Podcasts about Loitering

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Ali Bruce-Ball is joined by Conor McNamara & Vicki Sparks ahead of UEFA Women's EURO 2025. Hear from England striker Alessia Russo, catch Vicki's Toblerone tales from Basel and will the ‘false one' get in to the Great Glossary of Football Commentary. Plus reaction to Manchester City crashing out of the FIFA Club World Cup, and will Clash of the Commentators champion Ali Bruce-Ball be beaten?Live show tickets: crossedwires.live/fringe WhatsApp voicenotes to 08000 289 369 Emails to TCV@bbc.co.uk00:50 Man City knocked out of FIFA Club World Cup, 03:10 Russell Fuller slips on his cliché banana skin, 07:30 Vicki Sparks joins the pod live from Switzerland, 13:40 5 Live commentaries at the Women's Euros, 14:10 Hear from England striker Alessia Russo, 17:05 What are Wales aiming for at first major tournament? 19:20 Don't give Vicki extra facts on matchday! 23:30 Toblerone tales from Basel, 25:15 Vicki vs Ali in Clash of the Commentators, 32:10 ‘False One' for the Great Glossary?BBC Sounds / 5 Live commentaries: Wed 1700 Iceland v Finland on Sports Extra 2, Wed 2000 Switzerland v Norway on 5 Live, Thu 2000 Spain v Portugal on 5 Live, Fri 1700 Denmark v Sweden on Sports Extra 3, Fri 2000 Germany v Poland on 5 Live, Sat 1700 Wales v Netherlands on 5 Live, Sat 2000 France v England on 5 Live.Glossary so far: 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Brace, Brandished, Breaking the deadlock, Bundled over the line, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Fox in the box, Free hit, Goalmouth scramble, Good touch for a big man, Head tennis, Honeymoon Period, In and around, In the shop window, Keeping ball under their spell, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, One of those, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Put their laces through it, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Roy of the Rovers stuff, Seen them given, Sending the goalkeeper the wrong way, Sleeping giants, Slide rule pass, Small matter of, Smash and grab, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Stramash, Sweeper keeper, Throw their cap on it, Thruppenny bit head / 50p head, Turns like an ocean liner / aircraft carrier, Put it in the mixer, Towering header, Turning into a basketball match, Turning into a cricket score, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Where the owl sleeps, Winger in their pocket, Wrap foot around it, Your De Bruynes, your Gundogans etc.

The Ochelli Effect 6-20-2025 NEWSEARLY FRIDAY BROADCAST, Now a Podcast for youTHE CONSUMED REPORTS or NEWS as CHUCK sees it, Cuz THE BLIND MAN SEES ALL!HEADLINES NEW YORK ?From Governor to Mayor?  Can he efficiently kill nursing home residents as quickly as he did running the state in a Major City? Spit-Balling bumper stickers, "Is NYC ready to Get Felt-up?" , or Cuomo, "The Money Shot for NYC"Cuomo for Mayorhttps://www.andrewcuomo.com/Lucky ONLY because he wasn't in Epstein or Cosby's neighborhoods...Boy struck by lightning in New York City's Central Park says he feels luckyhttps://apnews.com/article/central-park-teenager-lightning-strike-92c2906fcda97a414ca7cd7aed8db706Judge orders Columbia protester Mahmoud Khalil freed from detentionhttps://apnews.com/article/mahmoud-khalil-release-columbia-protest-trump-immigration-69162d21ab22377b1c1c08cf2c83d6cdThe Lovin' Spoonful - Summer in the Cityhttps://www.youtube.com/watch?v=5YgevxRGXIUKool G Rap & DJ Polo - Streets Of New Yorkhttps://www.youtube.com/watch?v=EFTMjitEPnMTRUSTING TECH BROS?Billions of login credentials have been leaked online, Cybernews researchers sayhttps://apnews.com/article/large-login-leak-cybernews-google-apple-meta-2a758a40c398b0a68fb2371a522f70edICE ICE BABYTrump can keep boots on the ground in LA and The Dodgers might not be fans. Los Angeles Dodgers say they denied Ice agents entry to Dodger Stadiumhttps://www.theguardian.com/us-news/2025/jun/19/ice-agents-dodger-stadium-los-angelesJuneteenth happened. ---The Two I's War is on day 8, and Russia has been pounding Ukraine for 3 years and 4 months.Somebody tell Vlad he's actually poking the WW3 Bear since 2014.Putin on Israel-Iran, Ukraine and the risk of the world sliding towards World War Threehttps://www.reuters.com/world/europe/putin-israel-iran-ukraine-risk-world-sliding-towards-world-war-three-2025-06-20/Looks like B Pete's Girl Tulsi, is being told just give me my opinion when I tell you to, or something like it as she doesn't buy the Iran Nuke urgency agenda.By The Way, Trump will again answer the burning question or whatever in "Two Weeks" and Sloppy Steve is back in the mix. By The Other way, B B said, "You don't string along Donald Trump" "He knows the game" and we all know Donny does the stringing along. On the Brightside Americans in Israel now have a clickable link on the State Departments web pages to get help getting the hell out of there, but just a warning to any Americans in Iran to get out.Still Made-For-T.V. WAR!The exciting conclusion in two weeks, if you forgot his taxes, healthcare, and dozens of other, just wait two weeks Orange Jesus proclamations of Christmas past.---TRUMP MOBILE MAGA-TEL will do nearly nothing as advertised but Non-Illegals will swear it does.Act Now and MAGA Double Plus Good members can get VIP in-game purchases for fees payable in Trump Coin FAKE NEWS FREE DATA PLANS YOU TRUST come with a TRUTH ANT-SOCIAL RED Check Mark at an additional Tariff to be named later.Far from FREE! The same repackaged crap phones you got from the Obama with a TRUMP BRAND slapped on like a Photo-shopped Kenyan Birth Certificate! Downloaded Video of Great Leaders Birthday Parade pre-loaded on Every device Protected "Well, It's Better than Kamala" Case Good anti-Marxist Trump Humping Americans buy ALL his bullshit BIGLY, SO GET SOME MORE Today before we Deport your sorry ass! DEI free, Don't Delay, because 2 weeks.Offers void if  B.B. issues different orders...Experience The World Of Trump MORE!!! https://www.trump.com/media/trump-mobile-launches-a-bold-new-wireless-service---Crime TV NEWS...Kanye West makes shocking appearance at Sean ‘Diddy' Combs' trial — and gets denied entry https://pagesix.com/2025/06/13/celebrity-news/kanye-west-shows-up-in-court-at-sean-diddy-combs-trial/Are you a senators son? Creedence clearwater revival - Fortunate Son (lyrics) https://www.youtube.com/watch?v=I1cF9YwGjJ8RIP Thomas Farley.I won't tell my 10 year old son that the nice guy who played with him patiently and gave him candy when he was 8 died, but there will be a lesson or two you will inspire. A man in his early 30s was murdered last year by POLICE when he was TAZED 6 times while dangling from a six-foot-high Fence. Paralyzed for the crime of Loitering outside  circle K and being of mixed race. The Ochelli Family Knew him and knows his grieving Mother. He finished dying in the 10pm hour JUNE 19 2025. If this sounds like Justice, Peace, law, or Order to you I am thinking that civics or vocabulary lessons were something you slept through earlier in life.You will notice no mention on the Open Mic Night later on our LIVE stream. We know most of you think this is OK. Mr. & Mrs.O Do Not.'It breaks my heart': Mother claims son was left paralyzed after encounter with Palm Bay policehttps://www.youtube.com/watch?v=O7M6ZFBZffQThis broke Pam's Heart when he was still breathing. If you have Children I hope you never know what she feels.---OCHELLI Dot Com is Broke!Anything is a blessing if you have the meansTHANKS TO ALL who have kept us Going over the yearsWithout YOUR support we go silent.PayPalhttps://www.paypal.com/paypalme/ochelliEmail blindjfkresearcher@gmail.comBE THE EFFECTOchelli Link Treehttps://linktr.ee/chuckochelli---NOVEMBER IN DALLAS LANCER CONFERENCEDISCOUNT FOR YOU10 % OFF code = Ochelli10https://assassinationconference.com/Coming SOON Room Discount Details The Fairmont Dallas hotel 1717 N Akard Street, Dallas, Texas 75201. situated with easy access to Dealey Plaza

The best bits as John Murray, Ian Dennis & Ali Bruce-Ball talk football, travel & language. WhatsApp voicenotes to 08000 289 369 Emails to TCV@bbc.co.uk Live show tickets: crossedwires.live/fringeBBC Sounds / 5 Live commentaries: Sat 2000 Spain v England in U21 Euros quarter-final.Glossary so far: 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Brace, Brandished, Breaking the deadlock, Bundled over the line, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Fox in the box, Free hit, Goalmouth scramble, Good touch for a big man, Honeymoon Period, In and around, In the shop window, Keeping ball under their spell, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Put their laces through it, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Roy of the Rovers stuff, Sending the goalkeeper the wrong way, Sleeping giants, Slide rule pass, Small matter of, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Stramash, Throw their cap on it, Thruppenny bit head / 50p head, Put it in the mixer, Towering header, Turning into a basketball match, Turning into a cricket score, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Where the owl sleeps, Winger in their pocket, Wrap foot around it, Your De Bruynes, your Gundogans etc.

The best bits as John Murray, Ian Dennis & Ali Bruce-Ball talk football, travel & language.WhatsApp voicenotes to 08000 289 369 Emails to TCV@bbc.co.uk Live show tickets: crossedwires.live/fringeBBC Sounds / 5 Live commentaries: Sun 2000 England U21 v Slovenia U21, Wed 2000 England U21 v Germany U21.Glossary so far: 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Brace, Brandished, Breaking the deadlock, Bundled over the line, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Fox in the box, Free hit, Goalmouth scramble, Good touch for a big man, Honeymoon Period, In and around, In the shop window, Keeping ball under their spell, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Put their laces through it, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Roy of the Rovers stuff, Sending the goalkeeper the wrong way, Sleeping giants, Slide rule pass, Small matter of, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Stramash, Throw their cap on it, Thruppenny bit head / 50p head, Put it in the mixer, Towering header, Turning into a basketball match, Turning into a cricket score, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Where the owl sleeps, Winger in their pocket, Wrap foot around it, Your De Bruynes, your Gundogans etc.

John Murray, Ian Dennis & Ali Bruce-Ball talk football, travel & language. They look ahead to Andorra v England with John & Ian in Barcelona for the match. John gets celebrity spotted. The guys have their say on the dazzling new Premier League ball. Will the biscuit vs cookie debate reach a conclusion? Plus more Glossary chat and Ali gets a guard of honour in Clash of the Commentators.WhatsApp voicenotes to 08000 289 369 Emails to TCV@bbc.co.uk Live show tickets: crossedwires.live/fringe 01:00 John & Ian in Barcelona for Andorra v England 04:35 Interviewing Ivan Toney & Trevoh Chalobah 08:25 How much do the media mingle? 11:30 Biscuit/cookie gate 14:00 Champions League Final reflections 17:35 John gets celebrity spotted… 20:55 New ball for Premier League revealed 24:35 Reminder of the BIG NEWS 31:40 Ali gets Clash of the Commentators guard of honour 41:45 Great Glossary of Football Commentary 53:50 Season finale musical masterpieceBBC Sounds / 5 Live commentaries: Sat 1700 Andorra v England in World Cup Qualifying, Tue 1945 England v Senegal in Friendly.Glossary so far: 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Brace, Brandished, Breaking the deadlock, Bundled over the line, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Fox in the box, Free hit, Goalmouth scramble, Good touch for a big man, Honeymoon Period, In and around, In the shop window, Keeping ball under their spell, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Put their laces through it, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Roy of the Rovers stuff, Sending the goalkeeper the wrong way, Sleeping giants, Slide rule pass, Small matter of, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Stramash, Throw their cap on it, Thruppenny bit head / 50p head, Put it in the mixer, Towering header, Turning into a basketball match, Turning into a cricket score, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Where the owl sleeps, Winger in their pocket, Wrap foot around it, Your De Bruynes, your Gundogans etc.

John Murray, Ian Dennis & Ali Bruce-Ball talk football, travel & language. What's it like commentating on an FA Cup Final? Ali reveals more about last week's Arctic expedition. The guys have their say on Goodison Park dodging the wrecking ball. Is the commentator's blessing now a thing? Clash of the Commentators does stadia and which terms will be added to the Great Glossary of Football Commentary?WhatsApp voicenotes to 08000 289 369 Emails to TCV@bbc.co.uk01:00 Commentating on the FA Cup Final 08:00 Ali's Arctic expedition 14:00 John disappointed by guard of honour ‘disrespect' 18:00 Nothing beats a Norwegian romance 19:25 Goodison Park lives to fight another day 23:55 5 Live commentaries this weekend 27:30 Is the ‘commentator's blessing' now a thing? 31:15 Clash of the Commentators 39:35 Great Glossary of Football CommentaryBBC Sounds / 5 Live commentaries next weekend: Sat 1630 FA Cup Final Crystal Palace v Man City on 5 Live Sun 1330 Women's FA Cup Final Chelsea v Man Utd on Sports Extra 3, Sun 1415 West Ham v Nottingham Forest in the Premier League on 5 Live, Sun 1500 Brentford v Fulham in the Premier League on Sports Extra 2, Sun 1630 Arsenal v Newcastle in the Premier League on 5 Live.Glossary so far: 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Brace, Brandished, Breaking the deadlock, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Fox in the box, Free hit, Good touch for a big man, Honeymoon Period, In and around, In the shop window, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, Opening their account, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Roy of the Rovers stuff, Sending the goalkeeper the wrong way, Sleeping giants, Slide rule pass, Small matter of, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Stramash, Struck with venom, Throw their cap on it, Turning into a basketball match, Turning into a cricket score, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Where the owl sleeps, Wrap foot around it, Your De Bruynes, your Gundogans etc.

Pindur, Marcus www.deutschlandfunk.de, Informationen am Mittag

Das ist das KI-Update vom 08.04.2025 unter anderem mit diesen Themen: Gemini Live sieht, was Du siehst Meta schummelt bei Benchmark von Llama 4 Shopify verlangt KI-Nutzungsnachweis vor neuen Einstellungen und Bundeswehr investiert in intelligente Drohnen Links zu allen Themen der heutigen Folge findet Ihr hier: https://heise.de/-10344443 https://www.heise.de/thema/KI-Update https://pro.heise.de/ki/ https://www.heise.de/newsletter/anmeldung.html?id=ki-update https://www.heise.de/thema/Kuenstliche-Intelligenz https://the-decoder.de/ https://www.heiseplus.de/podcast https://www.ct.de/ki

If you want to use the Starbucks bathroom, you're going to have to buy some coffee. McDonald's has a significant economic impact in the U.S. And Dave & Buster's has some significant problems to solve.

Sermon Notes - Matthew 13:44-46 - The Treasure of Infinite WorthMain Point: The Kingdom of Heaven is the treasure of infinite worth that requires all you have. 1. The +Kingdom of Heaven+ is the treasure of infinite worth that requires all you have  -Often Hidden  -Joy Producing  -For Everyone2. The Kingdom of Heaven is the +treasure of infinite worth+ that requires all you have3. The Kingdom of Heaven is the treasure of infinite worth that +requires all you have+  -Giving  -Serving  -Discipling  -Loitering  -Neighboring

we have been loitering long and pleasantly - #4041 (89R09 pc 495 left) by chair house 250106.mp3we have been loitering long and pleasantly■2025年の元旦に新しいAI技術に出逢いました。それは動画生成AI。詳細はRunway Gen-3 Alpha Turbo という最近流行の動画生成AIサービスです。ちょっとこの動画生成AIサービスをマ..

#4041 (89.09% 495 left): Jan. 6 2025: We have been loitering long and pleasantly (E.H.Coleridge from Sep. 2, 2024) Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : ) Looking for absolute natural beauty every day for Piano Ten Thousand Leaves. Target number is 4536: This piece may might have good 1/f fluctuation characteristic although I stopped investigating it each piece. CONTENT: daily "Piano Ten Thousand Leaves" movie Youtube PLAYLIST https://www.youtube.com/playlist?list=PLIo6A8vorVT3q25jUK8Jr3v0nIloQAf3x New Content: daily "Piano Ten Thousand Leaves" Movie here. https://youtu.be/jDvDBZKYOLA?si=hr_5i6HTaCu06WJ6 https://youtu.be/UFVogOG0urQ?si=AzUM77S-NxAavJDu https://youtu.be/SBHy32mYEUE?si=U78rik_4v3zlOpuw https://youtu.be/jX0eEL8fDuI?si=iHKwgP30rUSFGVqs https://youtu.be/uJqRVg0TqEM?si=J5m1eJpnPQQ4gP7E https://youtu.be/NfEk9_buEO0?si=iz4JXZxnybuvQPzm https://youtu.be/GyYdph65a2k?si=ts2hyX-OXK3ibht6 https://youtu.be/0owQ-2Jg57g?si=CCWlJ-ZKAGx2_equ https://youtu.be/hvn_pGf3suM?si=k4WEeul2zfdAm_Fv https://youtu.be/LnEeCGwd3sg?si=MMTLaBDytrBct1uO https://youtu.be/Am3TkLmr1BY?si=q9un36e8R6Y1XAim https://youtu.be/v4mrH5R704k?si=sttl8-857qlDmf84 https://youtu.be/A1gSpX0BSTk?si=vY8f9EQkbYbanH_W https://youtu.be/Kmv3OsX23tQ?si=kDrPOV41ekFx9csf https://youtu.be/4VsCYv3sGso?si=wCP2UM4T1xzntYJU ********** My new message: "Does it make sense to preserve it for 1000 years? Today's cover ART is created by #Midjourney (Art Generating #AI), according to my wish. Happy if you like it. spotify playlist 18 hours 449 songs, makes you fully relaxed. https://open.spotify.com/playlist/0RCxA8SaySzoFzpQmTCLfo?si=92c44191513340ff Recent My Weekly Video Magazine of piano ten thousand leaves https://youtu.be/yCCufZCMnDQ?si=pLt98vOleJcioH-m Weekly Piano Ten Thousand Leaves Magazine ; super beautiful video .. https://youtu.be/nn5_M4Nrvhg?si=N7hL_xrnDqc46si_ ====== Piano Ten Thousand Leaves - Tweets Creation Note: An epic story of wandering music creation https://a.co/d/0RN78Ga ( 1.36US$ #amazon #kindle, #Paperback also available: 20.11US$) ====== I'm now making Archive site of Piano Ten Thousand Leaves project by utilizing #wordpress. Basically nice direction I've already gotten.. : ) Currently 1100 pieces already achieved. But this week I need to do something else, so I'm going to stop this task for a bit. ######## NEW 28th SELECTION ALBUM JUST RELEASED ######## "Forest in Moon Light" - the 28th selection album of piano ten thousand leaves youtube: FULL VIDEO with 20 full songs in very high quality sounds https://youtu.be/CwTVgfDHCn4?si=1QktmBR1FEGA-tQH spotify https://open.spotify.com/intl-ja/album/1RxJBVCU5vdt5O6kGUMbnv?si=hLjW3kbTThegEBOjgTHUbw appleMusic https://music.apple.com/jp/album/forest-in-moon-light/1773383143 amazonMusic https://amazon.co.jp/music/player/albums/B0DJVSVF5K?marketplaceId=A1VC38T7YXB528&musicTerritory=JP&ref=dm_sh_V1XCbECO4uUYzRVs8apKAEEBl all music streaming services: https://linkco.re/SYNa3ueY?lang=en

Learn how to love God and love others as Ben learns how to follow the "heart" of the rules. Play games to show you're all in on loving God!

Chaiel Schaffel

The ECOWAS Court recently declared Sierra Leone's loitering laws discriminatory and ordered their amendment or repealA BBC investigation sees evidence that devastating flood water in South Sudan is spreading pollution from the oil industry.And why is there a dispute over uranium production in Niger ?Presenter: Audrey Brown Producers: Patricia Whitehorne,  Bella Hassan, Joseph Keen and Paul Bakibinga. Technical Producer: Jonathan Greer Editors: Andre Lombard and Alice Muthengi

Saint Athanasius ChurchContra Mundum SwaggerVideo Version

A consequential debate? Mark Haughwout and I discuss this as well as Senator Ken Bennetts fight to count Ranked Choice votes. Mark gives an update on the escalation of the war in Israel. Mark's bike trip to NC delayed + storm damage update. Homeless people in the median, shouldn't we have no loitering signs + the port strike and how it may impact you. AND why you cities election is in November.    —————————————— Please FOLLOW or SUBSCRIBE to the Jeff Oravits Show! RUMBLE   YouTube   ApplePodCasts   AmazonMusic   Spotify        Also on Twitter and www.TalkWithJeff.com   Disclaimer: The information provided on the Jeff Oravits Show does not constitute legal, medical, financial or tax advice.  All information is the opinions of the host's and his guests.  You should always seek the advice of a professional regarding any of these complex issues to make sure all circumstances of your situation are properly considered.   ——————————————

Fresno approves new law to protect businesses against homeless vandalism, loitering    Please Subscribe + Rate & Review KMJ's Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen!  ---     KMJ's Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen.  ---   Philip Teresi & E. Curtis Johnson – KMJ's Afternoon Drive  Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ  DriveKMJ.com | Podcast | Facebook | X | Instagram  ---   Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram    See omnystudio.com/listener for privacy information.

Chris and Jessie are dismayed by the way society treats the elderly, but not upset enough to avoid fighting over the age old question "can you loiter in a coffee shop without buying anything?" 

1/2: UKRAINE: The loitering munition targeting. John Hardie, FDD. Bill Roggio, FDD 1920 TROTSKY

2/2: UKRAINE: The loitering munition targeting. John Hardie, FDD. Bill Roggio, FDD UNDATED STALIN

Let's get real! Let's dig deep! It's a FAMiLY MEETiNG where our hosts Davi & Blair Crimmins' dark secrets come to the light! Davi has an embarrassing confession about the classroom prep she did for Blair and if you thought THAT was bad, just wait until you hear Blair's confession to Davi. "It's SERIOUS!"  Are you suffering from "Brain Rot" or is it genetics? Ever woke up from an accident with a whole new special set of skills and interests you never knew you had? Blair teases for us the tale about the time he had a great fall and all of Grady Hospital put him back together again! And another thing...why is Humpty Dumpty always portrayed as a dapper egg? They never actually say that he is an EGG nor what tax bracket he's in to be dressed so sophisticated. Loitering on a wall, midday, with no health insurance? No, I don't want no scrubs!

hi hi! it's been a while, but like i said, i wasn't going away forever! i just launched my new podcast and i wanted to share one of the episodes with you. i hope you enjoy it and if you do follow it on spotify by searching "loitering with gael" miss you all, i hope you're doing well

Etiquette, manners, and beyond! In this episode, Nick and Leah answer listener questions about loitering around toasters, being embarrassed by employees, picking strangers' teeth, and much more. Please follow us! (We'd send you a hand-written thank you note if we could.) Have a question for us? Call or text (267) CALL-RBW or visit ask.wyrbw.com QUESTIONS FROM THE WILDERNESS: What is the etiquette regarding using a communal toaster at a breakfast buffet? What do I do about my employee who embarrassed me in front of a visitor? On an airplane, should the person at the aisle get up immediately or stay seated until their row is next to leave? Who's responsible for removing K-Cups from a coffee machine? Bonkers: A stranger picking your teeth THINGS MENTIONED DURING THE SHOW K-Cups on Wikipedia YOU ARE CORDIALLY INVITED TO... Support our show through Patreon Subscribe and rate us 5 stars on Apple Podcasts Call, text, or email us your questions Follow us on Instagram, Facebook, and Twitter Visit our official website Sign up for our newsletter Buy some fabulous official merchandise CREDITS Hosts: Nick Leighton & Leah Bonnema Producer & Editor: Nick Leighton Theme Music: Rob Paravonian ADVERTISE ON OUR SHOW Click here for details TRANSCRIPT Episode 219 Learn more about your ad choices. Visit megaphone.fm/adchoices