Podcast appearances and mentions of margaret hale

North and South by Elizabeth Gaskell chapter 18 "Likes and Dislikes", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:When Margaret returns home, she finds two letters on the table and starts to read one of them, from her aunt, when her father walks in and asks about the doctor's visit. Margaret is avoidant, causing her father to worry a little and press her for more information. Margaret sees that her father is worried for his wife, and during that evening, he constantly brings the conversation around to his wife's health. After supper, he paces back and forth worrying for his wife and then goes to see her. When she wakes up, he goes to read the letters to her, the other one is from Mrs. Thornton, asking them to a dinner. Though Mrs. Hale is too ill to attend, she insists on her husband and daughter going. The following day, Mr. Hale and Margaret discuss this dinner a little more together before going about their days.At the Thornton residence, Mr. Thornton asks his mother which guests are going to be attending the dinner. Mr. Thornton tells his mother that he is very worried for Mrs. Thornton after what Dr. Donaldson told him. Fanny tries to jest with her brother about the Hale family but only ends up vexing him. Mrs. Thornton gives her opinion on the family which vexes John too, but he doesn't react to his mother's comments. Fanny then says that Margaret is not accomplished, “she does not play.” After all this, John tells his mother that he wishes she would like Margaret… His mother asks if he is thinking about marrying her, “a girl without a penny,” to which he replies that she would never have him even if he did want her. Mrs. Thornton then says that she has too high an opinion of herself to accept her son. He closes the conversation by saying that he believes that Margaret could soon be in need of motherly care. The conversation then turns to the strikes. Mr. Thornton's men have not yet struck and will work out their week; if they were to leave their posts beforehand, he would take them all to court for breech of contract. Mrs. Thornton suggests that he gets replacement workers from Ireland to spite his disrespectful workers. He says that the Americans are getting cheaper fabric into the market and thus need to pay everyone less to be able to compete, but the workers don't know this. Mrs. Thornton apologises for choosing to host a dinner while all of this is going on, which her son agrees with, but it had to be done. After everyone else goes to bed, Mr. Thornton stays awake thinking and pacing.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 17 "What is a Strike?", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Margaret is really not feeling like going out but eventually livens up a little in the hustle and bustle of the Milton streets. She decides to go and see Bessy Higgins. Nicholas is there when she goes in and offers her a chair, while she asks Betty how she is. Bessy doesn't like the strike, and this is the 3rd one she has seen. Nicholas is adamant that this one will be the final one, the good one. Margaret asks them what a strike is. Margaret tells them that if people down south struck, then no seed would be sown, and no hay would be reaped. Nicholas doesn't seem to be bothered by this but eventually says that he doesn't know enough about the south but has heard that the men down south are all too soft to strike, compared to the Northen men. Bessy says that she wishes she lived down south, causing Margaret to tell her that there are problems down there too. Nicholas gets a little riled up about people not willing to fight for what they deserve. Nicholas eventually says that there are several masters in town that have told them that they are going to offer lower wages than they had over the last 2 years, so then workers are going to strike; why should they do the same works for less. He goes on to say that he is striking not only for himself, but for everyone else. He is taking up the cause for everyone who cannot work. Margaret asks him to ask the masters why they are offering less, believing that they will freely tell. Nicholas laughs this off, and says that the masters would never reveal why, as they believe that they have no need to tell the hands what is going on. He then mentions Mr Thornton's name. Margaret ask to know what Thornton is like as a master. Nicholas describes the man as a bulldog; the moment he gets a hold of a notion he will not let go of it. Bessy wishes that there would be talk of other, happier things in her happier days, and she mentions that tobacco smoke chokes her. Nicholas puts his pipe out and then leaves the girls to talk alone. Bessy asks Margaret if she is a fool for letting her father go out like that, she knows that he is going to go and drink. There are days here where people just go through the motions, hoping for change, and people will do something different, like drink, or eat, just hoping for something different in their mouth or their minds. Bessy doesn't blame people for doing these things but wishes that things weren't like they were. There are many reasons for people to get mad during a strike and they will turn to worse actions. Bessy says that Margaret does not know anything about strikes, and this is just the beginning. Margaret tells Bessy to be careful; she has issues too. Margaret says that she has to go home to her sick mother and pretends to her father that everything is fine. Bessy then goes on a religious tangent about revelations, and Margaret begs her to focus on the clearer passages and not the prophecies. Margaret leaves to go home, thanking Bessy for talking to her about her grievances. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 16 "The Shadow of Death", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:A doctor has finally come to see Mrs. Hale, but in spite of how close Margaret and her mother have become, Margaret is not permitted to be in the room with the doctor and her mother. Margaret goes into her mother's room to wait for the doctor to finish. She hears all sorts of concerning sounds from her mother and then the sound of scraping chairs. The doctor closes the room behind Mrs. Hale and Margaret goes to ask him questions. He is very hesitant to respond at first, Mrs. Hale asked him not to tell her about state of her health, but Margaret is very persistent. He eventually submits, and tells Margaret calmly, but sadly, that Mrs. Hale is very ill and does not have terribly long left. Margaret is distraught and tries to calm herself enough to ask more questions in spite of her tears. He says that he will come back to check on her mother and lets Margaret know that she must look at him as a friend and not just a doctor, it is the only way to go forwards. Following the doctor's departure, Margaret goes into her mother's room and takes her mother's hand, letting her know that the doctor told her the truth of her illness. Mrs. Hale is very upset with her but does not let go of Margaret's hand. Margaret begs her mother to let her act as a nurse, saying that she will learn whatever she can from Dixon, but Mrs. Hale is very caution of this. They then talk of Helstone, and while Mrs. Hale admits that she never really liked the place, the thought of never seeing it again greatly upsets her, but the idea of never being able to see her son, Frederick, again force the tears out. Margaret calls to Dixon for help. After Mrs. Hale has been calmed, Dixon and Margaret talk about her mother's sickness, and Dixon tells Margaret that she must not tell her father the real extent of Mrs. Hale's sickness; Margaret never intended to do so, not right away, but this conversation managed to mend the relationship between Margaret and Dixon. Dixon tells Margaret to go on a walk to recover herself before Mr. Hale comes home.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 15 "Masters and Men", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mr Hale and Margaret go to repay a visit to Mrs. Thornton. Mr Hale finally starts to talk about his wife's health which Margaret likes, having been worried about his nonchalance. He is worried about her and feels scared that their coming to Milton will be the death of her. Margaret tries to calm him a little, but they are nonetheless both worried. When they arrive in the Marlborough Street, they are shocked to not find a large stately house, considering the wealth of Mr. Thornton. Asking a passer by, they find out that Mr. Thornton resides in the house that connects to his factory. The walls are darkened by the smoke of the factory, but inside the house, everything is perfectly clean and white, spotless. The two talked quietly together before being joined by Mrs. Thornton. Margaret tried to explain to the woman that her mother was not well enough to come, but because she tried to explain it in a way that wouldn't make her father more worried either, she give the impression to Mrs. Thornton that Mrs. Hale could have made the effort if she could be bothered to. They talk about Mr. Thornton, and his mother declares that she doesn't see the point in her son taking up his studies again; he should focus on his business. A man should focus on maintaining his place amongst the ranks of the merchants, and her son is known all over Europe amongst the merchant class. Mr. Hale and Margaret had never heard of him before Mr. Bell told them of him. Mrs. Thornton picked up on this and asked them flat out if they knew about him. They end up saying that Mr. Bell told them of her son. Mrs. Thornton then brings up the topic of a strike that is going to be taking place in the city of Milton. Her son is going to be incredibly busy dealing with it. Later, Mr. Thornton goes to join the Hales at their place of residence to give them a doctor's name and address. Margaret thanks him deeply. Mr. Hale brings up the strike. Mr. Thornton explains what is happening and goes on to explain that the workers do not know what is going on behind the scenes, the only thing that they care about is that their wages are not being increased, they have no idea that the business are struggling more than in previous years. He says also have no right to know what a businessman does with his money, and that they shouldn't care about it either. Margaret test him on this but also claims that she knows so little about economics that she cannot properly push him on the subject. They go back and forth a little bit and then Margaret brings up someone abusing the masters and Mr. Thornton presser her asking who she heard saying such things. Margaret goes back and says that if workers are kept ignorant, then it is better for the Masters. Mr. Hale tries to get his daughter to be quiet, as he hears Mr. Thornton getting offended. Mr. Thornton then tries to explain his position further and goes to say that he wishes to work to benefit both his workers and himself, but he feels no need to explain his actions to them. Mr. Thornton then leaves saying goodbye to Mr. and Mrs. Hale, and then to Margaret after privately apologising to her for his tone of voice.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 14 "The Meeting", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Margaret and her mother are growing closer in her illness, and Margaret is finally feeling like she has the place she always wanted. One evening when Mr. Hale is out, her mother starts to talk of Margaret's brother Fredrick. There was a terrible storm the previous night, and every time there is a storm, Mrs. Hale claims that she can only think of Fredrick on a ship somewhere in the sea. She says that she is very glad that he is now on shore again. Margaret asks where he is based now, and her mother responds that he is somewhere in Spain, but that he has taken the name of Dickenson, so that he cannot be recognised. Margaret asks properly, for the first time, what truly happened. Mrs. Hale sends Margaret to her cabinet to get some letters from Fredrick. Margaret starts to read the letters, but her mother takes over and tells her what happened. Fredrick was put onto a ship called the Orian where he worked under a man called Mr Ried, whom he did not like. Later he was put on another ship called the Russell, where said Mr. Ried was in command. Fredrick promised that he would try to get along with the captain, but it seems that Mr Ried is a very strict captain. One letter tells how Mr. Ried threatened to flog the last sailor to climb down from the rigging, and the men, terrified of the beating that would await them raced down as fast as they could. The highest man decided it would be quicker for him to jump and try to catch a rope on his way down, but he missed and hit the deck instead. Mrs. Hale says that they only received this news after the mutiny. That captain Ried was sent off to drift in a boat with a few men while the rest set off to be pirates. Mrs. Hale was certain that her Fredrick would be with Mr Ried and that his surname had just been misspelled in the newspaper. When Mr. Hale came back from collecting the paper that day he was so stunned that he could hardly speak, and when Mrs. Hale read that paper, the was so disgusted by what was written about her son that she ripped it up, even with her teeth. She is certain that he son was innocent in the affair, and even if he wasn't, she is prouder of him for defending the innocents than letting people be bullied. Margaret then asks if it would be possible for her brother to come home one day to which Mrs. Hale tearfully responds that he would be hanged if he were to ever come back to England. On announcing this, Mrs. Hale turns away from her daughter, too hurt by the thought of her son's punishment.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 13 "Soft Breeze In A Sultry Place", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Margaret goes to the Higgins' house to spend as much time and she can with Bessy. Mary, her sister, has tried to tidy the house but she hasn't done a very good job of it. Bessy it not doing well and is laying on a short sofa in the living room. Bessy asks Margaret about her clothes and is stunned when Margaret says that she got them from London. Margaret then tells Bessy about Helstone, the first time she has talked about it since they came to Milton. She describes the birds, the farmers, and the trees and Bessy listens attentively. Bessy says that she used to believe that if she just had one day to relax in a place like Helstone, then she would have gotten better. She is afraid that she would even need time to rest before going to heaven. Bessy has an attack of Hysteria from her illness and nearly attacks Margaret but is soon out of breath and Margaret calms her down. Margaret says that she is not afraid of Bessy after what happened. Bessy says that she was well before her mother passed away, but after that, she was forced to work, and in a carding mill, her lungs got full of the fluff from cutting the cards. Bessy says that many people get sick from it, and that she isn't the only one sick. She says too that there are sorts of fans that millers can buy to help get rid of the dust, but because it doesn't bring a profit, they don't get bought. She had to work to help send her sister to school, and her father had a habit of going to costly lectures and now she is sick… Bessy then asks if Margaret could become friends with her sister too. Margaret says that she can, but it would be difficult to get Mary a job in her own home to stop her from going to the Mills. At home and as time goes on, Mrs. Hale is getting sicker. Mr. Hale wishes to dismiss his wife's illness, but he knows that she is sick. Margaret wishes to send for a doctor, but he doesn't want to, believing that his wife would tell him if she needed one. He knows however that his wife is indeed ill and just doesn't want to think about it potentially being his fault for bringing his family to Milton. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 12 "Morning Calls", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mr. Thornton has some difficulties in convincing his mother to visit the Hale's. Though he bought her a carriage to make her life easier, she refused to let him keep horses. She didn't think that she would make enough visits to warrant the price. He rents horses for her for the day. Mrs. Thornton's relationship with her children is strange, though she uses terms like “dear” and “love” with her daughter and only calls her son “John,” and talks to him as if he were just a normal person, not her son, she cares far more for her son than her sickly daughter. The following day, Mrs. Thornton tells her daughter, Fanny, that she is going to have horses for the day and asks if she would like to see the nurse. Fanny says that she has a headache and would prefer if the nurse could come to visit her at home. When John enters, he tells his sister that she will, regardless of headache, be visiting the Hales with her mother. He leaves before she can try to protest. Mrs. Thornton is curious as to why her son wishes them to meet these Hales so much.At the Hale's, Mrs. Thornton notices that place is full of knickknacks, and notes to herself that it must be a lot of time-consuming work to dust everything, and that for people with little income, time spent is money wasted. Mrs. Thornton sits with Mrs. Hale, and Fanny with Margaret. Fanny asks lots of questions to Margaret about music and seems to be testing Margaret's patience as she gives rather cold answers. Fanny asks her then if she has ever been to London, and when Margaret says that she lived there for several years, Fanny is full of glee, saying that she would love to be able to go there. Margaret is confused as to why she has never been there, but Fanny says that her mother won't let her go there, she is too attached to Milton. On this, Mrs. Thornton asks why the girls are speaking about her. Fanny gives a response that vexes Margaret. Mrs. Thornton then presses Margaret to know what she knows of Milton, whether she has been to nay of the factories. Margaret says that she does not really care for factories. Mrs. Thornton is very proud of Milton and says that if Margaret will consider lowering herself to visit one, then a visit could indeed be arranged. Later on, in the cab Mrs. Thornton says that they shall maintain a civil relationship with the family but warns her daughter against becoming close with Margaret. Fanny says that she does not need to worry about that. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 11 "First Impressions", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mr. Hale talks to his family about Mr Thornton, and he says to his daughter that he half expected her to run away when he mentioned that he was a shop-boy. Margaret disagrees with her father and says that this was actually the only point of his story that he liked and respected. Mr. Hale then tells his family more about Mr. Thornton's childhood, what he heard from Mr Bell. It was a very hard childhood, but he did his best to make up for his father's debts and in the end paid all of his father's debts off. Margaret then goes on to say that she does not like Mr. Thornton, in spite of his relationship with her father. He retorts that it does not matter as he like Mr. Thornton and then goes to say that he is concerned about Mrs. Hale's health. It is true that Mrs. Hale's health has not been good since the move to Milton, and Dixon is often seen crying by Margaret. And her mother is often seen praying alone is her room. Margaret determines that she will try and take some of the burden off of her mother and find a house maid. A few days later, still finding now luck in finding a housemaid, Margaret runs into Bessy Higgins in the street and strikes up a conversation with her. She asks how she has been and the sick girl replies that while she is coughing less, she is still not better. Margaret then asks her if she wishes to die, after a long pause, the girl replies that if she has to continue living the way that she currently lives, then she would be glad if the doctor's words of her not seeing another winter would be true. They talk for a little more and Bessy says that she and her father were upset by her not following up on her promise to visit. On this, Margaret asks if she can come directly home with her. At her home, they go into the living room, and Margaret is shocked by how much of a tole the short walk took on the girl's health. She gasps for air and Margaret tries to help her to water, after which the girl closes her eyes. Margaret tries to tell her to remember that god gave her the life that she has but is shut down by Nicholas Higgins who entered the home after they did. He says that he only believes what he sees and scolds Margaret again for breaking her promise to visit. Bessy awakens again but then falls truly ill in spasms. Margaret tries to help her and everyone gives the girl some space. When she awakens, her father takes her upstairs only after Margaret promises to visit them again on the next day. When Margaret goes home however, she is told by her father that Mrs. Thornton is going to visit the next day, causing Margaret to worry about keeping her engagement at the Higgins'. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 9 "Dressing for Tea", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:The next day Mr Hale is hesitating to tell his family something. Eventually, much to Mrs. Hale's dislike, he says that he has invited Mr. Thornton to tea. Mrs. Hale is very confused, firstly she does not know what to serve him and supply him with for entertainment, but secondly, she has no second maid to help prepare everything. Margaret says that she will help and tries to reassure her mother that Mr. Thornton's entertainment will be talking to her father. She is looking forward to properly meeting Mr. Thornton, though she wishes that she could have had more time to prepare for the evening instead of it being thrust upon herself. She is extremely fatigued after helping Dixon prepare everything and Mrs. Hale is stunned that her life has come to this…her daughter doing housework. She scorns Mr Thornton's name. Margaret tries to correct her mother's behaviour, but Mrs. Hale remains still unconvinced. At the other side of town, in Mr Thornton's house, a perfectly dressed older woman is repairing a tablecloth. Hearing a footstep in the corridor she calls out “John” surprised to hear her son's footstep. Seeing him, she asks what he is doing, and was he not supposed to be having tea. He replies positively to this and says that he has come only to change his clothes. This perplexes his mother, as in her day, people went for tea after work, they didn't come and change before meeting people, and in any case, what does he want in having tea with “an old parson.” He corrects his mother that Mr. is a gentleman and his wife and daughter are ladies. Mrs Thornton asks why he never mentioned his wife and daughter before, and her son replies that he has never met the mother and has only met the daughter once and thus felt it wasn't relevant. His mother makes a remark about staying safe from the claws of a southern girl who would only want his money. He says to his mother that he is not easily caught. Again Mrs. Thornton says something about southern girls wanting rich husbands, causing her son to tell her about how he was treated by Margaret when they first met. Leaving, he defends again Mr. Hale, and says that if she is awake, he will tell her about Mrs. Hale after tea.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 8 "Home Sickness", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:The change is wallpaper is not enough to convince the family that Milton is their new home. It would need much more for that. Dixon and Margaret are unpacking boxes as fast as possible to get Mrs. Hale settled as fast as possible. There is a deep fog that settles in the morning, and Mrs. Hale is not convinced that she will be able to make a home of this place. Mr Hale is not convinced either and he laments that he should have tried to live in some country place in Wales. Margaret, when alone, is in a state of despair whenever she thinks about having to stay in Milton for the foreseeable future. Margaret thinks about Helston when she sits down on a packing box and tries to distract herself by reading a letter she received from Edith. She and captain Lennox have settled in Corfu, where they are to be stationed for at least a year. Edith describes the place well and tells all about their easy life there. She reminds Margaret too about the night when she met captain Lennox, a date she remembers well. Margaret thinks then about if anyone from the London set will remember her…The family needs to find another maid to help them, but each girl that comes for an interview is rejected by Dixon. Mr. Hale spends much time with his new pupils and it is noted that many people in the area are undereducated because their parents send them to work in factories at a very young age. Mr. Thornton is the eldest of Mr. Hale's students, but the majority of them are older. Mrs. Hale does not care much for her husband spending so much time in contact with his students. Margaret spends much time out in the town trying to look for a girl to help them at home too and comes across many of the people of Milton while they go to and come from the factories. In the street she is accosted by the women because she is nicely dressed and they want to know where she got her clothes from, and she is accosted by the men because she is pretty, and they call out to her in the street… In the Spring, Margaret goes to a field with her father to collect flowers and one of these such men came too with his daughter. Margaret gives a flower to the sickly girl, and her father is grateful for it. Margaret converses with the man while they walk back into town and tries to befriend him and his family. It is eventually agreed that Margaret will visit them. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 7 "New Scenes and Faces", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary: The family has gone to Heston where they plan to settle themselves while they find a house in Milton. It is a very purpose-built town, and Margaret notes that people don't seem to hang around their shopfronts when business is calm, they make work for themselves. They find themselves a hotel to stay in, the first clean one they find. Margaret does not want to think about the future while listening to the lapping waves on the shore, but she must think about it. A few days later Margaret and her father set out to Milton to look at some homes and to provide Mr. Hale to meet Mr. Thornton for the first time. As they approach Milton, they see the blue hazy smoke rise from the city, and they taste the change in the air. The city is made of many brick houses, and the town is heaving with people and trucks making deliveries to the factories. The people are well dressed, but their clothes are baggy. They check themselves into a hotel, and after deciding to see the houses first and then get lunch, Margaret and her father set off. They see several houses and are not fully satisfied with any of them, but with a budget of 30 pounds a year, they cannot ask for much. Margaret manages to come up with a plan for one of the homes however and convinces her father to take it. He drops Margaret off at the hotel to order lunch and heads back to the house to take it, and to try and convince the landlord to change the wallpaper. At the Hotel, Margaret is greeted by a footman who tells her that Mr. Thornton has come to visit her father. She enters the room and greets him with civility. Mr. Thornton is taken aback, not only was he expecting to see Mr. Hale, but he also believed that his daughter must have been a much younger girl. Mr Thornton is frustrated that he has to wait for Mr. Hale to come on a market day, but he is suddenly made calm by Margaret's presence, which he doesn't understand. The two converse briefly while the man is stunned by Margaret's beauty, and he gives short curt answers to her. When Mr. Hale comes home, the two gentleman converse with each other and Margaret goes to the window. When the men have finished talking, Mr. Hale informs Margaret that he couldn't convince the landlord to change the wallpaper for her. When the family eventually moves into the home however, they find that the landlord has changed the wallpaper. It seems that what he was unwilling to do for an unknown Mr. Hale, he was more than ready to do for Mr. Thornton.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 6 "Farewell", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:The Hale family are preparing for their final departure from Helstone. Mrs. Hale and Dixon are slow in their preparations as they keep finding old relics from Margaret and her brother's childhood. Mr. Hale is in his study, and Margaret is directing the removers where to put each box as they are carried to the train station. Margaret, though keeping a brave face, is full of sorrow. She goes for one last time into the garden and there is a dull mist floating in the air. She walks for the first time in the area where Henry Lennox made his proposal and feels very strange, so much had changed since then. She suddenly feels very alone and afraid, and runs back to the house, banging on the door to be let back inside. Charlotte opens the door for her, and Margaret tells her to write once they are settled in Milton. When Mr. Hale comes back inside he is very depressed. He has seen the last of his parishioners, and when Margaret finds out that one of the younger children was waiting for her to come to visit too, she finally bursts into tears. The following day, a chaise comes to collect the Hale family and take them to the train station. As they leave Margaret goes to take one last look at the house, but decides to let her father take it instead, feeling that he deserves it more. They make it to London in the evening, where they are to stay in a hotel for the night before heading North. They are blown away at London life; the town is bustling well after sundown. Mrs. Hale believes that they passed Mr. Lennox, and Margaret goes to look out of the carriage and wishes to have seen him, but not he, them. In the evening, Mr Hale leaves his family to go and see his bookseller, and he leaves his wife and daughter at the hotel where they can only think about going to see their friends. They know however that they cannot go, and they would not be permitted to be sad with them. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 5 "Decisions", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Margaret listens to her mother's plans during the rest of the evening and her thoughts linger on the townspeople who would always be expecting her to come and visit to help them. She tells her mother that they must indeed help the people of Helstone with great enthusiasm, which concerns her mother slightly, so she sends her daughter to bed early. The following day, Mr. Hale comes downstairs and announces that he is going to be out for the day, until around 7pm, letting Margaret know that she has until then to let her mother know the terrible news. Margaret wishes to get the thing over with and asks her mother to join her in the garden. They walk slowly and soon Margaret spews forth the news. Mrs. Hale is at first confused and then shocked and saddened. She goes on to ask why her husband felt like he could not tell her this news himself and is jealous that he told his daughter first. Her sorrows only calm a little when Margaret talks of how much Mr. Hale must have suffered under this tremendous weight. Margaret spend the rest of the day trying to comfort her mother. At around 7, Mr. Hales comes home, Margaret does not go to meet him at the door. When he comes in, he is grey and pale and looks afraid. His wife goes to him and throws herself on his breast where the two cry together. Margaret goes to her room to cry alone. In her room a servant enters and tries to arrange the room, but she is concerned for Margaret and goes to fetch Dixon. Dixon comes and tries to comfort her mistress but end up talking about how awful a man Mr Hale must be to have organised all this without telling any of them. Margaret defends her father and puts their servant back in her place for taking too much liberty. She send Dixon away and bolts the door behind her. Two weeks to organise a removal is almost far too short a time to get it all done, let alone enough time to find a house in Milton. Margaret sets to trying to find a place for her mother to go while she and her father find a house. She finds a place 30 miles away from the industrial town and proposes this to her father, where the agree on it. After suggesting it to her mother, Mrs. Hale's only regret is that her husband cannot join her there too.SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 4 "Doubts and Difficulties", narrated by Isaac Birchall Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mr Lennox is gone and the house is being closed for the evening. While waiting for her parents to come down, Margaret reflects over the affair in the garden. Dinner is quiet and Margaret finds it odd that no one asks about Mr. Lennox. After supper, her father goes over the mantlepiece in thought, and her mother goes to check on the servants. Mr. Hale then calls his daughter over to him, asking her to come into his study with him. In the study he takes a while to start talking, but suddenly, in a burst, he confesses to Margaret that he is leaving Helstone. She is stunned but asks for more clarity. Mr Hale has become disenchanted with the church, and while still devoted to god, he can no longer serve as a minister. Margaret tries to stay calm though his speech, but she cannot help but feel deeply upset by this news. He goes on to say that he has already told the bishop that he shall be leaving his post and that the on the following Sunday, he will give his farewell sermon. He then asks Margaret if she will be able to be the one to tell her mother of this terrible news and while she hates to have to do this terrible job, she agrees when she sees how much stress this act will but her father through. Margaret knows her mother will be very shocked by this news and asks her father where they are going to. He says Milton Northern, a manufacturing town in Darkshire, where he believes that he can make money. He has apparently taken a job as a tutor to an up-and-coming man. Margaret is confused as to what a common man could want to do with a tutor but as her father explains more, she understands a little more. Her mother calls for her and with one last, deep hug, Margaret leaves her father in his study and goes to her mother. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 3 "The More Haste The Worse Speed", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mr Henry Lennox has come to visit, and he is greeted happily by Margaret. He lets her know that her cousin and his brother have now started their proper honeymoon and have gone to Plymouth to catch their boat. Margaret goes to fetch her mother and while she is gone, the man looks around himself and is disappointed to find out in what sort of place Margaret lives. It is not at all how he pictured it. Mrs Hale is not happy about the visit from Mr Lennox, as both she and her husband are not feeling too well, and they are only to have a cold lunch so that the servants can get their work done. Margaret tells her that Mr. Hale likes Mr Lennox, and not to worry about the food, and when pressed by her mother as to what he is to do until lunch, her daughter says that she shall take him into the forest to draw. Mr Lennox and Margaret set out into the forest and find some lovely cottages to draw. Margaret goes off and talks to the old man who lives in one of the cottages and Mr. Lennox draws Margaret and the old man into his sketch. After a couple of hours, they are finished and back up their drawing materials and head back home for dinner. The dinner is fine and conversation is easy. The family then goes into the garden to eat fresh pears for dessert. In the Garden, Henry and Margaret go on a small walk around their grounds. During this walk, Mr Lennox professes his love to Margaret. This declaration greatly shocks her, and she lets him know that she has only ever thought of him as a friend. Mr Lennox is both shocked and heavily disappointed by her response. They go back together to join the family again and Margaret is very upset with her visitor. She wishes that he could never had said anything at all, wishes that things were like they were before. Following this, the mood has changed and Mr. Hale is less impressed with Mr. Lennox, though he has no idea why the man have changed in so short a time. They are very glad when he takes his leave of them to catch the 5o'clock train. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 2 "Roses and Thorns", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Margret is traveling home with her father after Edith's wedding. Her mother did not join them as she they could not afford the dresses that she would have worn, and though her sister would have supplied her with numerous gowns, she was too proud to accept them. Mr Hale was the perfect model of a parish priest. Margret is very hopeful of the future. Her father is sleeping in the carriage and is described as a very handsome man. She also thinks about her brother, and laments over his choice of joining the navy instead of the clergy. She wants to comfort her mother and father and ready's her face to support him when he awakens. Margret is very happy to be back in the countryside; she hated being forced to take a carriage while in town and wants to be able to be with the country folk. Her mother is unhappy with her family's situation and wishes that the bishop gave more attention, and a bigger parish to her husband. Mr Hale shrinks more and more as Mrs. Hale tells him to ask again and again for a bigger parish. Mrs. Hale doesn't really like living in the country, and as the season changes and becomes colder, Margret finds it harder to put up with her mother's complaints. She regrets that all of their neighbours are regular folk, and that everyone worth interacting with lives on the other side of the parish. Margret fights back at her mother for this thought as these people are only worth being with because they have money from a trade, they don't have any status. Margret says that she would prefer to interact with their immediate neighbours. Margret's mother is not a bookish person, and because of this, Mr Hale has retreated most nights into his study to read. Margret is a reader, and loved to go through her father's library, but spends her nights telling her mother about London life, which Mrs. Hale listens to attentively. Margret wishes to ask about her brother but can never bring it up to her mother or father. His room is always kept in perfect order by the maid, but he is never spoken about. Mr. Hale goes out every day to check the post for news of Frederik, and he shoos away from his parishioners because of the lack of news. On one bright sunny day, the housekeeper announces the arrival on HenrySEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

North and South by Elizabeth Gaskell chapter 1 "A Haste to the Wedding", narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:North and South opens with Margret and her cousin Edith in one of the back drawing rooms. Mrs. Shaw is talking with her friends about wedding dresses and wedding ceremonies and Edith fell asleep instead of joining in the conversation. Once Edith marries, Margret will return home from her life in London and be back in the countryside again. A large family dinner was organised to say farewell to Edith before her marriage in a few days' time. Mrs. Shaw regrets her marriage because of a very large age difference between her and her late husband and has determined on her daughter marrying for love.Edith is called for, but as she is asleep, Margret goes in her stead. She is asked by her aunt to go and fetch some Indian Shawls from upstairs to show to her friends. She goes upstairs and reminisces about her first time coming to the nursery at the age of 10 when she was moved to her aunt's home. When she comes down, she is asked to model the shawls for Mrs. Shaw's friends, and they all fawn over the fabrics until the gentlemen enter. Mr Henry Lennox, the brother of Edith's fiancé is talked to by Mrs. Shaw. He soon finds a place to sit with Margret and proceeds to ask her how she is feeling about moving back to the country and asks many questions about what it is like there. Margret however refuses to elaborate on anything and leaves Henry Lennox jesting at her for her closedness. It is clear that he is very keen on her. Edith awakens during this time and goes to play some piano while waiting for her betrothed to arrive. The man soon arrives, and in several days, he and Edith are married, and away they go on their honeymoon. SEO stuff I don't want to do. Elizabeth Gaskell's classic, "North and South" sees Margaret Hale's live uprooted as her family moves to the north of England. Initially disgusted by the ugliness of the industrial town of Milton, Margaret develops a strong sense of social justice after seeing the poverty and suffering of local mill workers.

In North and South (1855), Margaret Hale is uprooted from her sleepy New Forest town and must adapt to life in the industrial north. Through her relationships with mill workers and a slow-burn romance with the self-made capitalist John Thornton, she is forced to reassess her assumptions about justice and propriety. At the heart of the novel are a series of righteous rebels: striking workers, mutinous naval officers and religious dissenters.Dinah Birch joins Clare Bucknell to discuss Gaskell's rich study of obedience and authority. They explore the Unitarian undercurrent in her work, her eye for domestic and industrial detail, and how her subtle handling of perspective serves her great theme: mutual understanding.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrnaIn other podcast apps: https://lrb.me/closereadingsnaRead more in the LRB:Dinah Birch: The Unwritten Fiction of Dead Brothershttps://www.lrb.co.uk/the-paper/v19/n19/dinah-birch/the-unwritten-fiction-of-dead-brothersRosemarie Bodenheimer: Secret-keepinghttps://www.lrb.co.uk/the-paper/v29/n16/rosemarie-bodenheimer/secret-keepingJohn Bayley: Mrs Ghttps://www.lrb.co.uk/the-paper/v15/n05/john-bayley/mrs-g Hosted on Acast. See acast.com/privacy for more information.

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Jack's Cheesecake is opening a storefront. Margaret Hale is helping Western North Carolina for Christmas. A8 is full of holiday cheer. Subscribe online at ⁠OconeeEnterprise.com⁠

Tonight, we'll read the opening to the social novel “North and South,” published in 1854 and written by Elizabeth Gaskell. The novel's protagonist, Margaret Hale, is forced to leave her home in the tranquil, rural south, to settle with her parents in Milton, a fictional industrial town in the north.Elizabeth Gaskell, often referred to as Mrs Gaskell, was an English novelist, biographer and short story writer. Her novels offer a detailed portrait of the lives of many strata of Victorian society Her work is of interest to social historians as well as readers of literature.This episode first aired August of 2021.— read by V —Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tonight, we'll read the opening to the social novel “North and South,” published in 1854 and written by Elizabeth Gaskell. The novel's protagonist, Margaret Hale, is forced to leave her home in the tranquil, rural south, to settle with her parents in Milton, a fictional industrial town in the north. Elizabeth Gaskell, often referred to as Mrs Gaskell, was an English novelist, biographer and short story writer. Her novels offer a detailed portrait of the lives of many strata of Victorian society Her work is of interest to social historians as well as readers of literature. This episode first aired August of 2021. — read by V — Support us: Listen ad-free on Patreon Get Snoozecast merch like cozy sweatshirts and accessories

Chapter 1:What's Jane Eyre about "Jane Eyre" is a novel written by Charlotte Brontë and published in 1847. It tells the story of Jane Eyre, a young orphan girl who experiences various hardships and challenges throughout her life. The novel is a coming-of-age tale that explores themes such as love, social class, morality, and the search for personal independence. The story begins with Jane's childhood, where she lives with her cruel aunt and cousins who disregard her. Eventually, she is sent to Lowood School, a harsh institution where she endures mistreatment but also finds friendship and education. As she grows older, Jane becomes a governess at Thornfield Hall, where she meets her enigmatic employer, Mr. Rochester. A complex romance develops between Jane and Mr. Rochester, but their relationship faces obstacles due to secrets and societal expectations. Jane must also confront her own moral principles and inner struggle to find her true identity. Throughout the novel, Jane seeks to overcome societal constraints and establish herself as an independent woman, ultimately finding happiness and fulfillment. "Jane Eyre" is renowned for its strong-willed and passionate protagonist, its exploration of women's independence, and its critique of social norms and gender roles prevalent during the Victorian era. It remains a classic work of literature, beloved for its vivid characters, emotional depth, and timeless themes. Chapter 2:Author of the Jane Eyre Charlotte Bronte is the author of "Jane Eyre," a captivating novel published in 1847. Bronte, an English novelist and poet, introduced readers to the resilient and independent Jane Eyre. The story follows Jane's journey from her difficult childhood to her adulthood, as she navigates love, hardship, and societal conventions. Bronte skillfully delves into themes of equality, morality, and the pursuit of happiness, showcasing Jane's strength of character and determination. Through her vivid storytelling and powerful writing style, Bronte leaves a lasting impact on readers, solidifying "Jane Eyre" as a timeless classic in literature. Chapter 3:Similar Books like Jane Eyre "Wuthering Heights" by Emily Brontë: This novel, written by Charlotte Brontë's sister, explores dark and passionate love in the Yorkshire moors. It delves into the complex relationships between the characters, with a similar gothic atmosphere to "Jane Eyre." "Rebecca" by Daphne du Maurier: Set in Cornwall, this atmospheric novel follows a young woman who marries a wealthy widower. As she settles into her new life at Manderley, she becomes haunted by the memory of her husband's first wife, Rebecca. Like "Jane Eyre," it is a captivating story of love, secrets, and personal growth. "Wide Sargasso Sea" by Jean Rhys: This prequel to "Jane Eyre" tells the story of Bertha Mason, Rochester's first wife. Set in Jamaica, it explores the racial and colonial issues of the time, giving depth to the character often portrayed as a mere madwoman in the attic. "The Tenant of Wildfell Hall" by Anne Brontë: In this lesser-known work by the youngest Brontë sister, a young widow named Helen Graham moves to Wildfell Hall to escape her troubled past. This novel challenges societal norms and showcases the strength and independence of its female protagonist. "North and South" by Elizabeth Gaskell: This Victorian novel contrasts the lives of Margaret Hale, a resilient and principled young woman from the South of England, and John Thornton, a self-made industrialist from the North. It examines social class, morality, and the struggles of the working class during...

North and South by Elizabeth Cleghorn Gaskell audiobook. Set in Victorian England, North and South is the story of Margaret Hale, a young woman whose life is turned upside down when her family relocates to northern England. As an outsider from the agricultural south, Margaret is initially shocked by the aggressive northerners of the dirty, smoky industrial town of Milton. But as she adapts to her new home, she defies social conventions with her ready sympathy and defense of the working poor. Her passionate advocacy leads her to repeatedly clash with charismatic mill owner John Thornton over his treatment of his workers. While Margaret denies her growing attraction to him, Thornton agonizes over his foolish passion for her, in spite of their heated disagreements. As tensions mount between them, a violent unionization strike explodes in Milton, leaving everyone to deal with the aftermath in the town and in their personal lives. Elizabeth Gaskell serialized North and South between September 1854 and January 1855 in Charles Dickens's magazine Household Words. Upon its publication, Gaskell established herself as a novelist capable of serious discourse on social responsibility and advocacy for change in defiance of established authority. 

North and South is Elizabeth Gaskell's fourth novel and considered by many to be her best. It tells the story of Margaret Hale, a principled young middle-class woman from the rural South whose family are obliged to re-settle in the Northern industrial town of Milton. Joining us to discuss the novel's contemporary relevance, are two new guests: Jennifer Egan, author of A Visit from the Goon Squad and Nell Stevens, author of the memoir, Mrs Gaskell & Me. We cover the books presentation of labour relations at the height of the Industrial Revolution, the changing position of women in society, the reasons for Elizabeth Gaskell's uncertain reputation, her unsentimental treatment of death and – spoiler alert – whether the novel's ending works. Also in this episode, Andy is impressed by No Document, Australian writer Anwen Crawford's ground-breaking work of elegiac non-fiction and John enjoys the exquisite imagination on display in Chloe Ardijis's Dialogue with a Somnambulist, the Mexican novelist's recent collection of stories, essays and pen portraits.

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

North and South is set in the fictional industrial town of Milton in the North of England. Forced to leave her home in the tranquil rural south, Margaret Hale settles with her parents in Milton where she witnesses the brutal world wrought by the industrial revolution and employers and workers clashing in the first organized strikes. Sympathetic to the poor whose courage and tenacity she admires and among whom she makes friends, she clashes with John Thornton, a cotton mill manufacturer who belongs to the nouveaux riches and whose contemptuous attitude to workers Margaret despises.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Basada en la novela de Elizabeth Gaskell, la historia sigue a Margaret Hale, una joven del Sur de Inglaterra cuya familia se muda al Norte y lucha por acostumbrarse a las costumbres de la industrializada ciudad, especialmente después de conocer a la adinerada familia Thornton. http://instagram.com/plumapantalla http://twitter.com/plumapantalla https://ko-fi.com/plumapantalla

Tonight, we'll read the opening to the social novel “North and South,” published in 1854 and written by Elizabeth Gaskell. The novel's protagonist, Margaret Hale, is forced to leave her home in the tranquil, rural south, to settle with her parents in Milton, a fictional industrial town in the north.Elizabeth Gaskell, often referred to as Mrs. Gaskell, was an English novelist, biographer and short story writer. Her novels offer a detailed portrait of the lives of many strata of Victorian society Her work is of interest to social historians as well as readers of literature.— read by 'V' —See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Karin is back and in great form as she talks about one of her absolute favourite books from 19th century England.North and South, written by Elisabeth Gaskell, is a masterpiece of social, economic, political, religious and romantic storytelling. It charts the lives of mainly Margaret Hale, the Thorntons and the Higgins families through the turbulent times of the 1800s during the backlash against the Corn Laws, the formulation of the Anti-Corn League, religious division, social and economic hardship, mass poverty and the industrial revolution.It is a magical blend of intrigue, international trade friction and love that has mesmerised Karin for years and it is why this is her first choice of book from the era to discuss. Gaskell was not only a fabulous novelist, she had real character. It must be remembered how difficult it was in the 19th century for women to be recognised as authors, for their opinions to be heard at all, for them to express thoughts on politics or society or indeed to rival men in any intellectual capacity. Yet through the art of her writing Elisabeth Gaskell was able to do just that. As Karin points out, this was a powerful theme among a number of English women of the period.Just how much women such as Gaskell, Austin, the Bronte sisters and Mary Ann Evans (better known as George Eliot) influenced the Suffragettes at the start of the 20th century I cannot say, yet to believe that the intelligence, grit and deep humanitarian observation they wrote with most definitely influenced their own generation and many generations to follow is too much of a stretch.Many thanks Karin and it is wonderful to have you back!PS: During our conversation I also make reference to Zoe Scaman who has written this essay on some of the experiences women have faced in the advertising industry and it is important for people to realise that gender equality is a battle that still requires fighting. Mad Men. Furious Women. - by Zoe - Musings Of A Wandering Mind (substack.com)There is also a podcast where Zoe Scaman relates her thoughts here: Episode 16 - Zoe Scaman, Founder of Bodacious, Co-Founder of MCX (buzzsprout.com)

Notes:Fable mentions episodes from last year where we discussed creating romantic chemistry outside of physical attraction. Those episodes are:Episode 15: How to write great romantic chemistryEpisode 16: Writing romantic chemistry part 2The Verbivore references a lecture about “The 12 Stages of Physical Intimacy” as presented by romance author Linda Howard. In this episode, we covered stages 1 through 8. Here is the link to an article discussing that talk: https://writersinthestormblog.com/2018/05/using-the-12-stages-of-physical-intimacy-to-build-tension-in-your-fiction/ Here are the physical intimacy stages 1-8:1 - Eye to body2 - Eye to Eye3 - Voice to voice4 - Hand to hand (or arm)5 - Hand to shoulder6 - Hand to waist or back7 - Mouth to mouth8 - Hand to headThe Verbivore mentions the BBC miniseries Wives and Daughters by Elizabeth Gaskell, but she actually meant North and South by Elizabeth Gaskell. The scenes in question are between the characters Margaret Hale and John Thornton.Books Mentioned:Pride and Prejudice by Jane AustenPersuasion by Jane Austen Intimate Behavior: A Zoologist's Classic Study of Human Intimacy by Desmond Morris Divergent by Veronica RothSix of Crows by Leigh BardugoThe Wrath and the Dawn by Renee AhdiehMovies Mentioned:North and South - Richard Armitage and Daniela Denby-AshePride and Prejudice - Kiera Knightly and Matthew MacfadyenMusic from: https://filmmusic.io’Friendly day’ by Kevin MacLeod (https://incompetech.com) Licence: CC BY (https://creativecommons.org/licenses/by/4.0/)

We love period piece movies. We loooooove them, like "speedily drink four glasses of wine and monologue about Darcy staring at Elizabeth across the room" love them. Like "have categorized every love interest in our life according to their Darcy/Wickham/Thornton/Bingley alignment" love them. Like "one of us maybe is getting a PhD in Victorian literature because of them" love them. Like "we know which 'side' Colin Firth dresses on in that movie" love them. But we're also curious about WHY we love them: these aren't movies that present visions of the world that feel that great to any of us. The clothes we admire on Margaret Hale were probably out of this world uncomfortable. And honestly Mr. Darcy probably bathed rarely and thus smelled really bad. So: why???? What is it about this genre that is so compelling? On this episode, we really get into it. We watch 1995's Pride and Prejudice, 2004's North and South, and 2013's Belle and we drink many bottles of wine in order to open communication between our superegos and the alarming id opinion that still thinks dresses with corsets look like a nice option. Hit us up. We definitely want to hear what you think about this one: instagram.com/citizenjanepod twitter.com/citizenjanepod citizenjanepodcast@gmail.com

Margaret Hale, Executive Director of Nutmeg Senior Rides joined Brad Davis about the ride sharing program

MARGARET HALE, EXECUTIVE DIRECTOR OF NUTMEG SENIOR RIDES, spoke to Brad and Paul about door to door rides for people over 50 who can’t or don’t drive.

We interview the lovely Lacey Shaw, creator of Maggie Hale's Corner, a modern day adaptation of North and South. We discuss the updating Margaret Hale to 2017, what makes North and South a timeless story, and how to go about creating a literary inspired webseries. Check out Maggie Hale's Corner on Youtube: https://www.youtube.com/channel/UCtxlTS0P-Uq6rbNqL64PMPw And on Twitter: https://twitter.com/MaggieHCorner

Melvyn Bragg and guests discuss Elizabeth Gaskell's novel North and South, published in 1855 after serialisation in Dickens' Household Words magazine. It is the story of Margaret Hale, who was raised in the South in the New Forest and London's Harley Street, and then moves North to a smokey mill town, Milton, in Darkshire. As well as Margaret's emotional life and her growing sense of independence, the novel explores the new ways of living thrown up by industrialisation, and the relationships between 'masters and men'. Many of Margaret Hale's experiences echo Gaskell's own life, as she was born in Chelsea and later moved to Manchester, and the novel has become valued for its insights into social conflicts and the changing world in which Gaskell lived. With Sally Shuttleworth Professor of English Literature at the University of Oxford Dinah Birch Pro-vice Chancellor for Research and Professor of English Literature at the University of Liverpool And Jenny Uglow Biographer of Elizabeth Gaskell Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Elizabeth Gaskell's novel North and South, published in 1855 after serialisation in Dickens' Household Words magazine. It is the story of Margaret Hale, who was raised in the South in the New Forest and London's Harley Street, and then moves North to a smokey mill town, Milton, in Darkshire. As well as Margaret's emotional life and her growing sense of independence, the novel explores the new ways of living thrown up by industrialisation, and the relationships between 'masters and men'. Many of Margaret Hale's experiences echo Gaskell's own life, as she was born in Chelsea and later moved to Manchester, and the novel has become valued for its insights into social conflicts and the changing world in which Gaskell lived. With Sally Shuttleworth Professor of English Literature at the University of Oxford Dinah Birch Pro-vice Chancellor for Research and Professor of English Literature at the University of Liverpool And Jenny Uglow Biographer of Elizabeth Gaskell Producer: Simon Tillotson.