Podcasts about Literature

It's high time for an episode on the fabulous Hildegard of Bingen.This remarkable 12th-century nun's work covered a vast amount of ground: she wrote about ecclesiastical history, science, medicine, botany, mineralogy and petrology, zoology and theology, mysticism, music, painting, and monastic architecture.She was also a travelling preacher, visionary, and geopolitical manoeuvrer.She's now revered as a ‘Doctor of the Church' - one of only 38 people awarded the title for their profound and lasting impact on Christian teaching.Other Doctors include Augustine of Hippo, Gregory the Great, and the Venerable Bede. So, Hildegard is in good company.FOR FULL SHOW NOTES - CLICK HERE CREDITSUndeceptions is hosted by John Dickson, produced by Kaley Payne, directed and edited by Mark Hadley. Alasdair Belling is a writer and researcher.Sophie Hawkshaw is on socials and membership. Siobhan McGuiness is our online librarian. Lyndie Leviston remains my wonderful assistant. Santino Dimarco is Chief Finance and Operations Consultant. Our voice actors for this episode were Yannick Lawry and Dakotah LoveUndeceptions is the flagship podcast of Undeceptions.com – letting the truth out.

Today on The Stacks, we're celebrating Traci's 40th birthday! That's right, it's her actual birthday today, and she's invited her friends—media personality and Higher Learning co-host Rachel Lindsay, award-winning journalist and podcast host Sam Sanders, actress, podcaster, and author Becca Tobin, and bestselling author Kiese Laymon—to put her in the hot seat and ask all their burning questions. They interview her about everything from her biggest regrets to her goals for the next decade and all her feelings about turning forty.Our book club pick for July is Behind the Beautiful Forevers by Katherine Boo. We will be discussing the book with Julianna Haubner on Wednesday, July 29th.You can find everything we discuss on today's show on The Stacks website: https://www.thestackspodcast.com/2026/7/22/ep-434-traci-turns-40Connect with Rachel: Instagram | Threads | Website | Twitter/XConnect with Sam: Instagram | Threads | Twitter/XConnect with Becca: Instagram | ThreadsConnect with Kiese: Instagram | Threads | WebsiteConnect with The Stacks: Instagram | Threads | Shop | Patreon | Goodreads | Substack | YoutubeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Your host has decamped to Bigfoot Country for the next few episodes as he seeks the mighty Sasquatch, along with Chris Elliott and the lovely Sarah Tomko. Yes, moviemaking is afoot (BIG foot), and while I go gallivanting all over the deep woods, poor Clyde is confined to a lousy cell in a terrible prison and it's all he can do to keep his spirits up. Can Mama Bear help? Or will she, too, fall prey to the ultimate mythical creature - JUSTICE!Support Obscure!Read Michael's substackFollow Michael on TwitterFollow Michael on InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Marlon and Jake explore why we're so eager to revisit the worlds of our favorite stories, asking whether great characters are better left where their authors left them—or if there's value in imagining what came before or after. Tune in as they unpack the appeal of sequels, the pitfalls of origin stories, and why some fictional worlds are more powerful when they remain a mystery. Subscribe to our River-herd newsletter for sneak peeks of our upcoming books, free giveaways, and exclusive content. https://sites.prh.com/riverhead-reader-newsletter A High Wind in Jamaica by Richard Hughes Lord of the Flies by William Golding Wuthering Heights by Emily Brontë The Life and Loves of a She-Devil by Fay Weldon Auntie Mame by Patrick Dennis Flashman series by George MacDonald Fraser Mansfield Park by Jane Austen To Kill a Mockingbird by Harper Lee The History of Tom Jones, a Foundling by Henry Fielding The Merry Wives of Windsor by William Shakespeare Jane Eyre by Charlotte Brontë Lost Horizon by James Hilton Pride and Prejudice by Jane Austen Rebecca by Daphne du Maurier The Talented Mr. Ripley by Patricia Highsmith Little Women by Louisa May Alcott Little Men by Louisa May Alcott David Copperfield by Charles Dickens The Maltese Falcon by Dashiell Hammett Catch-22 by Joseph Heller Wide Sargasso Sea by Jean Rhys A Streetcar Named Desire by Tennessee Williams Oliver Twist by Charles Dickens Bleak House by Charles Dickens Kidnapped by Robert Louis Stevenson Treasure Island by Robert Louis Stevenson Big Blonde by Dorothy Parker The Tempest by William Shakespeare

There's finally bipartisan support for something in the U.S. House of Representatives. They've passed a bill to...make Daylight Saving Time permanent? Is this real? Is it a good thing? Our scrappy host, Mike Slater, reviews all of the evidence on both sides of this debate whilst also speaking with listeners like YOU! Following the opener, Slater gabs with Dr. Benedict Whelan, Associate Professor and Chairman of the English Department at Hillsdale College, about the new movie based on Homer's ancient Greek epic poem. Together, these two will get to the heart of the matter: Should people actually watch the 2026 film version? MAGA! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Solve crimes with the great detective in "Sherlock Holmes Short Stories." Featuring classic tales by Arthur Conan Doyle, this podcast brings you the brilliant deductions and thrilling adventures of Sherlock Holmes and Dr. Watson. Whether you're a longtime fan or new to the world of Holmes, these timeless mysteries will keep you captivated.

July 20, 2026: 7am — Christopher Nolan talks epic new film "The Odyssey" To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What happens when a poet who survived prison sits down with the world's oldest war story--and reads it in three sleepless, wandering days? In this second episode of the EconTalk Book Club on the Iliad, Dwayne Betts and EconTalk host Russ Roberts trade their impressions of the Iliad, discovering it's less about war than about fathers, friendship, and the stubborn dignity people find inside fates they can't escape. Betts connects Achilles's rage and grief to his own experience of incarceration and depression, while Roberts marvels at Homer's cinematic style and the strange tenderness between enemies. Together they unpack the shield of Achilles, the ransom of Hector's body, and how an ancient poem about war still cracks readers open today. It's a conversation about reading as communion--and how a 2,800-year-old story became, unexpectedly, a way of connecting to each other.

Toni Morrison's debut novel traces the tragedy of a young girl named Pecola Breedlove and the community that failed her. By splintering the book's perspective across the community of Lorain, she humanizes everyone and exonerates no one. Not an easy book, but a rewarding one.This episode is sponsored by Squarespace. Go to squarespace.com/overdue for 10% of your first purchase of a website or domain.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Talk Nerdy, Cara is joined by Harvard professor of Literature and of Folklore and Mythology, Dr. Maria Tatar. They discuss her new book, Arachnomania: Spiders and the Cultural Work They Do for Us. Follow Maria: @mariamtatar

China's Golden Age on the Western Bookshelf China may seem like a big story today, but its presence on Western bookshelves was even greater during the 1930s. Books about China not only appeared on bestseller lists but often dominated them. In this short solo episode, John discusses some of the most notable titles of the decade. He begins with Pearl S. Buck's The Good Earth and ends with Ruth Harkness's account of panda collecting. Most of the popular books about China were highly sympathetic to the Chinese people. We take a close look at a striking exception: Ralph Townsend's now-forgotten Ways That Are Dark, which viciously attacked China and lavished praise on Japan. Show Notes Books mentioned in the episode: The Good Earth by Pearl S. Buck (1931) Also by Buck: Fighting Angel: Portrait of a Soul and The Exile (both 1936) Oil for the Lamps of China by Alice Tisdale Hobart (1933) Lost Horizon by James Hilton (1933) Ways That Are Dark: The Truth About China by Ralph Townsend (1933) My Country and My People by Lin Yutang (1935) Lin also wrote: The Importance of Living (1937) The Blue Lotus by Hergé / Georges Remi (1936)News from Tartary: A Journey from Peking to Kashmir by Peter Fleming (1936) Four Hundred Million Customers: The Experiences – Some Happy, Some Sad – of an American in China, and What They Taught Him by Carl Crow (1937) Red Star Over China by Edgar Snow (1937 in Britain, 1938 in the U.S.) The Lady and the Panda: An Adventure by Ruth Harkness (1938) The Books on Asia Podcast is co-produced with Plum Rain Press. Podcast host Amy Chavez is author of The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island. and Amy's Guide to Best Behavior in Japan.The Books on Asia website posts book reviews, podcast episodes and episode Show Notes. Subscribe to the BOA podcast from your favorite podcast service. Subscribe to the Books on Asia newsletter to receive news of the latest new book releases, reviews and podcast episodes.

Solve crimes with the great detective in "Sherlock Holmes Short Stories." Featuring classic tales by Arthur Conan Doyle, this podcast brings you the brilliant deductions and thrilling adventures of Sherlock Holmes and Dr. Watson. Whether you're a longtime fan or new to the world of Holmes, these timeless mysteries will keep you captivated.

Het verhaal van Harley-Davidson schetst de geschiedenis en iconische motoren van het legendarische Amerikaanse merk, van de werkplaats in Milwaukee tot het wereldwijde icoon van vandaag. Uitgegeven door Kosmos Uitgevers Spreker: Ronald Top

Dit is het derde deel in de serie 'De verbogen hertogen'. Uitgegeven door Lind & Co AB Sprekers: Skye Grant, Daniel Meppelink

The West might be becoming less ‘religious', but according to many it's becoming a lot more 'spiritual'.In fact, “spiritual but not religious” is described as a “rapidly growing faith group” in America, with as many as 20 per cent of people falling into the category.And yet, there's nothing new about being spiritual but not religious; it's been Christianity's dancing partner – or maybe sparring partner - for thousands of years.FOR FULL SHOW NOTES - CLICK HERE CREDITSUndeceptions is hosted by John Dickson, produced by Kaley Payne, directed and edited by Mark Hadley. Alasdair Belling is a writer and researcher.Sophie Hawkshaw is on socials and membership. Siobhan McGuiness is our online librarian. Lyndie Leviston remains my wonderful assistant. Santino Dimarco is Chief Finance and Operations Consultant. Undeceptions is the flagship podcast of Undeceptions.com – letting the truth out.

Solve crimes with the great detective in "Sherlock Holmes Short Stories." Featuring classic tales by Arthur Conan Doyle, this podcast brings you the brilliant deductions and thrilling adventures of Sherlock Holmes and Dr. Watson. Whether you're a longtime fan or new to the world of Holmes, these timeless mysteries will keep you captivated.

 687. Part 2 of our interview with Joel Sharpton. Joel talks to us about Louisiana politics in 2026. Joel is a Ruston-based audio professional and progressive grassroots organizer who seamlessly blends media production with political advocacy. As the founder of Pro Podcasting Services and an expert in mobile workflows, Sharpton brings over a decade of podcasting experience to his community-focused media projects. He utilizes this production expertise to host and produce "We Are Louisiana Indivisible," a political podcast dedicated to amplifying the voices of regional activists and interviewing progressive candidates for state and local office. Working alongside organizations like Indivisible North Louisiana, Sharpton is actively engaged in grassroots organizing, voter mobilization, and hosting local civic rallies to push for democratic change across the state. Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 222 years. Order your copy today! This week in the Louisiana Anthology. Sidonie de la Houssaye. “Alix de Morainville.”     But one day — God knows how it happened — a child of the village all at once entered the chamber where I was and knew me.     “Madame Alix!” he cried, took to his heels and went down the terrace pell-mell (quatre à quatre) to give the alarm. Ten minutes later Matthieu came at a full run and covered with sweat, to tell us that all the village was in commotion and that those people to whom I had always been so good were about to come and arrest me, to deliver me to the executioners. I ran to Joseph, beside myself with affright.     “Save me, Joseph! save me!”     “I will use all my efforts for that, Mme. la Viscomtesse.” At that moment Jerome appeared. He came to say that a representative of the people was at hand and that I was lost beyond a doubt.     “Not yet,” responded Joseph. “I have foreseen this and have prepared everything to save you, Mme. la Viscomtesse, if you will but let me make myself well understood.”     “Oh, all, all! Do thou understand, Joseph, I will do everything thou desirest.”     “Then,” he said, regarding me fixedly and halting at each word — “then it is necessary that you consent to take Joseph Carpentier for your spouse.”     I thought I had [been] misunderstood and drew back haughtily.     “My son!” cried mother Catharine.     “Oh, you see,” replied Joseph, “my mother herself accuses me, and you — you, madame, have no greater confidence in me. But that is nothing; I must save you at any price. We will go from here together; we will descend to the village; we will present ourselves at the mayoralty — ”     In spite of myself I made a gesture.     “Let me speak, madame,” he said. “We have not a moment to lose. Yes, we will present ourselves at the mayoralty, and there I will espouse you, not as Claudine Leroy, but as Alix de Morainville. Once my wife you have nothing to fear. Having become one of the people, the people will protect you. After the ceremony, madame, I will hand you the certificate of our marriage, and you will tear it up the moment we shall have touched the soil of England. Keep it precious till then; it is your only safeguard. Nothing prevents me from going to England to find employment, and necessarily my wife will go with me. Are you ready, madame?”     For my only response I put my hand in his; I was too deeply moved to speak. Mother Catharine threw both her arms about her son's neck and cried, “My noble child!” and we issued from the cottage guarded by Guillaume and his three other sons, armed to the teeth.     When the mayor heard the names and surnames of the wedding pair he turned to Joseph, saying:     “You are not lowering yourself, my boy.”     At the door of the mayoralty we found ourselves face to face with an immense crowd. I trembled violently and pressed against Joseph. He, never losing his presence of mind (sans perdre la carte), turned, saying:     “Allow me, my friends, to present to you my wife. The Viscomtesse de Morainville no longer exists; hurrah for the Citoyenne Carpentier.” And the hurrahs and cries of triumph were enough to deafen one. Those who the moment before were ready to tear me into pieces now wanted to carry me in triumph. Arrived at the house, Joseph handed me our act of marriage. This week in Louisiana history. June 17, 1795. First bishop of New Orleans, Don Luis Cardenas, arrives in Louisiana. This week in New Orleans history. July 17, 1905: The last major yellow fever epidemic in the United States began in New Orleans, leading to a massive citywide campaign to eradicate mosquitoes. This week in Louisiana. Marshland Festival July 24'25 Lake Charles Event Center, 900 Lakeshore Dr. Lake Charles, LA 70601 Website: visitlakecharles.org The Marshland Festival returns to the Lake Charles Event Center for a two‑day celebration of Southwest Louisiana music, food, and culture. Founded over 30 years ago in Hackberry, the festival has grown into a major regional event featuring local artists, national touring acts, and a full indoor, air‑conditioned vendor hall: Live Music: A lineup of Southwest Louisiana performers alongside select national acts, continuing the festival's long tradition of supporting local musicians. Food Booths: Dozens of vendors serving regional favorites, from seafood dishes to festival classics. Arts & Crafts: Shopping from local artisans and makers throughout the Event Center. Indoor Venue: The entire festival takes place inside the Lake Charles Event Center, offering a comfortable, climate‑controlled experience. Postcards from Louisiana. The Rock Block Band at Felix's Restaurant and Oyster Bar. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

Solve crimes with the great detective in "Sherlock Holmes Short Stories." Featuring classic tales by Arthur Conan Doyle, this podcast brings you the brilliant deductions and thrilling adventures of Sherlock Holmes and Dr. Watson. Whether you're a longtime fan or new to the world of Holmes, these timeless mysteries will keep you captivated.

Twee huisgenoten. Twee anonieme datingprofielen. Een match. Uitgegeven door Love Books Sprekers: Gerrit Tiegelaar, Daniël Meppelink

It may be the best book subtitle we’ve encountered in the Planetary Society book club: “Particles, Poetry and the Cosmic Dream Boogie.” Theoretical physicist and black feminist science theorist Chanda Prescod-Weinstein has followed her acclaimed first book, “The Disordered Cosmos,” with this new, equally celebrated, deeply personal romp across the Universe, “The Edge of Space-Time”. Swinging from quantum mechanics to hip-hop, and from galaxies to Alice in Wonderland, she guides us through the looking glass to what we know and would love to know about the Universe. It all but guaranteed a mind-bending conversation with host Mat Kaplan that begins with Chanda’s concern for the state of scientific research in the United States, and ends among the stars. Discover more at: https://www.planetary.org/planetary-radio/book-club-chandra-prescod-weinsteinSee omnystudio.com/listener for privacy information.

Here are the optimized podcast show notes designed to grab attention, engage listeners looking for a sleep aid, and feed the Apple Podcast algorithm with highly targeted keywords for sleep, insomnia, and audiobooks.Episode Title IdeaBooks at Bedtime: "A Respectable Woman" by Kate Chopin – Calming Audio Book for Sleep & InsomniaEpisode DescriptionWelcome to Books at Bedtime by the Calming Anxiety podcast. If you are looking to overcome insomnia, relieve late-night stress, or simply need a soothing audio book for sleep, sink deep into your pillows tonight as we read Kate Chopin's classic short story, "A Respectable Woman." In this episode, we journey to a quiet Southern plantation where Mrs. Baroda finds her peaceful routine disrupted by the arrival of an intriguing guest. Designed specifically as a bedtime story for adults, this slow-paced, atmospheric narration is the perfect remedy for a racing mind, helping you transition seamlessly into a night of deep, restorative sleep. Turn off the lights, practice your favorite breathing techniques for anxiety, and let the rhythmic cadence of this classic tale lull you into a peaceful slumber.Key Highlights / What You'll Hear:00:00 – Introduction to Books at Bedtime by Calming Anxiety. 00:36 – The desire for unbroken rest and quiet plantation life. 06:02 – A midnight stroll under the live oak trees and a quiet conversation in the Southern night air. 08:39 – A soothing, rhythmic narrative shift perfect for drifting off to sleep. Connect with Calming Anxiety:Website & Online Course: calminganxiety.fmSubscribe: Don't forget to follow/subscribe on Apple Podcasts to get your daily sleep aid and anxiety relief audio.Support the Show: If our sleep stories help you beat insomnia, please leave a 5-star review on Apple Podcasts!Remember to be kind to yourself. Sleep well.

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Welcome to the Circle of the World Podcast! Join Harrison, George, and Jeffrey as we continue our coverage of Joe Abercrombie's First Law series! For this season, we cover A Little Hatred. This week we cover, All Equal, Young Men's Folly, and The Party's Over. Meme of the week: https://www.reddit.com/r/HouseOfTheMemeMaker/comments/1uos7r2/sand_dan_glokta_in_meme_format/Leave us a commentSupport the show

The Odyssey hits theatres today and we've got you covered. Christopher Nolan's widely anticipated adaptation of the 3000 year old text is selling out cinemas. Guest host Piya Chattopadhyay gets the Odyssey 101 from Thom Roach, a professor of History and Literature, and hears why the epic story's themes resonate today.

The Odyssey by Homer, translation by T.E. Shaw (Lawrence of Arabia) w/Jesan Sorrells---Examining Homer's epic, The Odyssey, this episode dives into timeless leadership lessons for modern managers and entrepreneurs. The conversation focused on the decline from heroic responsibility to entitlement in Western culture, the enduring value of facing challenges head-on, and the need for leaders to reclaim meaning by embracing tradition and personal accountability. Insights from translator T.E. Lawrence's life and work sharpen the discussion on navigating today's cultural shifts with courage and clarity.Book Title: The OdysseyAuthor: Homer (T.E. Lawrence translation)Guest Names: Jesan Sorrells (Host)---Time Stamped Overview---00:00 Critique of modern society's values07:01 Public institutions and heroism decline15:33 Odysseus receives gifts and journey22:31 Understanding the author's limitations24:43 Lawrence of Arabia's wartime role31:21 Odysseus arrives at the Cyclops' island40:29 Blinding the Cyclops42:19 Impact of Nietzschean philosophy49:27 Odysseus doubts he's home57:33 Understanding the Odyssey's broader impact01:01:10 Lessons for leaders from The Odyssey01:06:50 Conclusion and book promotion---Opening theme composed by Felipe Sarro - Bach - Silotti - "Air"  from Orchestra Suite No. 3, BWV 1068 Closing theme composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the Leadership Lessons From the Great Books podcast reading list!---Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribeCheck out Leadership ToolBox at: https://leadershiptoolbox.us/ ★ Support this podcast on Patreon ★ ---

Watch as a full video interview on YouTubeAki Schilz is the Director at The Literary Consultancy (TLC), where she co-ordinates partnerships and programmes. She launched the Editing Skills Training Scheme in partnership with the Publishing Training Centre, which trained over 100 aspiring editors from under-represented communities. She has been named as one of the FutureBook 40, a list of people innovating the publishing industry, and was also nominated for an h100 Award for her #BookJobTransparency campaign, as well as being shortlisted for the Kim Scott Walwyn Prize for women in publishing, and has featured in the Bookseller 150 list of the most influential figures in publishing twice. In 2020, Aki launched the Being A Writer programme at TLC, a membership platform she co-devised with novelist and coach Julia Forster, which focuses on providing a space for writers to cultivate their creativity, and build emotional resilience. She is an Honorary Fellow of the Royal Society of Literature.We had a great time chatting with Aki and hearing about her work with TLC, discussing what they can offer, as well as talking about whether such consultancies are right for everyone. We also talk about her support of writers away from the page, and chat about how to take the pressure off querying.Links:Follow Aki on BlueskyVisit The Literacy ConsultancyOur Drafting Notes episode discussing editoral consultanciesSupport us on Patreon and get the podcast early and ad-free, along with other great benefits, including a bonus episodes: https://www.patreon.com/ukpageonePage One - The Writer's Podcast is brought to you by Write Gear, creators of Page One - the Writer's Notebook. Learn more and order yours now: https://www.writegear.co.uk/page-oneFollow us on FacebookFollow us on InstagramFollow us on BlueskyFollow us on ThreadsPage One - The Writer's Podcast is part of STET Podcasts - the one stop shop for all your writing and publishing podcast needs! Follow STET Podcasts on Instagram and Bluesky Hosted on Acast. See acast.com/privacy for more information.

https://www.aritany.com/The interview with Alex Ritany, author of Maybe Tomorrow I'll Know, delves into the crafting of the opening chapters, the exploration of dysphoria and identity, the role of secondary characters, the connection between characters, and the author's reflection on writing. The conversation highlights the use of time loop and body swap as storytelling devices and the personal experiences that influenced the themes of the book.TakeawaysExploring themes of dysphoria and identityThe use of time loop and body swap as storytelling devicesChapters00:00 Crafting the Opening Chapters04:20 Exploring Dysphoria and Identity16:18 The Role of Secondary Characters20:21 The Connection Between Characters21:51 Author's Reflection on Writing

After fleeing a field of battle during the Civil War, an embarrassed Union soldier pauses for a moment of self-reflection. Join us for the first episode of our new series Out of Literature to hear from Henry Fleming, the conflicted main character of the classic, bestselling novel The Red Badge of Courage. Listen in as he shares his internal struggles with war, with nature, and with himself. Written by Stephen Crane in 1895 and read by Daniel Bendix. Hosted by Peg Bryan. A Production of We Are One Body® Audio Theatre.

Solve crimes with the great detective in "Sherlock Holmes Short Stories." Featuring classic tales by Arthur Conan Doyle, this podcast brings you the brilliant deductions and thrilling adventures of Sherlock Holmes and Dr. Watson. Whether you're a longtime fan or new to the world of Holmes, these timeless mysteries will keep you captivated.

Meredith Doench talks about how to move forward with a first draft (even when you think you should stop) and why it might be the most important thing you do! Meredith is the queer crime writer of the Luce Hansen sapphic thriller series and the stand-alone novels, Never Say Die and Whereabouts Unknown. She is an avid armchair detective and amateur web sleuth who loves all things mystery. Doench's works of short fiction and nonfiction have appeared in literary journals such as Hayden's Ferry Review, Women's Studies Quarterly and The Tahoma Literary Review. She was one of the founding associate prose editors of the literary journal Camera Obscura: Journal of Literature and Photography and teaches creative writing and literature at the University of Dayton in Ohio. Never Say Die is her most recent release.

What if a well-manicured lawn isn't the end all be all? What if it's actually harming the local habitat? Doug Tallamy is the co-founder of Home Grown National Park. It's a non-profit that urges property owners to reduce their lawns and plant native plants. He shares all the little things we can do to help restore functioning ecosystems and mitigate the biodiversity crisis. And: Quarry Gardens is the first and only native plant botanical garden in Virginia. It started off as a soapstone quarry. Now it's an environmental gem with a beautiful quarter mile loop boasting over 500 species of native plants. Devin Floyd takes us on a tour of the gardens - showing off the quarry pits and the ancient ecosystems he calls lost worlds. Later in the show: The Virginia Wildlife Conflict Helpline is a toll-free number people can call to report things like run-ins with bears or complain about raccoon intruders. Jim Parkhurst studies the data from the hundreds of calls to the helpline. He breaks down the ways we humans can better co-exist with wildlife.

John Maytham speaks to Bianca Flanders, actress, author and voice artist, about her one-woman show Karamonk, currently running at the Masambe Theatre. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Today on The Stacks, we're joined by ProPublica reporter and The New York Times Magazine staff writer, Pamela Colloff, to discuss her book, Catch the Devil: A True Story of Murder, Deception, and Injustice on the Gulf Coast. This book delves into the life of career con man Paul Skalnik, whose pattern of trading fabricated prison confessions for his own freedom landed a Vietnam veteran on death row for a murder he didn't commit. We talk about the power of investigative journalism, the hard lessons Pamela has learned as a journalist, and why people are fascinated by con men.Our book club pick for July is Behind the Beautiful Forevers by Katherine Boo. We will be discussing the book with Julianna Haubner on Wednesday, July 29th.You can find everything we discuss on today's show on The Stacks website: https://www.thestackspodcast.com/2026/7/15/ep-433-pamela-colloffConnect with Pamela: Instagram | Threads | X/Twitter Connect with The Stacks: Instagram | Threads | Shop | Patreon | Goodreads | Substack | YoutubeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

From historic historians to powerful powers, this episode has it all! Plus! How do we wear our socks, and can Indigo say socks many times quickly without losing her mind? Find out in this episode of the Overly Sarcastic Podcast! Our podcast, like our videos, sometimes touches on the violence, assaults, and murders your English required reading list loves (also we curse sometimes). Treat us like a TV-14 show.Aurora Volume 2 Available Now!https://comicaurora.com/books/OSP has new videos every Friday:https://www.youtube.com/c/OverlySarcasticProductionsChannelQuestion for the Podcast? Head to the #ask-ospod discord channel:https://discord.gg/OSPMerch:https://overlysarcastic.shopFollow Us:Patreon.com/OSPTwitter.com/OSPyoutubeTwitter.com/sophie_kay_Music By OSP Magenta ★ Support this podcast on Patreon ★

Sandra Griffiths is a retired nurse turned poet and she's putting herself out there with her first book, Becoming Me. In it, she opens her heart with a powerful collection of poems that trace her journey as a mother, daughter and woman finding her voice through life's storms. Becoming Me is a tender, soulful reminder that even through pain and change, we are always becoming - stronger, softer and more ourselves. We talk about finding and sharing our voice, putting the personal up front, and how it's never too late to go for your dreams (especially when you have your kids behind you helping and cheering you on). Special thanks to Sarah Cleaver for connecting us with Sandra. _______________ SLIDESHOW: IN COLOR! now playing in London. It's the live storytelling show the Los Angeles Times declares, "Downright magical, uncomfortable and shockingly honest!" and Theatreland Adventures London cheers, "FOUR STARS - This is unlike anything I've seen before, a warm, engaging, and memorable evening!" Tickets & Info: https://events.humanitix.com/slideshow-in-color/tickets NOW AVAILABLE: CUPID'S CURSE - the fourth book in Steve's series THE DOG WALKING DETECTIVES MYSTERIES and catch up on the rest: https://www.barnesandnoble.com/search?q=Dog%20walking%20detectives%20Steven%20j%20Silverman

Project Hail Mary, Masters of the Universe, and Sunsetting the Dark Knight w/Tom Libby & Jesan Sorrells--- Explore the cultural impact and evolution of superhero films as Jesan Sorrells and Tom Libby compare the archetypes of Batman and Superman, analyze changing generational tastes in cinema, and dig into new millennial-focused heroic narratives in movies like Project Hail Mary and Masters of the Universe. They discuss the importance of sincerity in modern heroism, debate whether Gen X or Millennial values dominate current film, and reflect on the future of movie storytelling in the age of AI and streaming. This lively, in-depth conversation connects film trends to broader cultural and generational shifts, offering fresh insight for leaders and movie-lovers alike.Book & Film Titles Discussed:The Dark Knight Returns by Frank MillerProject Hail Mary by Andy WeirWatchmen by Alan MooreMasters of the Universe (film adaptation)Superman (various film adaptations)Guests:Jesan Sorrells - HostTom Libby - Co-Host---Time-Stamped Overview---00:00 Batman films' evolution and iconic portrayals.05:48 Lessons from Writing and Collaboration.14:27 Movie acting, script quality and its Discontents.15:57 On Bill Bixby, Lou Ferrigno, and the Hulk on TV.26:01 Exploring Batman's psychological motivations.31:48 The Dark Knight's billion-dollar cultural impact.35:50 Choosing superheroes for problem-solving skills.40:17 Evaluating Superman Returns vs. Man of Steel.46:03 Comparing Superman and Batman personalities.51:55 Superman's logical consistency and character integrity.55:21 Watching Project: Hail Mary again with kids.01:02:25 Millennials and Gen Z are now driving film culture.01:06:53 Method acting and its impact on actors.01:12:43 Millennial cynicism and need for sincerity.01:19:58 Evolution of hero archetypes in cinema.01:25:55 Generational differences in workplace expectations.01:29:11 Impact of the Internet on generational culture and tech.01:33:42 Staying on the Leadership Path - With Movies! ---Opening theme composed by Felipe Sarro - Bach - Silotti - "Air"  from Orchestra Suite No. 3, BWV 1068 Closing theme composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the Leadership Lessons From the Great Books podcast reading list!---Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribeCheck out Leadership ToolBox at: https://leadershiptoolbox.us/  ★ Support this podcast on Patreon ★ --- 

As a rash plagues your very successful actor host, Clyde's poor mother has arrived in Bridgeburg to comfort her not very successful son. What will become of the two poor Griffiths, mama and son? Can a simple pious woman rescue her condemned boy from the clutches of death? Let's be honest: probably not.Support Obscure!Read Michael's substackFollow Michael on TwitterFollow Michael on InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mid-July horror gets mutated, vengeful, infectious, and lost in the woods in this episode of This Week in Horror History, covering the week of July 13 through July 19. This time, we're digging into mad-scientist island nightmares, supernatural revenge literature, one extremely angry killer whale, a science-fiction body-horror classic, biological vampires, and the tiny independent movie that changed horror marketing forever.Inside this episode:July 13, 1977 — The Island of Dr. Moreau opens in U.S. theatersBurt Lancaster brings H.G. Wells' nightmare of science without conscience to the screen in a sweaty, pulpy story filled with animal-human mutations, unchecked authority, and a scientist convinced that nature would be better if he personally rearranged it.July 14, 2020 — The Only Good Indians is publishedStephen Graham Jones delivers one of modern horror literature's sharpest supernatural reckonings as four Blackfeet men discover that something from their past has memory, purpose, and antlers waiting in the dark.July 15, 1977 — Orca opens in New YorkThe post-Jaws creature-feature wave gets stranger, angrier, and surprisingly tragic when a killer whale driven by grief, intelligence, and patience begins pursuing the human responsible for an unforgivable act.July 16, 1958 — The Fly releases in the United StatesA scientist, a teleportation machine, and one tiny insect create one of science-fiction horror's most unforgettable transformations, turning a dream of human progress into a cruel nightmare of mixed bodies and irreversible mistakes.Deep-Cut Spotlight — The StrainGuillermo del Toro and Chuck Hogan drag vampires out of the velvet cape and into the quarantine zone as a passenger plane lands at JFK filled with the dead. What follows treats vampirism like a biological outbreak capable of spreading through New York while officials argue, deny, and react too late.Horror Birthdays This Week:Patrick Stewart, Larry Cohen, Corey Feldman, and James Brolin enter the birthday roll, bringing connections to Lifeforce, Green Room, It's Alive, Q, The Stuff, Friday the 13th: The Final Chapter, The Lost Boys, Gremlins, and The Amityville Horror.Weekly Recommendation — The Blair Witch ProjectThree student filmmakers enter the Maryland woods with cameras, recording equipment, and a local legend, creating a landmark of found-footage horror built from darkness, disorientation, improvised performances, and the terrifying possibility that the footage might be real.Plus, Weekly Spooky returns Wednesday with another fresh original horror story, followed by more terrifying history, strange mysteries, movie talk, and unexplained broadcasts throughout the week.From The Island of Dr. Moreau and The Only Good Indians to Orca, The Fly, The Strain, and The Blair Witch Project, this week in horror history proves that terror can spread through laboratories, guilty memories, dark water, crowded cities, and one cursed corner of the internet.

This episode we look at Blade Runner (1982) (dir. Ridley Scott) and its sequel Blade Runner 2049 (2017) (dir. Denis Villeneuve), two films that imagine a world where the line between human and machine, creation and creator, has all but vanished. Ridley Scott's 1982 classic depicted a rain-soaked dystopia where “replicants”—bio-engineered beings—fight for recognition, identity, and life itself. Denis Villeneuve's 2017 sequel deepens that vision. Law operates in the shadows across both films: as surveillance, classification, and control. The “blade runners” themselves enforce a form of administrative violence that exposes the limits of legal personhood. What does it mean to have rights without recognition, or to be alive without legal existence? And conversely, what are the implications of recognizing rights and legal personhood in robots? In this episode, we'll examine these and other themes around artificial intelligence, migration, colonization, and bioethics as well as the way films themselves can contribute to and shape public perceptions about these issues. Timestamps:0:00     Introduction2:45      Emotion and memory in robots8:08      Slave labor and robot rebellion9:54      Generative AI and other changes since the first Blade Runner 15:16      Robots giving birth20:19     Robot rights24:17      A new category of companion32:56    Filmic depictions of AI38:01     “Time to Die”43:21     The political economy of AI development47:22     A dystopian vision of data and surveillance52:18     A positive post-human future?57:58     Concepts of immortalityFurther reading:Almog, Shulamit, “When a Robot Can Love – Blade Runner as a Cautionary Tale on Law and Technology,” in Ius Gentium: Comparative Perspectives on Law and Justice (Jan. 1, 2013)Birhane, Abeba, van Dijk Jelle, and Pasquale, Frank, “Debunking Robot Rights Metaphysically, Ethically, and Legally,” 29(4) First Monday (2024)Darling, Kate, The New Breed: What Our History with Animals Reveals about Our Future with Robots (2021)Dick, Philip K., Do Androids Dream of Sheep (1968)Lewis, C.S., Abolition of Man (1943)Oliver, Kendra H., Higgs, Oliver S., and Clayton, J., “The End of Genetic Privacy in the Blade Runner Canon,” 14 (1/2) Journal of Literature and Science 108 (Dec. 2022)Pasquale, Frank, “Cultural Foundations for Conserving Human Capacities Amidst Generative Artificial Intelligence: Toward a Philosophico-Literary Critique of Simulation,” in Being Human (B. Roessler & V. Steeves, eds, 2024) Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.htmlYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

The trials, tribulations and beauty of possessing a body, featuring poems by Jane Ellen Glasser, Susan Okie, Don Thompson, Joyce LaMers, and Larnell Custis Butler.Support the show

Join us friends, for a real paradigm shift. Andrew and Craig's synergy reaches levels never before seen as they proactively seek to understand the meaning behind this self-help titan. We'll also discuss our most upsetting dairy-related prose since the Krampus egg-nog thing. Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We recently made some cervical spine immobilization protocol changes here at MCHD. Dr. Patrick and Dr. DePasquale discuss the history and literature that provide the foundation for rigid cervical collar use, along with the new MCHD protocol implementation. This has been a collaborative process with our local hospital partners, which has definitely involved give-and-take on both sides. REFERENCES 1. Davies G, Deakin C, Wilson A. The effect of a rigid collar on intracranial pressure. Injury. 1996 Nov;27(9):647-9. 2. Mobbs RJ, Stoodley MA, Fuller J. Effect of cervical hard collar on intracranial pressure after head injury. ANZ J Surg. 2002 Jun;72(6):389-91. 3. Hunt K, Hallworth S, Smith M. The effects of rigid collar placement on intracranial and cerebral perfusion pressures. Anaesthesia. 2001 Jun;56(6):511-3. 4. Lerner EB, Billittier AJ 4th, Moscati RM. The effects of neutral positioning with and without padding on spinal immobilization of healthy subjects. Prehosp Emerg Care. 1998 Apr-Jun;2(2):112-6. 5. Totten VY, Sugarman DB. Respiratory effects of spinal immobilization. Prehosp Emerg Care. 1999 Oct-Dec;3(4):347-52 6. Mitra B, Bernard S, Yankoff C, Somesh A, Stewart C, Koolstra C, Talarico C, Nehme Z, Fitzgerald MC, Cameron PA. Change from semi-rigid to soft collars for prehospital management of trauma patients: An observational study. J Am Coll Emerg Physicians Open. 2024 Jul 17;5(4):e13239. 7. Sundstrøm T, Asbjørnsen H, Habiba S, Sunde GA, Wester K. Prehospital use of cervical collars in trauma patients: a critical review. J Neurotrauma. 2014 Mar 15;31(6):531-40. 8. Millin MG, Innes JC, King GD, Abo BN, Kelly SM, Knoles CL, Vezzetti R, White CC 4th, Yee A, Gallagher JM. Prehospital Trauma Compendium: Prehospital Management of Spinal Cord Injuries - A NAEMSP Comprehensive Review and Analysis of the Literature. Prehosp Emerg Care. 2025 Aug 7:1-13. 9. Ramasamy A. Advanced trauma life support 2025: A brief review of updates. Injury. 2026 Apr;57(4):113079. doi: 10.1016/j.injury.2026.

High performers - athletes, business professionals, artists, and the like - inspire and motivate us. They give us benchmarks to strive for and show us what sort of life we might lead if we were the “greatest of all time” in a given field.But is striving to be the “greatest” actually good for us? Or does it do more harm than good?FOR FULL SHOW NOTES - CLICK HERE'CREDITSUndeceptions is hosted by John Dickson, produced by Kaley Payne, directed and edited by Mark Hadley. Alasdair Belling is a writer and researcher.Sophie Hawkshaw is on socials and membership. Siobhan McGuiness is our online librarian. Lyndie Leviston remains my wonderful assistant. Santino Dimarco is Chief Finance and Operations Consultant. Undeceptions is the flagship podcast of Undeceptions.com – letting the truth out.

My conversation with Christy starts at 29 minutes Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous souls Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete In July of 2025 Christy McGillivray joined Voters Not Politicians as the Executive Director. She has over twenty years of experience across the fields of education and non-partisan political and policy advocacy. Her past roles as an advocate include working as the Legislative and Political Director for Sierra Club Michigan; Organizer with the American Federation of Teachers, Michigan; and Campaigns Director and Field Manager for Michigan Clean Water Action. Christy taught Earth Science, Chemistry, and Physics at Eastpointe Highschool, outdoor STEM education at the Farmington Hills Nature Center, Early American History and Literature at Lawrence Technological University, and Comparative Education Policy at Deakin University in Melbourne, Australia. Christy is committed to spending the rest of her life ensuring the people most affected by policies have a voice in shaping those policies, and preserving an accountability pathway for elected officials based on the policy decisions they make. In short, Christy is here to fight for our democracy. Decades of experience have made it clear to her that a healthy, functioning democracy is the best way to deliver for all Michiganders. If she's not spending her spare time hiking and paddling in the Upper Peninsula with her partner, daughter, and two dogs, Christy can probably be found in Wayne State University's Reuther archive combing through primary documents from the 1930s. Listen rate and review on Apple Podcasts Listen rate and review on Spotify Pete On Instagram Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on Twitter Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo

Today on The Stacks, we're joined by author Shannon Sanders to discuss her debut novel, The Great Wherever. This book follows Aubrey Lamb, a young Black woman who inherits her late father's share of a Tennessee farm filled with family history, secrets, and the ghosts of her ancestors. We talk about why she chose to use a ghost as her narrator, how she transitioned from writing a short story collection to an epic family novel, and her process for researching and planning the book's scope.Our book club pick for July is Behind the Beautiful Forevers by Katherine Boo. We will be discussing the book with Julianna Haubner on Wednesday, July 29th.You can find everything we discuss on today's show on The Stacks website: https://www.thestackspodcast.com/2026/7/8/ep-432-shannon-sandersConnect with Shannon: Instagram | Threads | Website | BlueskyConnect with The Stacks: Instagram | Threads | Shop | Patreon | Goodreads | Substack | YoutubeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Your host opines on the nature of the tension between the American branches of the sacred and the profane in a quarter-backed notion that the book "An American Tragedy" can be viewed as a metaphor for the nation itself. Too much? Perhaps. Meanwhile Clyde waits to die.Support Obscure!Read Michael's substackFollow Michael on TwitterFollow Michael on InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ego, pride, wrath, fear, gods, superheroes, mortals, and lots of killing. Welcome to Homer's Iliad, which reads at times like a script for a Tarantino film or the latest installment of the Avengers franchise. In the first episode of the EconTalk Book Club on the Iliad, Ido Hevroni of Shalem College speaks with EconTalk's Russ Roberts about the surprising relevance of a 2800-year-old epic poem. Hevroni also provides useful background for first-time readers and what it's like to read the Iliad with combat veterans.