). Her work has appeared in Willow Springs, Cincinnati Review, Poetry Northwest, Mid-American Review, Tinderbox, The Literary Review, and others. She lives in the Pacific Northwest, where she works as an optician, produces the Bellingham Kitchen Session reading series, and serves as poetry editor of Sweet Tree Review.

Don't get too lost in the gamer experience Reginald! Ah well, at least we have Calluna here to talk about Vivian Vande Velde's Heir Apparent!This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Calluna:Twitter: @CallunaReviewsPatreon: https://www.patreon.com/calluna YouTube: https://www.youtube.com/@CallunaReviewsWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

They're taking Reginald to Isengard! Luckily we've got some good company to kill time on the journey, as Red from Overly Sarcastic Productions joins Dom on the pod to talk about J.R.R. Tolkein's The Fellowship of the Ring, among other LOTR lore.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Red: YouTube: https://www.youtube.com/@OverlySarcasticProductionsAurora: https://comicaurora.com/Patreon: https://www.patreon.com/OSPTwitter: @OSPyoutubeWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

This week on Beyond the Thesis With Papa PhD we delve into the transformative power of graduate internships with the insightful Melissa Gismondi.We explored her journey from academia to journalism, discussing the challenges, imposter syndrome, and the importance of seizing opportunities.From running for clarity to connecting with mentors, Melissa shared valuable insights on navigating the transition from graduate school to the professional world.If you're a PhD student or someone pondering a career change, there's much to learn from Melissa's experiences. So, tune in and gain valuable takeaways that could shape your own career journey!Share this episode with others and let's keep the conversation going. Melissa Gismondi is an award-winning writer and radio and podcast producer, whose work has appeared in major media outlets including The New York Times, The Walrus, The Globe & Mail, Literary Review and on the CBC Radio programs IDEAS, Tapestry, The Current and Writers & Company.In 2019, the Writers' Trust of Canada named her one of five 'Rising Stars' and she was the 2020-2021 New Media and Public Humanities Fellow at the Jackman Humanities Institute at the University of Toronto.Melissa holds a PhD in American history from the University of Virginia. What we covered in the interview: Finding Mentorship and Ventures Beyond Traditional Roles - Wafaa N. Aldhafiri's positive experiences with mentorship in academia and yoga training - David Mendes' academic journey and advice on transitioning from master's to PhD - Encouragement for PhD holders to consider non-traditional roles beyond academia and industry - Assessing interest in research before committing to a PhDExploring Versatile Career Opportunities - Leveraging STEM skills in various sectors such as policy, municipal systems, industry, and governmental entities - Shifting mindset from scarcity to recognizing the value of PhD skills in various sectors - Venturing beyond academia or industry and the versatility of PhD holders in various rolesOvercoming Fear and Criticism - Cautious approach to exploring career opportunities outside academia - Addressing fear of not being taken seriously and handling criticism and judgment - Weighing options and building a safety net when pursuing career paths beyond academiaEntrepreneurial Ventures and Career Exploration - Starting the Pharma Weekly Digest to fill a knowledge gap in the pharmaceutical world - Choosing a newsletter format for the digest and the process of compiling and reviewing content - Experimenting with various professional preferences and experiencesThe importance of Mentorship and Networking - Finding supportive mentors in academia, extracurricular activities, and hobbies - Importance of having multiple mentors in various aspects of life - Being open to learning, feedback, and networking opportunitiesPersonal Development and Well-being - Balancing studies, work, and extracurricular activities during a PhD program - The significance of extracurricular activities for developing confidence, time management, soft skills, and networking - Encouragement to focus on personal happiness and well-being  This episode's resources: Melissa J. Gismondi | Website Thank you, Melissa Gismondi! If you enjoyed this conversation with Melissa, let her know by clicking the links below and leaving her a message on Linkedin:Send Melissa Gismondi a thank you message on Linkedin!Click here to share your key take-away from this interview with David! Leave a review on Podchaser ! Support the show ! You might also like the following episodes: Sheena Howard – How to Leverage Academic BrandingAmal Abuzeinab – Flourishing in Your PhD and BeyondMerle van den Akker – Debunking PhD MisconceptionsWafaa Aldhafiri –Venturing Beyond Traditional RolesAs always, if you find value in Papa PhD and in the content I bring you every week,

Kate Brody, debut author of the literary thriller RABBIT HOLE, sits down with Jared to talk about crafting a true crime novel that focuses on the victim's family. Drawing from her own experiences with publishing, she also offers advice for choosing an agent, pivoting if your book doesn't sell, and marketing your work. Finally, she shares the most memorable pieces of advice from her own MFA teachers, including Mary Gaitskill, E.L. Doctorow, and Amy Hempel. Kate Brody holds an MFA from NYU and her work has been published or is forthcoming in The New York Times, Parents, Crime Reads, Lit Hub, Electric Lit, Noema, The Literary Review, Write or Die, and other magazines. RABBIT HOLE is her debut. Find her on Instagram and Twitter @katebrodyauthor and at her website: katebrodyauthor.com. MFA Writers is hosted by Jared McCormack and produced by Jared McCormack and Hanamori Skoblow. New episodes are released every two weeks. You can find more MFA Writers at MFAwriters.com. BE PART OF THE SHOW — Donate to the show at Buy Me a Coffee. — Leave a rating and review on Apple Podcasts. — Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience. — Apply to be a guest on the show by filling out our application. STAY CONNECTED Twitter: @MFAwriterspod Instagram: @MFAwriterspodcast Facebook: MFA Writers Email: mfawriterspodcast@gmail.com

Today, Kate Brody discusses her literary crime debut, Rabbit Hole, inhabiting and subverting the crime genre, writing sex scenes, writing men, the narrative use of a gun in the novel, what drives us to consume true crime, and more! Kate Brody lives in Los Angeles, California. Her work has appeared in The New York Times, The Guardian, Lit Hub, CrimeReads, Electric Lit, The Rumpus, and The Literary Review, among other publications. She holds an MFA from NYU. Rabbit Hole is her debut. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Brody lives in Los Angeles, California. Her work has previously appeared in Lit Hub, The Rumpus, Noema, and The Literary Review, among other publications. She holds an MFA from NYU. Rabbit Hole is her debut novel. Released January 2, 2024.SRTN Podcast

Podcasts, the final content format. This is the story of one Reginald...wait, where's Reginald? Ah well, forget his intro then, this episode Dom welcomes Jessie Gender, Trek-tuber and all around cool person on the pod to talk about A Stitch in Time by Andrew Robinson.This podcast, like Dom's videos, sometimes touches on the foul language, violence, assaults, and murders in the books we read. Treat it like a TV-14 show.For the full episode with video, and bonus content, check out Dom's Patreon:Patreon: https://www.patreon.com/DomSmithWhere to find Jessie:YouTube: https://www.youtube.com/user/lostrekkie Nebula: https://nebula.tv/jessiegenderTwitch: https://www.twitch.tv/jessiegenderTwitter: @jessiegenderInstagram: @jessiegender Patreon: https://www.patreon.com/jessiegenderWhere to find Dom:YouTube: https://www.youtube.com/@Dominic-NobleWebsite: https://www.dominic-noble.com/Second channel: https://www.youtube.com/@domnobletoo8238Twitter: @Dominic_Noble Instagram: @dominic_nobleMerch:https://www.teespring.com/stores/domi...For information about sponsoring a video, convention appearances and similar business inquiries please contact my representation at dominicnoble@viralnationtalent.comEditor:Sophia Ricciardiwww.sophiakricci.com Music:“European Waltz” performed by Il NeigeYouTube: https://www.youtube.com/user/DJilneige

In this episode, Xavier Bonilla has a dialogue with Darrin McMahon about the history of equality. They define equality and inequality, hierarchies, equality not being sameness, equality as a value, and equality in other animals. They also talk about the origins of equality, reverse hierarchy dominance theory for equality, cooperation, slavery, religion, the Greeks complicated history with equality, complexity of enlightenment values, equality in the future, and many more topics.Darrin McMahon is David W. Little Class of 1944 Professor and Chair of the Department of History at Dartmouth College. He has his PhD from Yale University. He is the recipient of major fellowships from the Mellon and Guggenheim Foundations and has been visiting scholar at Columbia University, New York University, Yale University, the University of Rouen, the École Normale Supérieur, the École des Hautes Études, and the University of Potsdam. His writings have appeared in such publications as the New York Times, the Boston Globe, the New York Times Book Review, the Washington Post, the Wall Street Journal, Time Magazine, the New Republic, and Slates. He writes regularly for the Literary Review in London. He is the author of numerous books including the most recent, Equality: The History of an Elusive Idea. Website: https://darrinmcmahon.com/ Get full access to Converging Dialogues at convergingdialogues.substack.com/subscribe

GRAHAM HANCOCK is the author the forthcoming Magicians of the Gods, and of the major international bestsellers The Sign and The Seal, Fingerprints of the Gods, and Heaven's Mirror. His books have sold more than five million copies worldwide and have been translated into 27 languages. His public lectures, radio and TV appearances, including two major TV series for Channel 4 in the UK and The Learning Channel in the US – Quest For The Lost Civilisation and Flooded Kingdoms of the Ice Age – have put his ideas before audiences of tens of millions. He has become recognised as an unconventional thinker who raises controversial questions about humanity's past.Born in Edinburgh, Scotland, Hancock's early years were spent in India, where his father worked as a surgeon. Later he went to school and university in the northern English city of Durham and graduated from Durham University in 1973 with First Class Honours in Sociology. He went on to pursue a career in quality journalism, writing for many of Britain's leading newspapers including The Times, The Sunday Times, The Independent, and The Guardian. He was co-editor of New Internationalist magazine from 1976-1979 and East Africa correspondent of The Economist from 1981-1983.In the early 1980's Hancock's writing began to move consistently in the direction of books. His first book (Journey Through Pakistan, with photographers Mohamed Amin and Duncan Willetts) was published in 1981. It was followed by Under Ethiopian Skies (1983), co-authored with Richard Pankhurst and photographed by Duncan Willets, Ethiopia: The Challenge of Hunger (1984), and AIDS: The Deadly Epidemic (1986) co-authored with Enver Carim. In 1987 Hancock began work on his widely-acclaimed critique of foreign aid, Lords of Poverty, which was published in 1989. African Ark (with photographers Angela Fisher and Carol Beckwith) was published in 1990.Hancock's breakthrough to bestseller status came in 1992 with the publication of The Sign and The Seal, his epic investigation into the mystique and whereabouts today of the lost Ark of the Covenant. ‘Hancock has invented a new genre,' commented The Guardian, ‘an intellectual whodunit by a do-it-yourself sleuth.' Fingerprints of the Gods, published in 1995 confirmed Hancock's growing reputation. Described as ‘one of the intellectual landmarks of the decade' by the Literary Review, this book has now sold more than three million copies and continues to be in demand all around the world. Subsequent works such as Keeper Of Genesis (The Message of the Sphinx in the US) with co-author Robert Bauval, and Heaven's Mirror, with photographer Santha Faiia, have also been Number 1 bestsellers, the latter accompanied by Hancock's three-part television series Quest For the Lost Civilisation.In 2002 Hancock published Underworld: Flooded Kingdoms of the Ice Age to great critical acclaim, and hosted the accompanying major TV series. This was the culmination of years of research and on-hand dives at ancient underwater ruins. Arguing that many of the clues to the origin of civilization lay underwater, on coastal regions once above water but flooded at the end of the last Ice age, Underworld offered tangible archaeological evidence that myths and legends of ancient floods were not to be dismissed out of hand.Graham's next venture Talisman: Sacred Cities, Secret Faith, co-authored by Robert Bauval, was published in 2004. This work, a decade in preparation, returns to the themes last dealt with in Keeper Of Genesis, seeking further evidence for the continuation of a secret astronomical cult into modern times. It is a roller-coaster intellectual journey through the back streets and rat runs of history to uncover the traces in architecture and monuments of a secret religion that has shaped the world.In 2005 Graham published Supernatural: Meetings with The Ancient Teachers of Mankind, an investigation of shamanism and the origins of religion. This controversial book suggests that experiences in altered states of consciousness have played a fundamental role in the evolution of human culture, and that other realities – indeed parallel worlds – surround us all the time but are not normally accessible to our senses.While researching Supernatural, Hancock travelled to the Amazon to drink visionary brew Ayahuasca – the Vine of Souls – used by shamans for more than 4000 years. It was his experiences with the vine lead to his his first work of fiction, Entangled. Written with the same page-turning appeal that has made his non-fiction so popular Entangled tells the story of a supernatural battle of good against evil fought out across the dimension of time on the human plane. It was followed by two other novels, War God: Nights of the Witch and War God: Return of the Plumed Serpent — the first two volumes of his three volume supernatural adventure series on the Spanish conquest of Mexico. Returning to non-fiction Hancock has now completed Magicians of the Gods, the sequel to Fingerprints of the Gods. Published on 10 September 2015 in the UK and on 10 November 2015 in the US, Magicians is not an update of Fingerprints, but a completely new book presenting compelling new evidence for a lost civilisation and for the global cataclysm that swept it from the earth.https://grahamhancock.com/Become a supporter of this podcast: https://www.spreaker.com/show/earth-ancients_1/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2790919/advertisement

Hello, listeners! I've got a special surprise for you this week. I've been waiting to share this amazing conversation that I enjoyed recently with expat and author Jeannie Marshall about her lovely book, All Things Move: Learning to Look in the Sistine Chapel. What do we hope to get out of seeing a famous piece of art? Jeannie Marshall asked that question of herself when she started visiting the Sistine Chapel frescoes. She wanted to understand their meaning and context―but in the process, she also found what she didn't know she was looking for. All Things Move: Learning to Look in the Sistine Chapel tells the story of Marshall's relationship with one of our most cherished artworks. Interwoven with the history of its making and the Rome of today, it's an exploration of the past in the present, the street in the museum, and the way a work of art can both terrify and alchemize the soul. An impassioned defense of the role of art in a fractured age, All Things Move is a quietly sublime meditation on how our lives can be changed by art, if only we learn to look. About the author: Jeannie Marshall is a writer who has been living in Italy with her family since 2002. A nonfiction author, journalist, and former staff features writer at the National Post in Toronto, she contributes articles to Maclean's and the Walrus and has published literary nonfiction in The Common, the Literary Review of Canada, Brick, and elsewhere. Please enjoy this bonus episode, featuring my discussion with Jeannie. Be sure to grab your copy of All Things Move from Bookshop.org, below. If you prefer Amazon, that link is below as well. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube Buy All Things Move here! SPONSORS: Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod Shopify: Sign up for a one-dollar-per-month trial period at shopify.com/artcurious Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

You may have already encountered Gloria Beth Amodeo's writing in places like Publishers Weekly, The Literary Review, and American Atheist magazine. She received her MFA in Creative Writing from The New School, and currently works at an advertising agency in New York City. She recently wrote a book called God's Ex-Girlfriend: A Memoir about Loving and Leaving the Evangelical Jesus (affiliate link), so you know I had to talk to her.We spoke about how Campus Crusade for Christ (now Cru) hurts people, the advice she'd give potential Cru members, and how the group's bigotry made her rethink her faith.1:13 - Background5:45 - Why belonging to a larger group was so important to her in college.8:00 - How Cru entered her life.10:00 - How Christians avoid saying Christian.11:55 - How Cru connected with her.13:59 - The power of "relational evangelism."16:22 - What Cru did that convinced her they were worth joining.18:40 - When Gloria Beth realized this brand of Christianity espoused anti-LGBTQ and anti-abortion thinking.24:50 - How Cru is more about belonging than Jesus25:55 - The three steps to successfully convert someone.29:09 - Evangelical Christianity as a kind of diet.30:01 - The sexual history they wanted to know before she went on a summer mission trip.36:57 - The most cringe-worthy stuff Gloria Beth did as a Cru member.40:27 - When she realized she might be wrong.47:30 - What life after Christianity felt like at first.49:16 - How Cru failed her after she graduated.50:48 - The most harmful things that Cru teaches.54:07 - The politics of Cru.54:50 - What she would say to someone thinking about joining Cru or InterVarsity.57:20 - What religious label she uses now.58:10 - What happened with the people she met in Cru.59:20 - What she's heard from current Cru members and leaders. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.