Podcasts about Macbeth

This week, we take a break from Greece for our monthly Shakespeare and turn to Much Ado About Nothing, a play I found completely charming.After a quick trip through the plot, I compare Much Ado with last month's As You Like It: the different ways Shakespeare moves the action along, the surprising darkness lurking inside his comedies, and the very different themes he manages to explore while still making us laugh. We'll also look at one unexpectedly moving speech about grief that stopped me in my tracks.Finally, I talk about Kenneth Branagh's gorgeous 1993 film adaptation, featuring Emma Thompson, Denzel Washington, a very young Kate Beckinsale—and, fresh off his iconic Point Break role, Keanu Reeves!If Shakespeare makes you nervous, this funny, accessible play might be a very good place to start. And if you're tired of the comedy, come back next week for everyone's favorite Shakespeare for Halloween: Macbeth!BOOKS IN THIS EPISODEFolgers Library Editions of As You Like It, Much Ado About Nothing, Henry V, Hamlet, King Lear, and Macbeth.CONNECTThe complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ Like what you heard? Buy me a coffee! https://ko-fi.com/crackthebookLISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Entre as propostas desta semana também há o regresso de Macbeth (e do D.Maria II), a história e as fotografias de Martin Parr e os fãs de true crime que viram investigadores.See omnystudio.com/listener for privacy information.

On this day, 18 September 1809, the old price riots began in the Covent Garden Theatre in London during the opening night of Macbeth in protest at increased prices at the newly reopened venue. The original theatre had burned down, and when it reopened standard ticket prices had increased from 3 shillings and sixpence to 4 shillings. After the play ended, the audience refused to leave so the owner, John Kemble, called police, however this escalated the situation and rioters did not disperse until 2 AM. Kemble later hired a famous boxer and some of his associates to quell the protests, but this also failed and resulted in increased violence. Protests and disorder, heavily imbued with humour and merriment, continued for 64 days until Kemble reverted his prices and issued an apology.More information, sources and map: https://stories.workingclasshistory.com/article/9052/old-price-riotsOur work is only possible because of support from you, our listeners on patreon. If you appreciate our work, please join us and access exclusive content and benefits at patreon.com/workingclasshistory.See all of our anniversaries each day, alongside sources and maps on the On This Day section of our Stories app: stories.workingclasshistory.com/date/todayBrowse all Stories by Date here on the Date index: https://stories.workingclasshistory.com/dateCheck out our Map of historical Stories: https://map.workingclasshistory.comCheck out books, posters, clothing and more in our online store, here: https://shop.workingclasshistory.comIf you enjoy this podcast, make sure to check out our flagship longform podcast, Working Class History

O Teatro Nacional D. Maria II estreou esta sexta-feira "Macbeth". A peça encenada por Pedro Penim marca a reabertura da Sala Garrett depois de mais de três anos de obras. O Ensaio Geral foi ao D. Maria II conversar com o encenador e diretor artístico, o presidente do conselho de administração, Rui Catarino e os atores José Raposo e Bárbara Branco que protagonizam a peça de Shakespeare, a mesma que foi levada à cena, a última vez, em 1964 quando o D. Maria foi destruído por um violento incêndio. A edição do programa é de Maria João Costa e a assistência técnica de Diogo Rosa.

Welcome, friends!Why do we LOVE female rage when it's on a screen, hanging in a museum, or packaged into the perfect TikTok edit, yet become deeply uncomfortable when real women get angry?In this episode, we explore the aesthetics of female rage, from the pressure to remain beautiful and agreeable to the racial stereotypes and double standards that shape how women's anger is perceived. We look at what happens when women swallow their anger, what happens when they finally explode, and why female fury can become so compelling when it's transformed into art, literature and pop culture. And what if rage isn't always an explosion? Sometimes, it simply says: ENOUGH.Are. You. Ready?****************Sources & Further Reading:Brescoll, Victoria L., and Eric Luis Uhlmann. "Can an Angry Woman Get Ahead? Status Conferral, Gender, and Expression of Emotion in the Workplace." Psychological Science, Vol. 19, No. 3, 2008, pp. 268-275.Cahill, Cathleen D. "Gertrude Simmons Bonnin (Zitkala-Ša): Advocate for the 'Indian Vote.'" National Park Service.Davidson, Helen. "'Repugnant, Racist': News Corp Cartoon on Serena Williams Condemned." The Guardian, September 11, 2018.Epstein, Rebecca, Jamilia J. Blake, and Thalia González. Girlhood Interrupted: The Erasure of Black Girls' Childhood. Georgetown Law Center on Poverty and Inequality, 2017.Ferris State University, Jim Crow Museum of Racist Imagery. "The Sapphire Caricature."Folger Shakespeare Library. William Shakespeare, Macbeth.Folger Shakespeare Library. William Shakespeare, The Taming of the Shrew.Hajela, Deepti. "Serena Williams' Treatment at U.S. Open Resonates Among Black Women." PBS NewsHour / Associated Press, September 11, 2018.Hess, Ursula, Reginald B. Adams Jr., Karl Grammer, and Robert E. Kleck. "Face Gender and Emotion Expression: Are Angry Women More Like Men?" Journal of Vision, Vol. 9, No. 12, 2009.Jack, Dana Crowley, and Diana Dill. "The Silencing the Self Scale: Schemas of Intimacy Associated With Depression in Women." Psychology of Women Quarterly, Vol. 16, No. 1, 1992, pp. 97-106.Library of Congress. "Ida B. Wells-Barnett Holds Her Ground." Shall Not Be Denied: Women Fight for the Vote.National Museum of African American History and Culture. "Popular and Pervasive Stereotypes of African Americans."National Park Service. "A Noble Endeavor: Ida B. Wells-Barnett and Suffrage."National Women's History Museum. "Elizabeth Packard."O'Leary, Ann. "Stress, Emotion, and Human Immune Function." Psychological Bulletin, Vol. 108, No. 3, 1990, pp. 363-382.Renna, Megan E., et al. "A Systematic Review of Associations Between Emotion Regulation Characteristics and Inflammation." Neuroscience & Biobehavioral Reviews, 2023.BBC Sport. "US Open 2018: Serena Williams Accuses Umpire of Sexism After Outbursts in Final." September 9, 2018.BBC Sport. "US Open 2018: Serena Williams' Claims of Sexism Backed by WTA." September 10, 2018.Uffizi Galleries / Google Arts & Culture. "Artemisia Gentileschi's Judith in the Uffizi."Zumwalt, Dominique. "Suppressed Rage and Autoimmune Disorders in Women." SonderMind, April 18, 2025, updated April 10, 2026.****************Leave Us a 5* Rating, it helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on TikTok & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************Intro/Outro Music:“Fame Inc” by Savvier — https://icons8.com/music

di Chiara Tagliaferri e Alessandro Giammei Questo episodio di Morgana torna alle origini del mito delle streghe per raccontare come, da figure perseguitate e temute, siano diventate simboli di libertà, potere e sorellanza. Dalle Weird Sisters del Macbeth ai processi di Salem, fino alle sorelle Sanderson di Hocus Pocus e alle Halliwell di Streghe, il trio diventa una forma di resistenza: un'alleanza capace di sopravvivere al tempo, al lutto per le altre e persino alla propria morte. E proprio attraverso le sorelle streghe di Streghe, da Prue a Paige, fino a Shannen Doherty e Rose McGowan, scopriamo che il vero potere non sta nel non cadere mai, ma nel trovare altre sorelle con cui rialzarsi. Perché nessuna strega si salva da sola. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dunkelheit, Sterben, Tod - die unabänderlichen Abgründe menschlicher Existenz. Davon handelt Shakespeares Drama Macbeth, das von Verdi als Oper komponiert und 1847 uraufgeführt wurde. Die Macht im Fokus, lassen Macbeth und seine Frau Lady Macbeth Mord auf Mord folgen. Das Königspaar verkörpert das Böse und endet im Wahnsinn. Wo stehen Freiheit, Schuld, Moral? Seit einem Jahr ist Tobias Kratzer Intendant an der Hamburger Staatsoper. Zum Saisonstart hat er Verdis Oper Macbeth inszeniert, verbindet musikalische Leidenschaft mit kathartischen Erschütterungen. Am 12. September feiert Macbeth Premiere und gehört damit zum Programm der aktuellen Spielzeit. Über Macbeth, die Wucht antiker Tragödien, über das Programm der neuen Spielzeit spricht Tobias Kratzer bei NDR Kultur à la carte mit Friederike Westerhaus.

A cura di Paolo PellegriniGiuseppe Verdi, MacbethMacbeth, Leonard WarrenLady Macbeth, Leonie RysanekBanco, Jerome HinesMacduff, Carlo BergonziMalcom, William OlvisDama, Carlotta OrdassyOrchestra del Teatro Metropolitan di New YorkErich Leinsdorf, direttore

Quinn Kelsey has been called “the premier Verdi baritone of his generation” His Rigoletto has become the standard.His mastery of Verdi's baritone roles extends far beyond Rigoletto.  He has contributed his artistry to the title roles in Macbeth, Simon Boccanegra, and Falstaff, as well as Renato in Un ballo in maschera, Il Conte di Luna in Il Trovatore, Amonasro in Aida, Germont in La traviata, and Don Carlo in Ernani. While Verdi forms the cornerstone of Kelsey's artistry, his versatility as a performer is evident in his ability to shine in other repertoire. He has achieved great success in a number of career-defining roles, including his richly-sung Marcello in Puccini's La bohème and his darkly compelling interpretation of Scarpia in Tosca,He made his debut at The Royal Danish Opera, singing the title role in Verdi's Macbeth in concert and now is due to repeat the role at the Metropolitan Opera.Quinn appeared with his hometown opera company, Hawaii Opera Theatre, for the world premiere of Herb Mahelona's Kamalehua: The Sheltering Tree.Quinn's artistry has earned him numerous accolades, including The Metropolitan Opera's Beverly Sills Artist Award in 2015 and the prestigious Opera News Award in 2022. He was a finalist of the Plácido Domingo Operalia Competition in 2004, and represented the United States in the BBC Cardiff Singer of the World Competition in 2005.

Tobias Kratzer eröffnet die Hamburger Opernsaison mit Verdis "Macbeth": starke Bilder und Chorregie, musikalisch jedoch nur teilweise überzeugend.

In his History, Livy reported that during a critical part of the battle against the Samnites in 296 BCE, the general Appius Claudius was seen in the front lines raising his hands as he uttered a prayer, “Bellona, if you grant us victory today, I promise to build you a temple.” This prayer was proven to be effective as the Romans proceeded to capture and plundered the Samnite camp, giving a massive amount of booty to their own sodiers. More than a thousand years later, Shakespeare introduced Macbeth as a violent and brave warrior when the Thane of Ross calls him "Bellona's bridegroom", placing her as the equivalent of Mars himself.Tune in!

In 1597, the first published edition of Shakespeare's Romeo and Juliet rolled off the printing press. Only a year later, the Spanish colony of Santa Fe was established. While you might not immediately think Shakespeare had much to do with the Latinx experience, Shakespeare's career and the Spanish conquest of the Americas fit into a similar timeline. The Bard in the Borderlands, a three-volume anthology of plays by Chicanx and Indigenous playwrights, explores the possibilities of retelling Shakespeare through the culture, language, and traditions of “la frontera,” or “the borderlands.” Simply defined by co-editor Katherine Gillen as “land that was once Mexico, but… became part of the United States” after the Treaty of Guadalupe Hidalgo, there is very little “simple” about the history of this region. Its complex blend of identities and experiences are expressed in fantastic transformations of Shakespeare's work, from a re-imagining of The Tempest set in a Houston school gymnasium to Macbeth's Weird Sisters practicing brujería. In this episode, editors Kathryn Vomero Santos and Katherine Gillen and contributing playwright Andrew Siañez-De La O discuss how these works speak to Mexican American and Indigenous traditions—and what it means to create “a stranger Shakespeare.” From the Shakespeare Unlimited podcast. Published September 8, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Harter Music in San Antonio, Gideon Brower in Baltimore, and Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Production support was provided by Steven Jackson. Final mixing services provided by Clean Cuts at Three Seas, In

Quando as portas da Sala Garrett se voltarem a abrir, no próximo dia 18 de setembro, encontramos José Raposo, um dos nomes incontornáveis do teatro português, no meio do palco, a vestir a pele do lendário Macbeth. No último episódio do TEATRA, nas habituais conversas com Mariana Maia de Oliveira, José Raposo fala sobre este desafio, que recebeu com uma alegria enorme, do encontro com um novo elenco e da união e cumplicidade que foram criando ao longo do processo. De voltar a ser encenado por Pedro Penim e da relação em cena com Bárbara Branco, que interpreta Lady Macbeth. A conversa percorre uma carreira e uma vida com muitas geografias. Desde a infância em Angola, ao período de adaptação a Portugal, passando pela forte ligação ao teatro de revista, um género cuja portugalidade e humor continua a defender: “Se toda a gente fizesse revista, não diriam tão mal dela.” Falaram sobre memória e sobre a importância de escutarmos quem já viveu muito e tem conhecimento para transmitir. Uma preocupação que atravessa o seu trabalho enquanto presidente da Casa do Artista. “Para sabermos quem somos, temos de saber de onde é que vimos.” Saber de onde vimos é também conhecer de onde vem o teatro, a sua história e aquilo que significa. Por fim, recordamos as aventuras na dobragem e uma das personagens mais acarinhadas de toda a sua carreira: Pumba, de 'O Rei Leão'. Uma conversa para ouvir na íntegra, nas plataformas digitais. Sugestão Cultural:

CAPTION 1936 HARLEM LAFAYETTE THEATERShakespeare Politics And American TheaterJames Shapiro, author of The Playbook: A Story of Theater, Democracy, and the Making of a Culture War, Part One: This recording examines the transformative impact of the Federal Theatre Project during the Great Depression. Shapiro highlights the historic 1936 Harlem premiere of Macbeth, an integrated cultural triumph directed by a young Orson Welles with an all-Black cast, which adapted Shakespeare to Haiti. The discussion focuses on Harry Hopkins, who created the WPA Federal One program to employ destitute artists, and director Hallie Flanagan, who established a vast, accessible national theater that brought thousands of free productions to millions of Americans. Shapiro also examines Sinclair Lewis and his antifascist novel, It Can't Happen Here. Although Hollywood spent massive sums to acquire the movie rights, studio heads ultimately cancelled the film due to foreign market fears and censorship. In response, Flanagan mobilized the Federal Theatre to adapt the work, staging it simultaneously in twenty cities across the country as a powerful, urgent nationwide warning against the dangers of rising global fascism. (1)

On August 30 we observed (posthumously) the 104th birthday of the unique, the phenomenal Regina Resnik, who died in 2013 just a few short days before her 91st birthday. This commemoration, combined with my recent acquisition (at the flea market in my Berlin neighborhood) of the LP of her single operatic recital recording, provided the impetus for this long-overdue Countermelody celebration of an exceptional career that spanned nearly 50 years and encompassed exceptional portrayals on the world's operatic stages, Broadway, and the concert platform. This episode presents Resnik in the very earliest days of her career as a soprano singing arias from Macbeth, Zazà, and La Reine de Saba, then following her vocal trajectory downward into the dramatic mezzo fach in which she celebrated her greatest career triumphs. Excerpts from her “On the Wings of Opera” operatic recital offer a fuller picture of her in that repertoire, in arias of Saint-Saëns, Wagner, Verdi, and Tchaikovsky. Then we dip into a rare 1968 recording of art song with pianist Richard Woitach, which offers a dazzling program of French, Geman, Russian, and Spanish song, amply sampled. The program ends with Resnik in three Broadway selections, including live stage performances of both Cabaret and A Little Night Music. I'm thrilled to pay tribute to this iconic New Yorker whose incandescent artistic sensibility turned everything she touched into gold. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

[School of Movies 2026] Possibly the greatest playwright the world will ever see, creator of countless clever words and idioms, '"Heart of gold", "Wild goose chase", "Good riddance!" all gifts to the English language. He was also a man whose private life was shrouded in mystery, and for the average person our familiarity with him begins and ends in the one or two plays we are forced to study at school, along with The Lion King and an awareness of crackpot theories surrounding all of these plays being written by someone else (suspects include another playwright with a completely different and humourless style, a tyrannical lord who kicked a pregnant lady in the stomach and a man who died ten years before Billy Shakes stopped producing plays, so it was good of him to leave such a ready supply). Here for you folks now, kicking off Shakestember, we discuss with Willow, a dozen film adaptations, many of which you will definitely want to seek out. Romeo + Juliet (1996) Much Ado About Nothing (1993) Hamlet (1996) The Tempest (2010) The Tragedy of Macbeth (2021) Othello (1995) The Merchant of Venice (2004) A Midsummer Night's Dream (1999) Richard III (1995) Twelfth Night (1996) King Lear (2008) Titus (1999) This week's After School Club: The Dark Tower (Part I) Next week: Romeo + Juliet

Send us Fan MailWelcome to Hall of Wonder - part of Celebrate Creativity. Today I want to start exploring Shakespeare's play–Macbeth.And here is the wax figure character of Macbeth, himself. You know Macbeth, I will get directly to the point. Some people call you a monster.Mr. Barley, I would not be so quick with such a judgment. Mr. Shakespeare's trick is much sharper than that: he shows someone who can still choose—and then shows you the exact moment when I start out sourcing my choices to ambition, marriage, and prophecy.I am thane, hero, newly honored… and about to discover that wanting something is not the same as deserving it.Macbeth, to most of our listeners in the United States, the word THANE might be unfamiliar. It simply means a basically a Scottish noble—a trusted local lord who holds land from the king and, in return, owes loyalty and military service.  So when you hear “Macbeth, Thane of Glamis” (and later “Thane of Cawdor”), think:Title + job: a high-ranking lordPower base: he rules an area/estate for the kingObligation: he's expected to fight for the king and keep orderStatus: important, but below the king (not royalty)Support the showThank you for experiencing Celebrate Creativity.

Original Air Date: January 20, 1944Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Paul Sutton (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Original Air Date: January 20, 1944Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Paul Sutton (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

What is embodied cognition, and did it survive the replication crisis? This episode of The Psych Files examines the famous embodied cognition and social priming studies — power posing, the hot coffee study, the Macbeth effect, the facial feedback (pen-in-the-teeth) study, elderly priming, and the action-sentence compatibility effect — and the large-scale replication studies that failed to reproduce them. Learn how small samples, publication bias, researcher degrees of freedom, and experimenter expectancy effects produced findings that later evaporated, and how psychology responded with pre-registration, multi-lab replications, and adversarial collaborations like the Many Smiles project. A clear, sourced guide to the replication crisis in psychology for students, teachers, and anyone who watched the power posing TED talk and wondered what happened next.

Au festival Africa Film Fest Australia 2026, Dany Kouyaté dévoile Katanga, la danse des scorpions, une œuvre ambitieuse qui transpose Macbeth au cœur de l'Afrique contemporaine. Porté par l'héritage des griots et réalisé avec des talents locaux, ce film en noir et blanc interroge avec force l'ambition, la violence et la corruption du pouvoir.Pour plus d'histoires, d'interviews et d'actualités de SBS French, explorez notre collection de podcasts ici >>https://www.sbs.com.au/language/french/fr/collection/featured-podcasts

Twirl some soft serve and prepare for small town tragedy as we take an academic look at Scotland, PA (2001) with Professor Sheryl Sawin of Temple University, and all the carnivore carnage within! ---The Patron Drive is back! Join the Moviestruck Patreon at any paid tier to work towards bonus episodes of Moviestruck! At 150 total paid Patrons of any tier, we'll be covering Dune (1894) with OSP Red. Head on over to Patreon and stick around for the post roll for all the deets on this monthly event.---Additional Reading:Elizabeth A. Deitchman, “White Trash Shakespeare: Taste, Morality, and the Dark Side of the American Dream in Billy Morrissette's Scotland, PA.” Literature/Film Quarterly 34.2 (2006): 140–146.Eric C. Brown, “Shakespeare, Class, and ‘Scotland, PA.'” Literature/Film Quarterly 34.2 (2006): 147–153.Anthony D. Hoefer Jr., “The McDonaldization of ‘Macbeth': Shakespeare and Pop Culture in ‘Scotland, PA.'” Literature/Film Quarterly 34.2 (2006): 154–160.George Moore, “Macbeth Goes to Carnival: Otium and Economic Determinism in Scotland, PA.” Literature/Film Quarterly 45.3 (2017).Maurizio Calbi, “Ghosts, Burgers and Drive-Throughs: Billy Morrissette's Scotland, PA Adapts Macbeth.” Anglistica 12.1 (2008): 39–57.The Family, Sex and Marriage by Lawrence Stone:https://archive.org/details/familysexmarriag0000stonAn Ordered Society by Susan Ammusen:https://archive.org/details/orderedsocietyge0000amusMacbeth (2006):https://www.imdb.com/title/tt0434541/Contact the Podmoviestruckpod@gmail.comwww.moviestruck.transistor.fmPatreon: https://www.patreon.com/moviestruckDiscord: https://discord.gg/cT2vm3KdeSBlueSky: @moviestruck.bsky.socialTheme by Prod. DomSoundcloudThank you to our $10 Patrons!aRabidGerbil, Kaeldrannas, Maddy New, Adam Bagnall, Christian Jolliff, UwU, Zas, Ken M, Jim8333, Jacob Hunt, Azraq Shinji, Case Aiken, AnOptimist, Lairde Ray, the Norwegian one, Travis Poe, William Warren, Stag Hart (Deer Deer), Rusty_Fork, Mura Purcell, insomnite, Nathan Dunlap. ★ Support this podcast on Patreon ★

Shakespeare and law school might not be as far apart as you thought. Guest Len Niehoff is a professor of law at the University of Michigan Law School and the author of the recent book Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law, a book written for both lawyers and non-lawyers offering practical insights into how Shakespeare's works illuminate the questions of law, ethics, and advocacy. As an innovative professor and a lifelong fan of the Bard, Niehoff began studying, and encouraging students to study, Shakespeare's interest in the rule of law, what puts the rule of law at risk, personal responsibility, and how law can be twisted into the unlawful. “It was kind of a natural transition to turn to Shakespeare,” he says. Indeed, Measure for Measure and The Merchant of Venice have trials at their heart. But Niehoff and his students look at how the law works it into other plays, such as Julius Caesar, MacBeth and Hamlet. Now imagine a group of lawyers meeting up with Shakespeare one evening at a local bar, sharing war stories, funny moments, and issues of ethics, and morality and the law. That's the book. Niehoff's fascinating examination of Shakespeare's work and the law may have you thinking about the human condition differently. Have a question, comment, or suggestion for an upcoming episode? Get in touch at MRogson@SkywardInsurance.com or JAReederJr@gmail.com. Resources Mentioned:  “Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law,” by Leonard M Niehoff “Tanner v. United States”, Justia  “Cattle: Related Cases,” AnimalLaw.info Twombly and Iqbal, “Twiqbal,” Wikipedia “The Crucible,” by Arthur Miller “Shakespeare Unlimited Podcast,” Folger Shakespeare Library “Macbeth,” Shakespeare, full play “Titus Andronicus,” Shakespeare, full play “Henry VI, Part 2,” Shakespeare, full play “Othello,” Shakespeare, full play “Hamlet,” Kenneth Branagh, full movie, free, YouTube American Bar Association American Bar Association Litigation Section Subscribe to Litigation Radio: https://play.megaphone.fm/rhyxdryztyy2v3itq6sdlq

The Hamlet Podcast As a countdown to the release of my new book on August 27th, we are revisiting Macbeth through the lens of the five senses. Most of this is material that escaped both the book AND the podcast - so it's all new, just for you! Written and presented by Conor Hanratty

Po zbytek léta ho na Pražském hradě bude čekat smrt z rukou hereckého kolegy Marka Němce. „Pokaždé mu poděkuji, protože je to rychlé a nemusím se dlouho trápit,“ vypráví David Matásek o své roli ve hře Macbeth v rámci Shakespearovských slavností. Úspěšná hra se tam reprízuje už několik let a první zkouška po roční pauze prý dopadla dobře. „Oprášili jsme hard disc a nějaká data na něm ještě zůstala, takže jsme je vytáhli,“ popisuje s nadsázkou v rozhovoru s Vasilem Fridrichem.Všechny díly podcastu Blízká setkání můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Send us Fan MailGary reflects on this year's Piping Live and the World Pipe Band Championships, while bringing you more great music from the world of bagpipes.PlaylistFras with Jonny O'Sullivan's, the Youngest Daughter and West Mabou Reel from Dile Simon Fraser University Pipe Band with Tom Wilson, Miss Sharon Duthart, The Hag at the Churn, Scatter the Mud, Oor Ain Fireside, MacBeth's Strathspey, T Bowen's Reel, the Periwig and the Back of the Moon from World Pipe Band Championships 1995 Pipe Major Alasdair Gillies with Mrs John MacColl, Tulloch Castle and Dr MacPhail's Reel from the Glenfiddich Piping Championship 1998 James Harper with Mabou (single release)  Donald MacPherson with MacCrimmon's Sweetheart from Donald MacPherson: a Living LegendTune Book with Billy and Carmel's 25th Wedding Anniversary, Alex Ferguson's Welcome to Ceolas and Last Night in Rodden's from Melody Lab Support the show

Things are going poorly for you? That's too bad, because I'm having a grand ol' time.Are you subscribed to Climate Workers Anonymous? Do so now to listen in and read whenever a new edition is released and support this fledgling collective art project.Welcome to Climate Workers Anonymous, where those who work in climate are able to share the feelings and experiences they want to share but aren't sure they want attached to their name.They might want that anonymity because they've got some biting satirical take their corporate employer would frown upon. Maybe it's someone trying to scale their company's impact but is dubious that all of the levels of governance in carbon dioxide removal do as much good as is claimed. Or maybe they want anonymity because their company is doing well when many of their peers are not. That can be its own form of loneliness.As I was recording this and trying to describe this feeling, I got stuck onto “the ghost at the feast” that people associate so strongly with Shakespeare's Macbeth.But that's not quite right. In the play, Banquo's ghost shows up, Macbeth is the only character who can see him, and it causes Macbeth to act very erratically, ruining the feast for the guests and especially Lady Macbeth.For this submission, it's more like the submitter is a vigorous person who somehow wandered into a “meal” for ghosts. The submitter's contentment, health, and ability to sate their hunger can't help but cause the ghosts envy and grief by merely existing in their presence.This type of inequality—even if earned entirely through meritocratic means (though it's for me to know where such a thing could exist in the world such as it is)—can make us uncomfortable. As I read the submission, the submitter is proud of their strategy and ability to execute and good read of macro conditions and wants to promenade their success without necessarily wishing any else will or a lack of success.I do wonder in a case like this, if it would be less satisfying to the submitter if everyone received the same success. Would it diminish their value or their foresight? How much of our desire to work is driven by a need to distinguish ourselves as individuals, and to feel our status grow in the eyes of ourselves and others?Who can say what is in the submitter's heart, when even our own can be so mysterious? But if we take them at face value, it's also an encouragement to fight yourself back to health. Don't give up. It's not too late. Get back in the game and catch up to your peer so you can celebrate alongside.SubmissionsN.B. The submissions in Climate Workers Anonymous are anonymous and unverified.* We're actually fine. Times are tough, no doubt, but we keep growing from a large base, and have some really exciting milestones ahead of us. In some ways, I wish I saw more fighting spirit from our industry. Some large incumbents aren't getting the funding to take them to the scale they expected, but somehow they've decided to just do nothing instead. Complete silence, at least in public, which also makes the bad buyer & investor sentiment a self-fulfilling prophecy to some extent. Surely it'd be better to at least keep building & learning publicly at a smaller scale like we used to? Meanwhile, we feel vindicated in the strategic choices we made that allow us to keep scaling, but it feels like there's nobody to celebrate with if the whole industry is hurting.I enjoy these short and sweet episodes. I'd welcome your thoughts. Please like and share this post out if you enjoyed it, and and subscribe if you aren't already. Below is the info to submit your tales, feelings, thoughts to Climate Workers Anonymous for publication on the podcast and in written form as in this edition.Thanks so much for your support.Sincerely,Ross KenyonCurator of Climate Workers AnonymousThank you for listening to and reading Climate Workers Anonymous. Subscribe to Substack below, and be sure to subscribe in whichever podcast app you use. An amazing rating and review on those podcast apps does a world of good. Would you please do that for me now? Here's Apple Podcasts, Spotify, and YouTube.If you'd like submit your anonymous hopes, fears, or experiences to Climate Workers Anonymous, you can use this Tally survey or email climateworkersanonymous[at]protonmail.com, though I believe the Tally survey is more secure. Do not communicate anything you wouldn't want a hacker to have access to, including an email address that could be linked to you if you email the account on Protonmail.Did you enjoy this post from Climate Workers Anonymous? Please share it out so it can find the people who will love it. Get full access to Climate Workers Anonymous at climateworkersanonymous.com/subscribe

The Hamlet Podcast As a countdown to the release of my new book on August 27th, we are revisiting Macbeth through the lens of the five senses. Most of this is material that escaped both the book AND the podcast - so it's all new, just for you! Written and presented by Conor Hanratty

Macbeth; Act 1, Scene 5 Lady MacbethAugust 16, 2026 "Oh for a Muse of Fire!" The Santa Cruz Shakespeare Festival is rising! The true Repertory Company is expanding - a rare feat in this day and age. Charles Pasternak and Paige Lindsey White climb the brightest heaven of invention in this season with a Macbeth for the ages. And the plan is to continue to on your imaginary forces work. Click here for information about Santa Cruz Shakespeare Click here to follow along with the Macbeth text. Click here for a Scanned version of Macbeth Click here for a First Folio version of Macbeth. Click here to follow along with the Henry V text. Click here for a Scanned version of Henry V Click here for a First Folio version of Henry V.

United States President Abraham Lincoln and his assassin John Wilkes Booth were both deeply immersed in Shakespeare's works. And yet, the conclusions they reached about how best to end tyranny--a feature of both Macbeth and Julius Caesar--could not have been more different. As James Shapiro (Shakespeare in a Divided America) explained to Jacke in a conversation they had in 2023, reading Shakespeare from opposing vantage points is not unusual in American history. What does this mean for our understanding of the past--and our hopes for the future? On Sale Now! For more information and to order ⁠⁠⁠⁠⁠Great Detective! An Adventure for Two People [2-Book Boxed Set]⁠⁠⁠⁠⁠ by Jacke Wilson, visit ⁠⁠⁠⁠⁠press.historyofliterature.com⁠⁠⁠⁠⁠. SPECIAL OFFER! For a limited time, enter promotion code SHIP26 to get free domestic or international shipping! (Available in the U.S., Canada, Austria, Belgium, Denmark, France, Germany, Ireland, Italy, Norway, Portugal, Spain, Sweden, Switzerland, United Kingdom, Iceland, Estonia, Netherlands, Australia, and New Zealand.) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

I interviewed Navid Khonsari & Vassiliki Khonsari about LILI on Sunday, August 31, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for LILI: "In an Iranian city, Lili, the lonely wife of a militia commander, plots a murder to secure her husband's rise within a corrupt regime. But when the killing unhinges the order of things, she is drawn into a network of deep web hackers — modern-day witches — who weaponise hidden truth. This stylised neo-noir game adaptation of Macbeth unfolds through smartphones, computer screens, and deep-state surveillance, immersing players as hackers in the oppressive surveillance state." Here are the contextual domains that are explored: Embody Hacker within the Surveillance State [12] context of an athoritarian government [10] as you watch someone in their home [4], and you're doing this through a computer and communications technology device [3]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Fire Element / Active Presence: A screen life thriller with computer screen-based Interactions, operate computer2nd Center of Gravity of Water Element / Emotional Presence: Cut scenes of the Lady MacBeth character unfold, which are gated by you solving little interactive puzzles3rd Center of Gravity of Earth Element / Environmental and Embodied Presence: Site-specific installation, and lots of theatrical staging. It's not VR, and so you are primarly interfacing with a computer screen within the context of a hacker-like space. You're watching various action unfold over surveillance footage, but you also are primarily interfacing with a computer screen.4th Center of Gravity of Air Element / Mental and Social Presence: Possibility spaces of choices to make. There are some different endings, or at least a follow-up QR code to learn more about the identity of either being a rebel or enforcing the authoritarian rule. The primary mode of instruction comes via a chat window as you get clues for various puzzles that you have to solve. You face some mental friction with each puzzle, but then are rewarded with the progression of the story. There's also the symbolic connections and parallels to Shakespeare's MacBeth to add additional contextualization for how this story might adapt to the context of the authoritarian regime within Iran Archetypal Themes and Character Explored: Authoritarian tendancies as well as control "challenges them to question power, control, and complicity." Power, but bringing up questions of Justice. Artist Statement: "A bold reimagining of Macbeth set in present-day Iran, Lili centers on Lady Macbeth in a screen life thriller that embodies the kind of boundary-pushing work we champion at iNK Stories. Fusing film, theatre, and game design, it confronts rising surveillance and authoritarianism. Blending classic storytelling with AI and interactivity, Lili breaks cinematic convention — inviting audiences to step inside the narrative, make choices, and face consequences in a layered experience that challenges them to question power, control, and complicity." This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The Hamlet Podcast As a countdown to the release of my new book on August 27th, we are going to revisit Macbeth through the lens of the five senses. All of this will be material that escaped both the book AND the podcast - so it's all new, just for you! Written and presented by Conor Hanratty

Other title option we almost went with-the One With All The Curses! Grab your lucky charms as we chat mysterious manuscripts and ciphers, a cursed play, theatre superstitions and the cursed grave of the Bard himself! It's cursin' time!Kelsey covers a couple of cryptic texts like the one which tends to try and kill you if you try to print it, and the famously unintelligible Voynich Manuscript. The manuscript with an unknown language among other mysteries. Shakespeare's Macbeth is also known as the Scottish Play- too cursed to even say aloud! Bu then there's other superstitions around the stage and the author's grave, and after all isn't all the world a stage? Maybe some things are better left unknown, a perfect segue to Keep it Cryptic! Bye!Darkcast Network Promo: Murder in the PNW

Margin Notes is back! This time, the gang tackles William Shakespeare's Macbeth. The conversation covers ambition and its consequences, the danger of consequentialism, and the age-old question of fate versus free will. Is Macbeth the villain of his own story, or a victim of forces beyond his control?   Margin Notes is a book club podcast from the team behind Classical Et Cetera, where host Paul Schaefer sits down with three classically educated undergraduates to discuss one great story per episode.   Purchase Macbeth right here! Macbeth - Memoria Press: Classical Education

Shakespeare and law school might not be as far apart as you thought. Guest Len Niehoff is a professor of law at the University of Michigan Law School and the author of the recent book “Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law,” a book written for both lawyers and non-lawyers offering practical insights into how Shakespeare's works illuminate the questions of law, ethics, and advocacy. As an innovative professor and a lifelong fan of the Bard, Niehoff began studying, and encouraging students to study, Shakespeare's interest in the rule of law, what puts the rule of law at risk, personal responsibility, and how law can be twisted into the unlawful. “It was kind of a natural transition to turn to Shakespeare,” he says. Indeed, “Measure for Measure” and “The Merchant of Venice” have trials at their heart. But Niehoff and his students look at how the law works it into other plays, such as “Julius Caeser,” “MacBeth” and “Hamlet.” Now imagine a group of lawyers meeting up with Shakespeare one evening at a local bar, sharing war stories, funny moments, and issues of ethics, and morality and the law. That's the book. Niehoff's fascinating examination of Shakespeare's work and the law may have you thinking about the human condition differently. Have a question, comment, or suggestion for an upcoming episode? Get in touch at MRogson@SkywardInsurance.com or JAReederJr@gmail.com. Resources Mentioned:  “Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law,” by Leonard M Niehoff “Tanner v. United States”, Justia  “Cattle: Related Cases,” AnimalLaw.info Twombly and Iqbal, “Twiqbal,” Wikipedia “The Crucible,” by Arthur Miller “Shakespeare Unlimited Podcast,” Folger Shakespeare Library “Macbeth,” Shakespeare, full play “Titus Andronicus,” Shakespeare, full play “Henry VI, Part 2,” Shakespeare, full play “Othello,” Shakespeare, full play “Hamlet,” Kenneth Branagh, full movie, free, YouTube American Bar Association American Bar Association Litigation Section

The Daily Quiz - Art and Literature Today's Questions: Question 1: Who was the author of Frankenstein? Question 2: Which author wrote 'The Mysterious Mr Quin'? Question 3: What is the ability possessed by Carrie in the novel by Stephen King? Question 4: Which author wrote 'The Trial'? Question 5: Which author wrote 'The Emperor's New Clothes'? Question 6: In the play Macbeth, the witches' cauldron contains the tooth of which animal? Question 7: In which book does 'Harun al-Rashid' appear? Question 8: Which author wrote 'As You Like It'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

The Hamlet Podcast As a countdown to the release of my new book on August 27th, we are going to revisit Macbeth through the lens of the five senses. All of this will be material that escaped both the book AND the podcast - so it's all new, just for you! Written and presented by Conor Hanratty

Eddie Bazil explores a range of advanced effects techniques, using practical audio examples to demonstrate how creative combinations of delays, reverbs, harmonisers, flangers and phasers can add depth, movement and texture to your productions.Chapters00:00 - Introduction02:43 - Example 1: Multi-Tap Delay05:43 - Example 2: Granular Resynthesis08:10 - Example 3: Wrapping Reverbs12:21 - Example 4: Adding Frequencies With A Harmoniser16:10 - Example 5: Flangers For 3D Motion20:43 - Example 6: Flanger, Phaser and Reverb#EventideUltraTap #SoundtoysCrystallizer #IKMultimediaCSRPlateReverb #AcusticaAudioRICE #EventideH949Harmonizer #BlueCatFlanger #InitialAudio808Studio2 #SoundtoysPhaseMistress #GForceM-tronProIV #EventideBlackholeEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

The Tragedy of Macbeth by William Shakespeare w/Katie Mestres & Jesan Sorrells---Exploring William Shakespeare's Macbeth, this episode examines the enduring power of tragic storytelling in leadership and culture. The conversation focused on why Macbeth continues to resonate with modern audiences, the complexities of Lady Macbeth's ambition and gender roles, and how marriage dynamics shape decision-making under pressure. Key themes include the absence of redemption in tragedy, lessons for leaders about ambition and balance, and the timeless human struggle to make meaning from adversity.Book: MacbethAuthor: William ShakespeareGuest: Jesan Sorrells (Host) Katie Mestres (Guest)---Time-Stamped Overview---00:00 Battle update for King Duncan06:33 Exploring Macbeth's tragedy and relevance today11:17 Analyzing A.C. Bradley's perspective on Macbeth17:47 Modern interpretation of Macbeth's design and themes26:29 Modernizing Shakespeare for Today's Audience31:43 Shakespeare's Role in Historical Popular Entertainment37:50 Lady Macbeth learns of the prophecy43:55 Lady Macbeth and expectations of women leaders48:04 Lady Macbeth's challenge to gender norms51:35 Discussing European History and Enlightenment Origins01:00:10 Lady Macbeth, gender roles, and ambition01:05:56 Exploring Enlightenment ideas and assumptions01:10:31 Struggling with narrative amid tragedy---ResourcesFeatured Book: William Shakespeare: A Brief Life by Paul Menzer.The best primer for understanding the man behind the plays. 37:01Performance Picks:Macbeth (dir. Justin Kurzel; Michael Fassbender & Marion Cotillard). Available on Amazon Prime.BBC Macbeth (David Tennant)---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 ★

Narração inicial de Marcelo Antony como Macbeth (Ato I, cena 7) Neste episódio, atravessamos campos enevoados e castelos tomados pela ambição para acompanhar uma das tragédias mais sombrias já escritas. Sim, estamos falando de Macbeth, de William Shakespeare, a peça que mergulha fundo nos limites do poder, da culpa e do destino, e de sua adaptação cinematográfica de 2021, dirigida por Joel Coen, que recria essa história com uma estética quase impressionista. Então prepare-se para profecias sussurradas por bruxas, decisões irreversíveis e a lenta corrosão da mente de Macbeth enquanto discutimos como o filme transforma o texto clássico em imagens que preservam a tensão psicológica e o peso moral da obra original. Vem ouvir! Comentado no episódio Imagem do podcast Lemmings

Episode 226: Last time I took you through Macbeth, still one of Shakespeare's most performed plays, but now we come to one that is rarely seen and vies with ‘King John', ‘Two Noble Kinsman' and ‘Timon of Athens' as the least performed Shakespeare play. ‘Pericles' is also a play that did not appear in the first folio and in fact did not make it into a folio edition until 1664 with the second printing of the third folio. More of that history in a moment, but it certainly raises interesting questions about why Hemmings and Condell did not include it in the first folio. The dating and early performance history of the playThe printing history of the playThe source material for the play‘Pericles' as a collaborationA short word about George WilkinsA brief synopsis of the playThe riddle that reveals incestThe importance of a good name and familyBrides and fathers contrasted in the playThe Mediterranean locations of the playHow time is placed and passes in the playThe role of Gower in the playThe role of the gods in the playThe recognition sceneThe narrative inconsistencies in the play‘Pericles' as a bitter-sweet comedyCritical reception of the playThe later performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

Macbeth @ Shakespeare by the Sea - Good Show! LA Theatre Bites Recommended! June 26 - July 25, 2026. www.latheatrebites.com

The Hamlet Podcast As a countdown to the release of my new book on August 27th, we are going to revisit Macbeth through the lens of the five senses. All of this will be material that escaped both the book AND the podcast - so it's all new, just for you! Written and presented by Conor Hanratty

Shakespeare's OG thriller Macbeth is as relatable today as it was 420 years ago. And it's coming to Auckland. In-demand director Ben Kilby-Henson's Macbeth exists in a giant underground world, a sewer system used as a refuge after an unspecified catastrophe above ground. Macbeth himself is an ageing soldier with PTSD, the witches are played by children. This modern reimagining has all the original verse. Greed, ambition and lust for power still reign supreme. Susie speaks with Ben, the person behind all this.

I'm on holiday so I'm replaying some of my favourite episodes until I get back.Support the show at https://www.buymeacoffee.com/storiesraspratt If you enjoyed the podcast please like, review and/or subscribe!Support the showTo buy one of my books use this link... https://amzn.to/3sE3Ki2To buy me a coffee use this link... https://buymeacoffee.com/storiesrasprattTo book a ticket to a live show use this link... https://raspratt.com/live-shows/

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

Tonight's sleep story is Macbeth by William Shakespeare, retold by Edith Nesbit. You know the story of Macbeth and Lady Macbeth and their thirst for power at any cost originally written by William Shakespeare. This adaptation by Edith Nesbit condenses and simplifies the story but the end remains the same. If you're still awake, the second story is Measure for Measure. A story you might not be as familiar with. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Apple Podcasts, Spotify or wherever you listen to your favourite podcasts. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.

Episode: 1660 Simplicity, complexity, and Shakespeare.  Today, Seattle Actor Megan Cole is here to talk about complexity, simplicity, and Shakespeare.

For more than a year, a seven-foot creature with glowing red eyes and folded wings terrorized Point Pleasant, West Virginia—and just weeks after the sightings stopped, the Silver Bridge collapsed and killed 46 people, leaving the town to wonder whether the Mothman had been a monster, a warning, or something far worse.EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/RedEyesOfMothmanREAD or DOWNLOAD the full transcript of this episode:https://weirddarkness.tiny.us/2p8s2fxtFEATURED STORIES IN THIS EPISODE: Most everyone is familiar with the King James Bible, but did you know that King James also wrote a book on demonology during the witch hunts and trials? (The King James Book of Demonology) *** Her gravestone, decorated with a cross and flowers, reads “Jerrilynn S. Mullins — Beloved wife and best friend.” It could also be added, “a victim of a crime that will likely never be solved.” (The Unsolved Mystery of Jerrilyn Mullins) *** It was on November 15th 1966 that Point Pleasant, West Virginia had its first experience with what later became known as the Mothman. Many believe it was either the cause of a horrific bridge collapse, or perhaps a harbinger of the doom that was soon to come. The mystery remains to this day – as do some of the eerie happenings in the area. (Mothman Attacks) ** 17-year-old Kendrick Johnson was found dead in his high school's gym – but the circumstances of his death have brought more questions than answers. Was Kendrick's death a tragic accident – or cold-blooded murder? (The Mysterious Death of Kendrick Johnson)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.519 = Mothman Attacks00:12:50.814 = The Mysterious Death of Kendrick Johnson ***00:32:56.273 = Unsolved Mystery of Jerrilyn Mullins ***00:44:05.678 = The King James Book of Demonology ***00:54:07.021 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The Mysterious Death of Kendrick Johnson” from The Scare Chamber: https://weirddarkness.tiny.us/dkuavkb3“The King James Book of Demonology” by Jacob Shelton for Graveyard Shift: https://weirddarkness.tiny.us/34vaad3z“Mothman Attacks” by Troy Taylor: https://weirddarkness.tiny.us/5ac64hhn“The Unsolved Mystery of Jerrilyn Mullins” by Troy Taylor: https://weirddarkness.tiny.us/224xc2w7(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: November 15, 2021This episode of Weird Darkness, hosted by Darren Marlar, moves from a winged cryptid haunting a West Virginia river town to a Georgia teenager found dead inside a rolled wrestling mat, a Minnesota newlywed who vanished from a restaurant parking lot, and a king of England who wrote a manual on demons.It opens with the Mothman, first reported on November 15, 1966, when two young married couples driving past an abandoned World War II TNT plant near Point Pleasant, West Virginia, spotted a six- or seven-foot gray figure with folded wings and glowing red eyes that rose into the air and pursued their car down Highway 62 at over 100 miles per hour. That same night, contractor Newell Partridge of Salem watched his television fill with a strange pattern before his dog Bandit chased two red eyes toward the hay barn and disappeared forever, and the next day Roger Scarberry described passing a large dog's body near the city limits that was gone minutes later. Over the following year roughly 100 people, including Marcella Bennett, reported the creature alongside UFO sightings and men in black, and on December 15, 1967, the 700-foot Silver Bridge linking Point Pleasant to Ohio collapsed during rush hour and killed 46 people, cementing the belief that the Mothman had been a harbinger of the disaster.From there the episode turns to Kendrick Johnson, the 17-year-old three-sport athlete found dead on January 11, 2013, stuffed head-down inside a rolled wrestling mat in the old gym at Lowndes High School in Valdosta, Georgia. Investigators ruled the death an accidental positional asphyxia, theorizing the boy fell in reaching for a shoe, but his 19-inch shoulders could not fit through the mat's 14-inch opening, an hour of footage from all four gym cameras was missing and altered, and his organs were found removed and replaced with newspaper. A second and third autopsy revealed blunt force trauma to his neck and right chest, a fabricated confession recording sold to his family for $1,000 was exposed as a hoax by Sheriff Ashley Paulk, and the case, which once entangled FBI agent Randy Bell's sons Brandon and Brian Bell, was officially reopened on March 10, 2021.Vanishing from a restaurant parking lot is what happened next to Jerrilyn Mullins, a 28-year-old Oakdale, Minnesota, newlywed who left the dinner table at a Chi Chi's in Richfield around 9:00 p.m. on November 15, 1978, and was last seen by her husband's coworker Patrick Melbourne, who said he drove her 22 miles back to a Howard Johnson's and left her there. Her decomposed body surfaced in a Lake Elmo swamp on June 30, 1979, identified through dental records and jewelry, with two autopsies unable to determine a cause of death though her stomach contents placed her killing within an hour of leaving the restaurant. Melbourne, who carried a long record of sexual assault allegations and was later convicted of crimes against a 10-year-old girl, remained the prime suspect; husband Ron Mullins lost a 1989 wrongful-death civil suit for lack of evidence, and the Washington County case stayed unsolved when Melbourne died in 2015.The episode closes with King James VI and I, who returned from a 1589 trip to Denmark obsessed with witchcraft and published Daemonologie in 1597, the only treatise of its kind written by a reigning monarch. In its pages he catalogued the signs of demonic possession, describing superhuman strength exceeding six men, iron-hard skin that could not be pierced, and victims speaking languages they never learned, while arguing that demons inhabit the corpses of the pious and that only prayer and fasting, not Catholic ritual, could repel them. He acknowledged werewolves as men suffering an excess of melancholy rather than cursed creatures, dismissed fairies as illusions sent by the Devil, fixed the ratio of female to male witches at 20 to 1 by reasoning that women were more easily deceived as Eve had been, and produced a work that fueled the European and colonial witch hunts and shaped the weird sisters of William Shakespeare's Macbeth.