Podcasts about moby dick

All hands on deck! This episode of Opera for Everyone dives headlong into a leviathan of 21st-century opera: Jake Heggie's Moby-Dick (2010). Adapted from Melville's classic American novel, this seafaring drama is a gripping operatic meditation on obsession, authority, and the power of friendship. With Gene Scheer's cinematic libretto and Heggie's muscular score, the opera captures both the immensity of the sea and the intensity of life aboard the Pequod. Joining Pat on this voyage is guest Candice M. Kelsey, educator, poet, and Melville enthusiast, who brings a literary lens to the opera's adaptation. Batten down the hatches and sail with us into operatic waters where the whale is white, the questions are vast, and the music is epic. For more on Candice Kelsey visit candicemkelseypoet.com  

In Blue Machine (2024), Helen Czerski refigures the ocean as an enormous planetary engine, converting light and heat into motion. Her book invites us to see the ocean not as an ‘absence' but an intricate series of operations that makes life as we know it possible. Blue Machine is an encyclopaedic tour through physics, biology and history of the sea, expansive and propulsive in a way that Peter Godfrey-Smith likens to Moby-Dick. Meehan Crist and Peter Godfrey-Smith are both writers deeply engaged with the sea and what happens when climate change disrupts the workings of the ‘blue machine'. In this episode, they reflect on the ways Czerski's book has changed their thinking about the ocean, and whether new perspectives can ever be enough to change public policy. Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrna⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ture In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsna⁠⁠⁠ture Get the book: https://lrb.me/czerskicr More from the LRB: Richard Hamblyn on deep-sea exploration: https://www.lrb.co.uk/the-paper/v27/n21/richard-hamblyn/hurrah-for-the-dredge Katherine Rundell on the greenland shark: https://www.lrb.co.uk/the-paper/v42/n09/katherine-rundell/consider-the-greenland-shark Liam Shaw on coral: https://www.lrb.co.uk/the-paper/v44/n22/liam-shaw/in-the-photic-zone Amia Srinivasan reviews Peter's book on octopus minds: https://www.lrb.co.uk/the-paper/v39/n17/amia-srinivasan/the-sucker-the-sucker Film: Forecasting D-Day https://www.lrb.co.uk/podcasts-and-videos/videos/lrb-films-interviews/forecasting-d-day Next episode: ‘The Burning Earth' by Sunil Amrith https://lrb.me/amrithcr

In this episode of Old Men Yell At Cloud, we dive headfirst into the crushing waves of Mastodon's 2004 masterpiece Leviathan. Inspired by Herman Melville's Moby-Dick, the album is a relentless concept record packed with thunderous riffs, chaotic drumming, and some of the heaviest storytelling in metal. We break down what makes Leviathan such a landmark release—how Mastodon fused sludge, prog, and hardcore into something that felt completely new at the time. Along the way we talk about the band's early era, the insane musicianship (looking at you, Brann Dailor), and the tracks that still hit like a harpoon twenty years later. Was Leviathan the moment Mastodon became metal's most interesting band? Does it still hold up as one of the greatest concept albums of the 2000s? And why does this record feel like getting dragged into the ocean by a very angry whale? Grab a drink, crank the volume, and join us as we yell at the cloud about riffs, whales, and one of the most ferocious albums of the 21st century.

The Great Glimmering Gopher: A Deep-Down Adventure!

Il femminismo ha rappresentato per Yoko Ono uno dei fondamentali nuclei di riflessione. Del proprio corpo l'artista ha fatto uno strumento politico e del linguaggio artistico un atto di ribellione contro violenza e stereotipi di genere. La sua carriera artistica è stata, tuttavia, a lungo offuscata da una narrativa, alimentata anche dalla stampa, che ne fece una delle figure più demonizzate, ritenuta colpevole della rottura dei Beatles. In questa puntata di “Moby Dick” riflettiamo sia sul valore delle battaglie femministe di Yoko Ono, con uno sguardo agli Stati Uniti dove il corpo delle donne è tornato ad essere un territorio di scontro politico e ideologico, sia sul ruolo delle parole che spesso, anche nei media, alimentano immagini discriminatorie e lesive dell'identità femminile. Lo faremo con Antonella Napoli, giornalista, fa parte del direttivo di “GiULia - Giornaliste unite libere autonome”, che si batte per una corretta rappresentazione di genere sui media, Barbara Leda Kenny, caporedattrice di “inGenere”, è stata rappresentante italiana al Women20 (W20), il gruppo ufficiale del G20 dedicato all'uguaglianza di genere, e Raffaella Baritono, professoressa ordinaria di Storia e politica degli Stati Uniti presso il Dipartimento di Scienze politiche e sociali dell'Università di Bologna e direttrice del Centro dipartimentale di studi sugli Stati Uniti (LAB-USA).

Humorist John Hodgman chats about ruling the "court" in his hit podcast Judge John Hodgman, plus his stint as a cheese monger and why reading Moby Dick does not give you the right to go "a-whaling" in the state of Maine; and China Forbes, lead vocalist of the "little orchestra" known as Pink Martini, joins the program as a solo act and performs "Full Circle" from her album The Road.

What if the books on your nightstand are shaping your soul more than your to-do list ever could? We open with the reality of spiritual warfare, then trace how stories train our desires, sharpen our conscience, and equip us to stand firm when culture bends truth out of shape. This isn't an anti-entertainment rant; it's a field guide for choosing narratives that echo God's order rather than numb us with noise.We dive into why fiction and nonfiction both matter for Christian formation, and how Jesus' parables model the power of narrative to lodge truth in the heart. From late-night dopamine binges to the quiet work of wisdom, we show practical ways to engage books and movies without turning off your brain: pause the scene, name what it's teaching, and measure it against Scripture. We explore beauty, harmony, and resolution in music and art as signposts of a moral universe—one reason some modern stories feel hollow while others satisfy like a resolved chord.Expect vivid examples: Oscar Wilde's The Picture of Dorian Gray as a mirror of conscience, the Odyssey's sirens alongside Proverbs 7, and Tolkien's vision of creation as music that can't be ultimately ruined by discord. We talk Romans 14 maturity, why some should abstain in good conscience, and how others can read widely without losing their footing. Parents will find a blueprint for raising discerning readers—training kids to “smell” the story beneath the story—plus a starter canon that ranges from Little House and Lewis to Moby Dick and Tolkien.Listen to build a wiser bookshelf, a braver heart, and a home that treats every movie night like a masterclass in truth, goodness, and beauty. If this resonates, subscribe, share with a friend who loves great stories, and leave a review to help more people find the show.Send a textSupport the show

What happens when a photographer trades the vast clarity of Mediterranean ruins for the darkness of a prehistoric cave? In this episode of See See by Ceci, visionary Italian artist Domingo Milella takes us on a journey that spans forty thousand years and the full depth of the human spirit. Milella first made his name with luminous large-format photographs of ancient landscapes, the coast of Puglia, the ruins of Petra, the pyramids of Egypt, images of extraordinary stillness that invited the viewer to slow down and breathe. Yet beneath the surface of that early success, a quiet crisis was gathering. In the summer of 2014, at the age of thirty-three, his carefully constructed world collapsed. He retreated to a forgotten village on the Ionian Sea, carrying only two things: his large-format camera and a copy of Moby Dick. Both remained untouched, the camera locked in a cupboard, the book unopened on the nightstand. What followed was a passage through despair and into transformation. Through therapy and the slow archaeology of the self, Milella found his way to the prehistoric caves. There, in total darkness, surrounded by ochre symbols and handprints inscribed tens of thousands of years ago, something shifted. The camera obscura he carried into those narrow tunnels became a mirror of the cave itself: both dark chambers in which images are born from minerals, water and light. In this rich and deeply personal conversation, Milella reflects on darkness as a space of safety and revelation rather than fear; on the intimate connection between memory, the body and the imagination; on the silent pressure of the digital age and its relentless flood of images; and on the nameless, collective authorship that links a teenager's graffiti in a city alleyway to a Paleolithic painter working by torchlight four hours from the sun. What emerges is a meditation on time that refuses to move in one direction, where a feverish child navigating the folds of a bedsheet, an artist kneeling with a mammoth-format camera in a narrow tunnel, and an unknown hand pressing ochre against stone forty thousand years ago are all part of the same gesture. This is an episode about caves: geological, photographic and interior. About the courage it takes to descend into one's own depths. And about the treasure that waits there: not answers, but the oldest and most enduring questions of what it means to be human.

Ahead of her new book What's So Great About the Great Books? coming out in April, Naomi Kanakia and I talked about literature from Herodotus to Tony Tulathimutte. We touched on Chaucer, Anglo-Saxon poetry, Scott Alexander, Shakespeare, William James, Helen deWitt, Marx and Engels, Walter Scott, Les Miserables, Jhootha Sach, the Mahabharata, and more. Naomi also talked about some of her working habits and the history and future of the Great Books movement. Naomi, of course, writes Woman of Letters here on Substack.TranscriptHenry Oliver: Today, I am talking with Naomi Kanakia. Naomi is a novelist, a literary critic, and most importantly she writes a Substack called Woman of Letters, and she has a new book coming out, What's So Great About the Great Books? Naomi, welcome.Naomi Kanakia: Thanks for having me on.Oliver: How is the internet changing the way that literature gets discussed and criticized, and what is that going to mean for the future of the Great Books?Kanakia: How is the internet changing it? I can really speak to only how it has changed it for me. I started off as a writer of young adult novels and science fiction, and there's these very active online fan cultures for those two things.I was reading the Great Books all through that time. I started in 2010 through today. In the 2010s, it really felt like there was not a lot of online discussion of classic literature. Maybe that was just me and I wasn't finding it, but it didn't necessarily feel like there was that community.I think because there are so many strong, public-facing institutions that discuss classic literature, like the NYRB, London Review of Books, a lot of journals, and universities, too. But now on Substack, there are a number of blogs—yours, mine, a number of other ones—that are devoted to classic literature. All of those have these commenters, a community of commenters. I also follow bloggers who have relatively small followings who are reading Tolstoy, reading Middlemarch, reading even much more esoteric things.I know that for me, becoming involved in this online culture has given me much more of an awareness that there are many people who are reading the classics on their own. I think that was always true, but now it does feel like it's more of a community.Oliver: We are recording this the day after the Washington Post book section has been removed. You don't see some sort of relationship between the way these literary institutions are changing online and the way the Great Books are going to be conceived of in the future? Because the Great Books came out of a an old-fashioned, saving-the-institutions kind of radical approach to university education. We're now moving into a world where all those old things seem to be going.Kanakia: Yes. I agree. The Great Books began in the University of Chicago and Columbia University. If you look into the history of the movement, it really was about university education and the idea that you would have a common core and all undergraduates would read these books. The idea that the Great Books were for the ordinary person was really an afterthought, at least for Mortimer Adler and those original Great Books guys. Now, the Great Books in the university have had a resurgence that we can discuss, but I do think there's a lot more life and vitality in the kind of public-facing humanities than there has been.I talked to Irina Dumitrescu, who writes for TLS (The Times Literary Supplement), LRB (The London Review of Books), a lot of these places, and she also said the same thing—that a lot of these journals are going into podcasts, and they're noticing a huge interest in the humanities and in the classics even at the same time as big institutions are really scaling back on those things. Humanities majors are dropping, classics majors are getting cut, book coverage at major periodicals is going down. It does seem like there are signals that are conflicting. I don't really know totally what to make of it. I do think there is some relation between those two things.Ted Gioia on Substack is always talking about how culture is stagnant, basically, and one of the symptoms of that is that “back list” really outsells “front list” for books. Even in 2010, 50 percent of the books that were sold were front-list titles, books that had been released in the last 18 months. Now it's something like only 35 percent of books or something like that are front-list titles. These could be completely wrong, but there's been a trend.I think the decrease in interest in front-list books is really what drives the loss of these book-review pages because they mostly review front-list books. So, I think that does imply that there's a lot of interest in old books. That's what our stagnant culture means.Oliver: Why do you think your own blog is popular with the rationalists?Kanakia: I don't know for certain. There was a story I wrote that was a joke. There are all these pop nonfiction books that aim to prove something that seems counterintuitive, so I wrote a parody of one of those where I aim to prove that reading is bad for you. This book has many scientific studies that show the more you read, the worse it is because it makes you very rigid.Scott Alexander, who is the archrationalist, really liked that, and he added me to his blog roll. Because of that, I got a thousand rationalist subscribers. I have found that rationalists at least somewhat interested in the classics. I think they are definitely interested in enduring sources of value. I've observed a fair amount of interest.Oliver: How much of a lay reader are you really? Because you read scholarship and critics and you can just quote John Gilroy in the middle of a piece or something.Kanakia: Yeah. That is a good question. I have definitely gotten more interested in secondary literature. In my book, I really talk about being a lay reader and personally having a nonacademic approach to literature. I do think that, over 15 years of being a lay reader, I have developed a lot of knowledge.I've also learned the kind of secondary literature that is really important. I think having historical context adds a lot and is invaluable. Right now I'm rereading Les Miserables by Victor Hugo. When I first read it in 2010, I hardly knew anything about French history. I was even talking online with someone about how most people who read Les Miserables think it's set in the French Revolution. That's basically because Americans don't really know anything about French history.Everything makes just a lot more sense the more you know about the time because it was written for people in it. For people in 1860s France, who knew everything about their own recent history, that really adds a lot to it. I still don't tend to go that much into interpretive literature, literature that tries to do readings of the stories or tell me the meaning of the stories. I feel like I haven't really gotten that much out of that.Oliver: How long have you been learning Anglo-Saxon?Kanakia: I went through a big Anglo-Saxon phase. That was in 2010. It started because I started reading The Canterbury Tales in Middle English. There is a great app online called General Prologue created by one of your countrymen, Terry Richardson [NB it is Terry Jones], who loved Middle English. In this app, he recites the Middle English of the General Prologue. I started listening to this app, and I thought, I just really love the rhythms and the sounds of Middle English. And it's quite easy to learn. So then, I got really into that.And then I thought, but what about Anglo-Saxon? I'm very bad at languages. I studied Latin for seven years in middle school and high school. I never really got very far, but I thought, Anglo-Saxon has to be the easiest foreign language you can learn, right? So, I got into it.I cannot sight read Anglo-Saxon, but I really got into Anglo-Saxon poetry. I really liked the Anglo-Saxon Chronicle. Most people probably would not like the Anglo-Saxon Chronicle because it's very repetitive, but that makes it great if you're a language learner because every entry is in this very repetitive structure. I just felt such a connection. I get in trouble when I say this kind of stuff, because I'm never quiet sure if it's 100 percent true. But it's certainly one of the oldest vernacular literatures in Europe. It's just so much older than most of the other medieval literature I've read. And it just was such a window into a different part of history I never knew about.Oliver: And you particularly like “The Dream of the Rood”?Kanakia: Yeah, “The Dream of the Rood” is my favorite Anglo-Saxon poem. “The Dream of the Rood” is a poem that is told from the point of view of Christ's cross. A man is having a dream. In this dream he encounters Christ's cross, and Christ's cross starts reciting to him basically the story of the crucifixion. At the end, the cross is buried. I don't know, it was just so haunting and powerful. Yeah, it was one of my favorites.Oliver: Why do you think Byron is a better poet than Alexander Pope?Kanakia: This is an argument I cannot get into. I think this is coming up because T. S. Eliot felt that Alexander Pope was a great poet because he really exemplified the spirit of the age. I don't know. I've tried to read Pope. It just doesn't do it for me. Whereas with Byron, I read Don Juan and found it entertaining. I enjoyed it. Then, his lyric poetry is just more entertaining to read. With Alexander Pope, I'm learning a lot about what kind of poetry people wrote in the 18th century, but the joy is not there.Oliver: Okay. Can we do a quick fire round where I say the name of a book and you just say what you think of it, whatever you think of it?Kanakia: Sure.Oliver: Okay. The Odyssey.Kanakia: The Odyssey. Oh, I love The Odyssey. It has a very strange structure, where it starts with Telemachus and then there's this flashback in the middle of it. It is much more readable than The Iliad; I'll say that.Oliver: Herodotus.Kanakia: Herodotus is wild. Going into Herodotus, I really thought it was about the Persian war, which it is, but it's mostly a general overview of everything that Herodotus knew, about anything. It's been a long time since I read it. I really appreciate the voice of Herodotus, how human it is, and the accumulation of facts. It was great.Oliver: I love the first half actually. The bit about the Persian war I'm less interested in, but the first half I think is fantastic. I particularly love the Egypt book.Kanakia: Oh yeah, the Egypt book is really good.Oliver: All those like giant beetles that are made of fire or whatever; I can't remember the details, but it's completely…Kanakia: The Greeks are also so fascinated by Egypt. They go down there like what is going on out there? Then, most of what we know about Egypt comes from this Hellenistic period, when the Greeks went to Egypt. Our Egyptian kings list comes from the Hellenistic period where some scholar decided to sort out what everybody was up to and put it all into order. That's why we have such an orderly story about Egypt. That's the story that the Greeks tried to tell themselves.Oliver: Marcus Aurelius.Kanakia: Marcus Aurelius. When I first read The Meditations, which I loved, obviously, I thought, “being the Roman emperor cannot be this hard.” It really was a black pill moment because I thought, “if the emperor of Rome is so unhappy, maybe human power really doesn't do it.”Knowing more about Marcus Aurelius, he did have quite a difficult life. He was at war for most of his—just stuck in the region in Germany for ages. He had various troubles, but yeah, it really was very stoic. It was, oh, I just have to do my duty. Very “heavy is the head that wears the crown” kind of stuff. I thought, “okay, I guess being Roman emperor is not so great.”Oliver: Omar Khayyam.Kanakia: Omar Khayyam. Okay, I've only read The Rubaiyat of Omar Khayyam by Edward Fitzgerald, which I loved, but I cannot formulate a strong opinion right now.Oliver: As You Like It.Kanakia: No opinions.Oliver: Boswell's Life of Samuel Johnson.Kanakia: Boswell's Life of Samuel Johnson. I do have an opinion about this, which is that they should make a redacted version of Boswell's Life of Samuel Johnson. I normally am not a big believer in abridgements because I feel like whatever is there is there. But, Boswell's Life of Samuel Johnson, first of all, has a long portion before Boswell even meets Johnson. That portion drags; it's not that great. Then it has all these like letters that Johnson wrote, which also are not that great. What's really good is when Boswell just reports everything Johnson ever said, which is about half the book. You get a sense of Johnson's conversation and his personality, and that is very gripping. I've definitely thought that with a different presentation, this could still be popular. People would still read this.Oliver: The Communist Manifesto.Kanakia: The Communist Manifesto. It's very stirring. I love The Communist Manifesto. It has very haunting, powerful lines. I won't try to quote from it because I'll misquote them.Oliver: But it is remarkably well written.Kanakia: Oh yeah, it is a great work of literature.Oliver: Yeah.Kanakia: I read Capital [Das Kapital], which is not a great work of literature, and I would venture to say that it is not necessarily worth reading. It really feels like Marx's reputation is built on other political writings like The Eighteenth Brumaire of Louis Bonaparte and works like that, which really seem to have a lot more meat on the bone than Capital.Oliver: Pragmatism by William James.Kanakia: Pragmatism. I mean, I've mentioned that in my book. I love William James in general. I think William James was writing in this 19th-century environment where it seemed like some form of skepticism was the only rational solution. You couldn't have any source of value, and he really tried to cut through that with Pragmatism and was like, let's just believe the things that are good to believe. It is definitely at least useful to think, although someone else can always argue with you about what is useful to believe. But, as a personal guide for belief, I think it is still useful.Oliver: Major Barbara by George Bernard Shaw.Kanakia: No strong opinions. It was a long time ago that I read Major Barbara.Oliver: Tell me what you like about James Fenimore Cooper.Kanakia: James Fenimore Cooper. Oh, this is great. I have basically a list of Great Books that I want to read, but four or five years ago, I thought, “what's in all the other books that I know the names of but that are not reputed, are not the kind of books you still read?”That was when I read Walter Scott, who I really love. And I just started reading all kinds of books that were kind of well known but have kind of fallen into literary disfavor. In almost every case, I felt like I got a lot out of these books. So, nowadays when I approach any realm of literature, I always look for those books.In 19th-century American literature, the biggest no-longer-read book is The Last of the Mohicans by James Fenimore Cooper, which was America's first bestseller. He was the first American novelist that had a high reputation in Europe. The Last of the Mohicans is kind of a historical romance, à la Walter Scott, but much more tightly written and much more tightly plotted.Cooper has written five novels, the Leatherstocking Tales, that are all centered around this very virtuous, rough-hewn frontiersman, Natty Bumppo. He has his best friend, Chingachgook, who is the last of the Mohicans. He's the last of his tribe. And the two of these guys are basically very sad and stoic. Chingachgook is distanced from his tribe. Chingachgook has a tribe of Native Americans that he hates—I want to say it's the Huron. He's always like, “they're the bad ones,” and he's always fighting them. Then, Natty Bumppo doesn't really love settled civilization. He's not precisely at war with it, but he does not like the settlers. They're kind of stuck in the middle. They have various adventures, and I just thought it was so haunting and powerful.I've been reading a lot of other 19th-century American literature, and virtually none of it treats Native Americans with this kind of respect. There's a lot of diversity in the Native American characters; there's really an attempt to show how their society works and the various ways that leadership and chiefship works among them. There's this very haunting moment in The Last of the Mohicans, where this aged chief, Tamenund, comes out and starts speaking. This is a chief who, in American mythology, was famous for being a friend to the white people. But, James Fenimore Cooper writing in the 1820s has Tamenund come out at 80 years old and say, “we have to fight; we have to fight the white people. That's our only option.” It was just such a powerful moment and such a powerful book.I was really, really enthused. I read all of these Leatherstocking Tales. It was also a very strange experience to read these books that are generally supposed to be very turgid and boring, and then I read them and was like, “I understand. I'm so transported.” I understand exactly why readers in the 1820s loved this.Oliver: Which Walter Scott books do you like?Kanakia: I love all the Walter Scott books I've read, but the one I liked best was Kenilworth. Have you ever read Kenilworth?Oliver: I don't know that one.Kanakia: Yeah, it's about Elizabeth I, who had a romantic relationship with one of her courtiers.Oliver: The Earl of Essex?Kanakia: Yeah. She really thought they were going to get married, but then it turned out he was secretly married. Basically, I guess the implication is that he killed his wife in order to marry Queen Elizabeth I. It's a novel all about him and that situation, and it just felt very tightly plotted. I really enjoyed it.Oliver: What did you think of Rejection?Kanakia: Rejection by Tony Tulathimutte? Initially when I read this book, I enjoyed it, but I was like, “life cannot possibly be this sad.” It's five or six stories about these people who just have nothing going on. Their lives are so miserable, they can't find anyone to sleep with, and they're just doomed to be alone forever. I was like, “life can't be this bad.” But now thinking back over it, it is one of the most memorable books I've read in the last year. It really sticks with you. I feel like my opinion of this book has gone up a lot in retrospect.Oliver: How antisemitic is the House of Mirth?Kanakia: That is a hotly debated question, which I mentioned in my book. I think there has been a good case made that Edith Wharton, the author of House of Mirth, who was from an old New York family, was herself fairly antisemitic and did not personally like Jewish people. What she portrays in this book is that this old New York society also was highly suspicious of Jewish people and was organized to keep Jewish people out.In this book there is a rich Jewish man, Simon Rosedale, and there's a poor woman, Lily Bart. Lily Bart's main thing is whether she's going to marry the poor guy, Lawrence Selden, or the rich guy, Percy Gryce. She can't choose. She doesn't want to be poor, but she also is always bored by the rich guys. Meanwhile, through the whole book, there's Simon Rosedale, who's always like, “you should marry me.” He's the rich Jewish guy. He's like, “you should marry me. I will give you lots of money. You can do whatever you want.”Everybody else kind of just sees her as a woman and as a wife; he really sees her as an ally in his social climbing. That's his main motivation. The book is relatively clear that he has a kind of respect for her that nobody else does. Then, over the course of the book, she also gains a lot more respect for him. Basically, late in the book, she decides to marry him, but she has fallen a lot in the world. He's like, “that particular deal is not available anymore,” but he does offer her another deal that—although she finds it not to her taste—is still pretty good.He basically is like, “I'll give you some money, you'll figure out how to rehabilitate your reputation, and later down the line, we can figure something out.” So, I think with a great author like Edith Wharton, there's power in these portrayals. I felt it hard to come away from it feeling like the book is like a really antisemitic book.Oliver: Now, you note that the Great Books movement started out as something quite socially aspirational. Do you think it's still like that?Kanakia: I do think so. Yeah. For me, that's 100 percent what it was because I majored in econ. I always felt kind of inadequate as a writer against people who had majored in English. Then I started off as a science fiction writer, young adult writer, and I was like, “I'm going to read all these Great Books and then I'll have read the books that everybody else has read.” In my mind, that's also what it was—that there was some upper crust or literary society that was reading all these Great Books.That's really what did it. I do think there's still an element of aspiration to it because it's a club that you can join, that anyone can join. It's very straightforward to be a Great Books reader, and so I think there's still something there. I think because the Great Books movement has such a democratic quality to it, it actually doesn't get you to the top socially, which has always been the true, always been the case. But, that's okay. As long as you end up higher than where you started, that's fine.Oliver: What makes a book great?Kanakia: I talk about it this in the book, and I go through many different authors' conceptions of what makes a book great or what constitutes a classic. I don't know that anyone has come up with a really satisfying answer. The Horatian formulation from Horace—that a book is great or an author is great if it has lasted for a hundred years—is the one that seems to be the most accurate. Like, any book that's still being read a hundred years after it was written has a greatness.I do think that T. S. Eliott's formulation—that a civilization at its height produces certain literature and that literature partakes of the greatness of the civilization and summarizes the greatness of the civilization—does seem to have some kind of truth to it.But it's hard, right? Because the greatest French novel is In Search of Lost Time, but I don't know that anyone would say that the France in the 1920s was at its height. It's not a prescriptive thing, but it does seem like the way we read many of these Great Books, like Moby Dick, it feels like you're like communing with the entire society that produced it. So, maybe there's something there.Oliver: Now, you've used a list from Clifton Fadiman.Kanakia: Yes.Oliver: Rather than from Mortimer Adler or Harold Bloom or several others. Why this list?Kanakia: Well, the best reason is that it's actually the list I've just been using for the last 15 years. I went to a science fiction convention in 2009, Readercon, and at this science fiction convention was Michael Dirda, who was a Washington Post book critic. He had recently come out with his book, Classics for Pleasure, which I also bought and liked. But he said that the list he had always used was this Clifton Fadiman book. And so when I decided to start reading the Great Books, I went and got that book. I have perused many other lists over time, but that was always the list that seemed best to me.It seemed to have like the best mix. There's considerable variation amongst these lists, but there's also a lot of overlap. So any of these lists is going to have Dickens on it, and Tolstoy, and stuff like that. So really, you're just thinking about, “aside from Dickens and Tolstoy and George Eliot and Walt Whitman and all these people, who are the other 50 authors that you're going be reading?”The Mortimer Adler list is very heavy on philosophy. It has Plotinus on it. It has all these scientific works. I don't know, it didn't speak to me as much. Whereas, this Clifton Fadiman and John Major list has all these Eastern works on it. It has The Tale of Genji, Romance of the Three Kingdoms, Story of the Stone, and that just spoke to me a little bit more.Oliver: What modern books will be on a future Great Books list, whether it's from someone alive or someone since the war.Kanakia: Have you ever heard of Robert Caro?Oliver: Sure.Kanakia: Yeah. I think his Lyndon Johnson books are great books. They have changed the field of biography. They're so complete, they seem to summarize an entire era, epoch. They're highly rated, but I feel like they're underrated as literature.What else? I was actually a little bit surprised in this Clifton Fadiman-John Major book, which came out in 1999, that there are not more African Americans in their list. Like, Invisible Man definitely seemed like a huge missed work. You know, it's hard. You would definitely want a book that has undergone enough critical evaluation that people are pretty certain that it is great. A lot of things that are more recent have not undergone that evaluation yet, but Invisible Man has, as have some works by Martin Luther King.Oliver: What about The Autobiography of Malcolm X?Kanakia: I would have to reread. I feel like it hasn't been evaluated much as a literary document.Oliver: Helen DeWitt?Kanakia: It's hard to say. It's so idiosyncratic, The Last Samurai, but it is certainly one of the best novels of the last 25 years.Oliver: Yeah.Kanakia: It is hard to say, because there's nothing else quite like it. But I would love if The Last Samurai was on a list like this; that would be amazing.Oliver: If someone wants to try the Great Books, but they think that those sort of classic 19th-century novels are too difficult—because they're long and the sentences are weird or whatever—what else should they do? Where else should they start?Kanakia: Well, it depends on what they're into, or it depends on their personality type. I think like there are people who like very, very difficult literature. There are people who are very into James Joyce and Proust. I think for some people the cost-benefit is better. If they're going to be pouring over some book for a long time, they would prefer if it was overtly difficult.If they're not like that, then I would say, there are many Great Books that are more accessible. Hemingway is a good one and Grapes of Wrath is wonderful. The 19th-century American books tend to be written in a very different register than the English books. If you read Moby Dick, it feels like it's written in a completely different language than Charles Dickens, even though they're writing essentially at the same time.Oliver: Is there too much Freud on the list that you've used?Kanakia: Maybe. I know that Interpretation of Dreams is on that list, which I've tried to read and have decided life is too short. I didn't really buy it, but I have read a fair amount of Freud. My impression of Freud was always that I would read Freud and somehow it would just seem completely fanciful or far out, like wouldn't ring true. But then when I started reading Freud, it was more the opposite. I was like, oh yeah, this seems very, very true.Like this battle between like the id and the ego and the super ego, and this feeling that like the psyche is at war with itself. Human beings really desire to be singular and exceptional, but then you're constantly under assault by the reality principle, which is that you're insignificant. That all seemed completely true. But then he tries to cure this somehow, which does not seem a curable problem. And he also situates the problem in some early sexual development, which also did not necessarily ring true. But no, I wouldn't say there's too much. Freud is a lot of fun. People should read Freud.Oliver: Which of the Great Books have you really not liked?Kanakia: I do get asked this quite a bit. I would say the Great Book that I really felt like—at least in translation—was not that rewarding in an unabridged version was Don Quixote. Because at least half the length of Don Quixote is these like interpolated novellas that are really long and tedious. I felt Don Quixote was a big slog. But maybe someday I'll go back and reread it and love it. Who knows?Oliver: Now you wrote that the question of biography is totally divorced from the question of what art is and how it operates. What do you think of George Orwell's supposition that if Shakespeare came back tomorrow, and we found out he used to rape children that we should—we would not say, you know, it's fine to carry on to doing that because he might write another King Lear.Kanakia: Well, if we discovered that Shakespeare was raping children, he should go to prison for that. No. It's totally divorced in both senses. You don't get any credit in the court of law because you are the writer of King Lear. If I murdered someone and then I was hauled in front of a judge and they were like, oh, Naomi's a genius, I wouldn't get off for murder. Nor should I get off for murder.So in terms of like whether we would punish Shakespeare for his crime of raping children, I don't think King Lear should count at all, but it's never used that way. It's never should someone go to prison or not for their crimes, because they're a genius. It's always used the other way, which is should we read King Lear knowing that the author raped children, but I also feel like that is immaterial. If you read King Lear, you're not enabling someone to rape children.Oliver: There's an almost endless amount of discussion these days about the Great Books and education and the value of the humanities, and what's the future of it all. What is your short opinion on that?Kanakia: My short opinion is that the Great Books at least are going to be fine. The Great Books will continue to be read, and they would even survive the university. All these books predate the university and they will survive the university. I feel like the university has stewarded literature in its own way for a while now and has made certain choices in that stewardship. I think if that stewardship was given up to more voluntary associations that had less financial support, then I think the choices would probably be very different. But I still think the greatest works would survive.Oliver: Now this is a quote from the book: “I am glad that reactionaries love the Great Books. They've invited a Trojan horse into their own camp.” Tell us what you mean by that.Kanakia: Let's say you believed in Christian theocracy, that you thought America should be organized on explicitly Christian principles. And because you believe in Christian theocracy, you organize a school that teaches the Great Books. Many of these schools that are Christian schools that have Great Books programs will also teach Nietzsche. They definitely put some kind of spin on Nietzsche. But they will teach anti-Christ, and that is a counterpoint to Christian morality and Christian theology. There are many things that you'll read in the Great Books that are corrosive to various kinds of certainties.If someone who I think is bad starts educating themselves in the Great Books, I don't think that the Great Books are going to make them worse from my perspective. So it's good.Oliver: How did reading the Mahabharata change you?Kanakia: Oh yeah, so the Mahabharata is a Hindu epic from, let's say, the first century AD. I'm Indian and most Indians are familiar with the basic outline of the Mahabharata story because it's told in various retellings, and there's a TV serial that my parents would rent from the Indian store growing up and we would watch it tape by tape. So I'm very familiar with it. Like there's never been a time I have not known this story.But I was also familiar with the idea that there is a written version in Sanskrit that's extremely long. It is 10 times as long as the Iliad and the Odyssey combined. This Mahabharata story is not that long. I've read a version of it that's about 800 pages long. So how could something that's 10 times this long be the same? A new unabridged translation came out 10 years ago. So I started reading it, and it basically contains the entire Sanskrit Vedic worldview in it.I had never been exposed to this very coherently laid-out version of what I would call Hindu cosmology and ethics. Hindus don't really get taught those things in a very organized way. The book is basically about dharma, the principle of rightness and how this principle of rightness orders the universe and how it basically results in everybody getting their just deserts in various ways. As I was reading the book, I was like, this seems very true that there is some cosmic rebalancing here, and that everything does turn out more or less the way it should, which is not something that I can defend on a rational level.But just reading the book, it just made me feel like, yes, that is true. There is justice, the universe is organized by justice. It took me about a year to read the whole thing. I started waking up at 5:00 a.m. and reading for an hour each morning, and it just was a really magical, profound experience that brought me a lot closer to my grandmother's religious beliefs.Oliver: Is it ever possible to persuade someone with arguments that they should read literature, or is it just something that they have to have an inclination toward and then follow someone's example? Because I feel like we have so many columns and op-eds and “books are good because of X reason, and it's very important because of Y reason.” And like, who cares? No one cares. If you are persuaded, you take all that very seriously and you argue about what exactly are the precise reasons we should say. And if you're not persuaded, you don't even know this is happening.And what really persuades you is like, oh, Naomi sounds pretty compelling about the Mahabharata. That sounds cool. I'll try that. It's much more of a temperamental, feelingsy kind of thing. Is it possible to argue people into thinking about this differently? Or should we just be doing what we do and setting an example and hoping that people will follow.Kanakia: As to whether it's possible or not, I do not know. But I do think these columns are too ambitious. A thousand-word column and the imagined audience for this column is somebody who doesn't read books at all, who doesn't care about literature at all. And then in a thousand-word column, you're going to persuade them to care about literature. This is no good. It's so unnecessary.Whereas there's a much broader range of people who love to read books, but have never picked up Moby Dick or have never picked up Middlemarch, or who like maybe loved Middlemarch, but never thought maybe I should then go on and read Jane Austen and George Eliot.I think trying to shift people from “I don't read books at all; reading books is not something I do,” to being a Great Books card-carrying lover of literature is a lot. I really aim for a much lower result than that, which is to whatever extent people are interested in literature, they should pursue that interest. And as the rationalists would say, there's a lot of alpha in that; there's a lot to be gained from converting people who are somewhat interested into people who are very interested.Oliver: If there was a more widespread practice of humanism in education and the general culture, would that make America into a more liberal country in any way?Kanakia: What do you mean by humanism?Oliver: You know, the old-fashioned liberal arts approach, the revival of the literary journal culture, the sort of depolitical approach to literature, the way things used to be, as it were.Kanakia: It couldn't hurt. It couldn't hurt is my answer to that question.Oliver: Okay.Kanakia: What you're describing is basically the way I was educated. I went to Catholic school in DC at St. Anselm's Abbey School, in Northeast, DC, grade school. Highly recommend sending your little boys there. No complaints about the school. They talked about humanism all the time and all these civic virtues. I thought it was great. I don't know what people in other schools learn, but I really feel like it was a superior way of teaching.Now, you know, it was Catholic school, so a lot of people who graduated from my school are conservatives and don't really have the beliefs that I have, but that's okay.Oliver: Tell us about your reading habits.Kanakia: I read mostly ebooks. I really love ebooks because you can make the type bigger. I just read all the time. They vary. I don't wake up at 5:00 a.m. to read anymore. Sometimes if I feel like I'm not reading enough—because I write this blog, and the blog doesn't get written unless I'm reading. That's the engine, and so sometimes I set aside a day each week to read. But generally, the reading mostly takes care of itself.What I tend to get is very into a particular thing, and then I'll start reading more and more in that area. Recently, I was reading a lot of New Yorker stories. So I started reading more and more of these storywriters that have been published in the New Yorker and old anthologies of New Yorker stories. And then eventually I am done. I'm tired. It's time to move on.Oliver: But do you read several books at once? Do you make notes? Do you abandon books? How many hours a day do you read?Kanakia: Hours a day: Because my e-reader keeps these stats, I'd say 15 or 20 hours a week of reading. Nowadays because I write for the blog, I often think as I'm reading how I would frame a post about this. So I look for quotes, like what quote I would look at. I take different kinds of notes. I'll make more notes if I'm more confused by what is going on. Especially with nonfiction books, I'll try sometimes to make notes just to iron out what exactly I think is happening or what I think the argument is. But no, not much of a note taker.Oliver: What will you read next?Kanakia: What will I read next? Well, I've been thinking about getting back into Indian literature. Right now I'm reading Les Miserables by Victor Hugo. But there's an Indian novel called Jhootha Sach, which is a partition novel that is originally in Hindi. And it's also a thousand pages long, and is frequently compared to Les Miserables and War and Peace. So I'm thinking about tackling that finally.Oliver: Naomi Kanakia, thank you very much.Kanakia: Thanks for having me. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

26 novembre 2025 - Ferdinando Fasce - Antonio Di Natale - modera Ilaria Bonacossa

Listening to an old podcast recently, some fellas played Hand of Doom by Black Sabbath on vinyl and spoke about it. I had to cold open this joint with the Ozman and blast a rock episode out of respect. Second, John Bonham on the 1's and 2's sounds so good on the 180 gram wax. Really clean and heavy. Very full tom sounds. Two of the best examples of that being displayed here in Whole Lotta Love and Moby Dick. In the editing process, I crushed the air drums during Linkin Park to the point that I'm supremely confident I'd be able to set the house on fire playing that song on a drum set. It's almost flower planting season and I'm fired up. I pulled weeds in the flower bed today and I'll most likely start the pre seeding process this week. Wooooow. I've devoted my afternoons and weekends lately to expanding my ever-growing Pokemon card collection. No new vinyl pickups lately but I plan to go to the record shop this week and I'm sure I'll leave with something. Itching for some new 45's. For those wondering, I counted today and just a sneak peek into my Pokemon collection. I currently own 39 various Charizards, 80 Pikachus varying in value of course. But still. I'm fired up about it. Completed one of my favorite sets, the Radiant set. It's small, not very difficult to do. But I like them and who cares. Thank you for being a super sick loyal listener of my radio installments. Take good care of yourself and I'll be here all hot and bothered next time..Your Host with the MostHonorable Witwicka Juan Don

19 novembre 2025 - Federico Rahola

12 novembre 2025 - Introduce Ilaria Bonacossa - Vinicio Capossela

In un'epoca in cui la comunicazione è veloce e frenetica, in cui la nostra attenzione è costantemente distratta da qualcosa di nuovo da consumare in fretta, ripararsi in una pratica del silenzio può essere l'inizio di un percorso verso la scoperta del sé. Silenzio e meditazione diventano quindi gli strumenti per trovare una nuova dimensione intima per stare nel mondo con consapevolezza. Nella puntata di “Moby Dick” esploriamo le pratiche di ricerca interiore sia religiosa sia di visione universale, confrontandoci con tre ospiti: Chandra Livia Candiani, poetessa e traduttrice di testi buddhisti. Tra i suoi molti libri ricordiamo Il silenzio è cosa viva. L'arte della meditazione (Einaudi 2018) e Sogni del fiume (Einaudi, 2022); Giuliano Boccali, già professore di Indologia e Lingua e letteratura sanscrita all'Università di Venezia, Ca' Foscari e alla Statale di Milano è tra i massimi studiosi di letteratura indiana e di induismo. Autore di molti saggi e diverse traduzioni dei capolavori classici (Poesia d'amore indiana, 2009; Gitagovinda, 2009), ha pubblicato nel 2017 per la casa editrice Mimesis Il silenzio in India e Fra' Michele Ravetta, rettore del Santuario di Bigorio, teologo e insegnante. 

Episode No. 747 of The Modern Art Notes Podcast features artist Bethany Collins and curator Edouard Kopp. Collins is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with commissioned artworks that address the histories the Lost Cause aimed to whitewash. Collins' contribution to the project is Love is dangerous (2024-25), a sculptural installation that remakes the base of the Stonewall Jackson monument that was installed in Charlottesville, Virginia. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. On March 5 the Museum of Contemporary Art Denver opens "Bethany Collins: The Deluge," a presentation of Collins works that each address -- and navigate -- an existential storm. Across several media, Collins addresses major literary works such as Herman Melville's Moby Dick, and Sophocles' Antigone -- and the US songbook too. The exhibition was curated by Leilani Lynch and is on view through July 5. Among the many museums presenting solo exhibitions of Collins' work are the Seattle Art Museum, the Peabody Essex Museum, Salem, Mass., the Contemporary Art Museum Saint Louis, the Van Every and Smith Galleries at Davidson College, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art at Auburn University. Edouard Kopp is the curator of "Wall Drawing Series: Gladys Nilsson" at the Menil Drawing Institute, Houston. The site-specific exhibition features an enormous Nilsson drawing that features fantastical, hybrid beings surrounding one monumental figure engaged in the act of drawing. It's on view through August 9. Nilsson's work has been the subject of dozens of exhibitions, including a 1973 solo exhibition at the Whitney Museum of American Art. Her work is in the collection of museums such as the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Art Institute of Chicago. Instagram: Bethany Collins, Tyler Green.

Brockway and Seanbaby ask Brockway's wife, Meagan, for her cursed media origin story. She answers with Samson & Sally: a Danish animated film about cute lil' whale children on a search for the legendary Moby Dick. Along the way they'll find their families' corpses, the dancing dead of every war, insane irradiated walruses, and yes! Eventually they do find Moby Dick (dying from dementia). ----------------------------------------------------------------------------------- Robert is going to jail because you didn't buy his book. But it's not too late to help him win some creature comforts in prison. Every copy goes toward the commissary fund! https://linktr.ee/killyourimaginaryfriendd ------------------------------------------------------------------------------

(3:07) How Ocean Alliance Uses 3D Printing for Drone-Based Whale Tagging (06:04) Innovative Solutions: The Snapbot and Snot Analysis (12:10) The Role of Additive Manufacturing in Whale Research This episode was brought to you by Mouser, our go-to source for electronics parts for any hobby or prototype. Click HERE to learn more about how to make healthcare more customizable with 3D printing. Become a founding reader of our newsletter: http://read.thenextbyte.com/ As always, you can find these and other interesting & impactful engineering articles on Wevolver.com.

Ein Wal im Rhein? 1966 sorgt ein weißer Beluga für Schlagzeilen. Der rheinische Moby Dick dümpelt im verschmutzten Fluss, die Medien berichten, und ein Zoo-Direktor geht auf Jagd. Von Daniel Stender.

Seit Jahrtausenden jagen Menschen Wale. Historiker Felix Lüttge spricht über die industrielle Waljagd, deren Verbindung zur Walforschung und die Wirklichkeit hinter "Moby Dick". Interview: Nicole Dantrimont.

®Il pane è l'alimento per eccellenza e antonomasia. Fin dalla notte dei tempi e dalla nascita della storia (sancita proprio dall'avvento della cerealicoltura), attorno a lui lievitano e si moltiplicano i significati: simbolici, culturali, religiosi, politici. A conclusione del dossier di Alphaville dedicato al pane, “Moby Dick” propone un viaggio entusiasmante che riconosce nel pane uno strumento privilegiato per raccontare il mondo, promuovere l'incontro fra persone e culture e diffondere cultura e giustizia alimentari.undefinedLo faremo attraverso le storie, le esperienze e l'impegno di tre persone che, attorno al pane e al cibo, hanno costruito la propria vita professionale e personale: Stefano Pasquini, co-fondatore del Teatro delle Ariette, straordinaria compagnia di attori-contadini che da oltre trent'anni propongono un “teatro da mangiare” in cui testimoniano la loro vita in mezzo ai campi; Diletta Sereni, direttrice editoriale de “L'integrale. Cibo e Cultura” che coglie “il pane come orizzonte e pretesto per raccontare le cose del mondo” e lo chef italo-egiziano Walter El Nagar, fondatore del ristorante Refettorio di Ginevra, che a pranzo si rivolge a una clientela pagante e la sera accoglie i poveri, abbattendo lo spreco alimentare e le disuguaglianze alimentari fra classi sociali, e fondatore della Fondazione Mater, promotrice di un manifesto di Diritto al cibo che vorrebbe iscriversi nella Costituzione svizzera e dell'Unione Europea.Prima emissione: 17 gennaio 2026.

We list the lists while Mikey dies.Check out our Patreon for bonus shows and more!Musical Attribution:Licensed through NEOSounds.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”

more much more at hotliterati.com

Notes and Links to Peter Orner's Work    Peter Orner is the author of eight books, most recently the novel, The Gossip Columnist's Daughter, named one of the best books of 2025 by the New Yorker and the Chicago Tribune, as well as the essay collections, Still No Word from You, a finalist for the PEN Award for the Art of the Essay, and Am I Alone Here?, a finalist for the National Book Critics Circle Award for Criticism. His story collection Maggie Brown and Others was a New York Times Notable Book. Other books include Love and Shame and Love (Winner of the California Book Award) Last Car Over the Sagamore Bridge, The Second Coming of Mavala Shikongo (finalist for the Los Angeles Times Book Award), and Esther Stories. A recipient of the Rome Prize and a Guggenheim Fellowship, Orner is also the editor of three books of oral history for the Voice of Witness series, and co-editor with Laura Lampton Scott of a new oral history series from McSweeney's called “Dispatches.” His work has appeared in The New Yorker, the Atlantic, Harper's, the Paris Review and has been awarded four Pushcart Prizes. With Yvette Benavides, he's the co-host of the Lonely Voice Podcast on Texas Public Radio. Orner recently led short courses on James Joyce's Ulysses, and Melville's Moby-Dick for the Community of Writers/Writers' Annex. He teaches at Dartmouth College and lives in Vermont. Buy The Gossip Columnist's Daughter   New York Times Review of The Gossip Columnist's Daughter    Peter Orner's Website At about 2:30, Peter responds to Pete's question about the feedback he's gotten since the publication of  At about 3:30, Peter expands on ideas of making Chicago concrete for his readers At about 4:40, Peter gives background on family's roots in Chicago and in Eastern Europe At about 6:25, Mike Ditka slander?! At about 7:50, Peter highlights Saul Bellow as a writer who influenced him, as well as Stuart Dybek, Betty Howland, and John Irving among others  At about 10:05, Peter reflects on David Foster Wallace as an “Illinois writer” At about 12:10, Peter discusses Zadie Smith and Yiyun Li, and as impressive and chill-inducing contemporary writers  At about 13:30, Peter lists some reading favorites of his university students, and he expands on how they are “blown away” by James Joyce's work At about 15:00, The two fanboy over James Joyce's “The Dead” At about 16:15, Peter reflects on Pete asking if his The Gossip Columnist's Daughter would be classified as “historical fiction” At about 17:15, Peter expands on his view of the book's epigraph from Chekhov At about 18:15, Pete cites another great epigraph and great book from Jess Walter At about 18:50, The two lay out the book's exposition, and Peter describes the book's inciting incident, a tragic death At about 20:20, The two discuss the book's beginning as in medias res  At about 21:30, Peter talks about the character of Babs as inspired by grandmother, and Pete shares about his Chicago grandfather's longevity At about 22:55, Peter expands on the idea of Jed, the book's narrator, feeling that three key events in 1963 were a pivot point for the family At about 26:15, Jack Ruby and the provinciality and “small world” of Chicago At about 29:10, Pete and Peter lay out Jed's college professor setup At about 30:00, Peter explains the cause of death and theories and conspiracy theories around it At about 31:35, Peter responds to Pete's musings about the old-fashioned “imperative” headlines that  At about 33:00, Some of Cookie Kupcinet's last writings are discussed  At about 34:30, Peter reflects on the travails and pressures of Cookie At about 36:00, Some of the prodigious pull of Irv Kupcinet is discussed, and Pete compares Irv's work to that of Ace in Casino At about 37:55, Lou Rosenthal's reticence and kinship with Robert Todd Lincoln are discussed At about 39:00, Peter expands on a scene in which the “grieving” narrator walks by the house where his ex-wife and daughter live; he discusses the importance he places on place At about 41:40, Sidney Korshak and his historical background and Chicago connection is discussed At about 44:10, The two discuss doubts in the story about the way in which Cookie died At about 45:20, Cookie's legacy and the ways in which Jed, the narrator, gains a sort of obsession with conspiracy theories and marginalia  At about 48:20, Peter talks about the book's storyline as a “family story” and using a “tiny kernel” as a “jump off” point for his book At about 49:20, Peter responds to Pete's questions about the state of the current conspiracy theories involving the Kupcinets and JFK's assassination  At about 51:20, The two discuss the breakup of the friendship between the Rosenthals and Kupcinets, as Pete compares a turned-down piece of writing to the book's storyline  At about 53:20, Peter reflects on the intrigue that comes with  At about 55:00, Peter expands on the “Captain” moniker his grandfather have, and that he played off in his book At about 58:20, The two reflect on the memorable character of Solly At about 1:01:00, Theories involving traumas and low points and broken relationships are discussed  At about 1:03:00, Pete highlights a resonant last scene        You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up soon at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of formative and transformative writing for children, as Pete surveys wonderful writers on their own influences.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 323 with second-time guest Luke Epplin. He is the author Our Team: The Epic Story of Four Men and the World Series That Changed Baseball and Moses and the Doctor: Two Men, One Championship, and the Birth of Modern Basketball.    The episode airs on February 13, three days after Pub Day for Moses and the Doctor.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.

It takes courage to reimagine a classic. Xiaolu Guo was drawn to Herman Melville's “Moby-Dick,” from the first time she read it in her native Chinese. The writing was lyrical — hard to translate — and the descriptions of sailing were dense. But the symbolism of the great white whale and the sea-faring captain obsessed with revenge captivated her. Her new novel is a retelling of this classic with a young girl at its center. Protagonist Ishmaelle goes to sea, disguised as a boy, in a desperate grasp for freedom. She wants to leave poverty, gender norms and religious traditions behind. When she ends up on a whaling ship, captained by a free Black man named Seneca, she meets a swash-buckling crew of people who broaden her world — and ours. Guo joins host Kerri Miller this week to talk about her reimagined “Moby-Dick” which probes gender, race, humanity's connection to animals and the nature of belonging.Guest: Xiaolu Guo is the author of “Radical” and “Nine Continents.” Her new novel is “Call Me Ishmaelle.”Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations.Subscribe to Big Books and Bold Ideas with Kerri Miller on Apple Podcasts, Google Podcasts, RSS or anywhere you get your podcasts.

We're all over the place this week, but one thing is certain: we don't really care what Turnstile's up to.Check out our Patreon for bonus shows and more!Musical Attribution:Licensed through NEOSounds.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”

Hour 2 of A&G features... Bill Belichick & will we ever get back to normal politics? A "coregasm" & Jack's lost bag The fed, a Moby Dick read-a-thon & literature Dems declining to comment on trans issues See omnystudio.com/listener for privacy information.

Hour 2 of A&G features... Bill Belichick & will we ever get back to normal politics? A "coregasm" & Jack's lost bag The fed, a Moby Dick read-a-thon & literature Dems declining to comment on trans issues See omnystudio.com/listener for privacy information.

Llega a la Biblioteca de Antonio Martínez Asensio en Hoy por Hoy ' el último Premio Tusquets , 'el corazón revolucionario del mundo' de Francisco Serrano. Durante una hora este espacio radiofónico dedicado a los libros se convirtió en una célula anticapitalista de los años setenta. Una locura literaria a la que se sumaron más libros. El primero donado por el propio Fancisco Serrano que nos trajo como donación 'La perra de Alejandría' de Pilar Pedraza (Valdemar). Pero antes de todo esto, nuestro bibliotecario Antonio Martínez Asensio nos contó en tres minutos 'Moby Dick'  de Herman Melville (DeBolsillo)  y nos anunció su programa 'un libro, una hora' con  'El pequeñoi héroe' de Fiodor Dostoyevski (Galaxia Gutemberg). Las novedades las colocó en las estanterías Pepe Rubio y fueron 'Diecinueve garras y un pájaro oscuro' de Agustina Bazterrica (Alfaguara) y 'El guillomo' de Robin Wall Kimmerer (Capitán Swing) . Y los libros perdidos, en este caso en plural porque eran tres, los rescató como siempre Pascual Donate "El huerto de una holgazana: confesiones de una aprendiz. ' el jardín que querría'  y 'Aún no se lo dicho a mi jardín' de Pia Pera (Errata Naturae). Y finalmente las donaciones de nuestros oyentes: 'La piel' de Curzio Malaparte (Galaxia Malaparte) , 'Hamnet' de Maggie O´Farrel (Libros del Asteroide) y 'El tiempo amarillo' de Fernando Fernán Gómez (Debate/ Capitán Swing) . 

Antonio Martínez Asensio nuevamente la sala de lectura de tres minutos de 'La Biblioteca' de 'Hoy por Hoy' para contarnos 'Moby Dick', de Herman Melville.

Pascal Praud revient pendant deux heures, sans concession, sur tous les sujets qui font l'actualité. Vous voulez réagir ? Appelez le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur les grandes thématiques développées dans l'émission du jour.Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

 In tiny community of Mariposa, an excursion on the Mariposa Belle steamboat is the hottest ticket in town. What could go wrong? Stephen Leacock, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.     Let's talk about ads. Now, most podcasts offer a subscription where you can pay $10 or so a month, and you get to listen to their show with no ads, and get a few bonus episodes. Here's the thing – this largely goes to benefit the podcast platforms. The actual creators don't get much.   So, I created a better plan. For $9.99 per month, you get unlimited downloadable and streamable access to the entire Classic Tales Library. I've been building this for 18 years. This gives you access to longer books that wouldn't work in the podcast format. Books like Nicholas Nickleby, Moby Dick, or The Hunchback of Notre Dame. Only about a quarter of the books in the library were released through the podcast. So you can instantly download and listen to whatever you want, all the time. This is the Audiobook Library Card.    Go to audiobooklibrarycard.com or follow the link in the show notes, and download and listen all you want.   Go to audiobooklibrarycard.com or follow the link in the show notes.     And now, The Marine Excursion of the Knights of Pythias, by Stephen Leacock      Follow this link to get The Audiobook Library Card for $9.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

James Fox is a dog with a bone, as obsessed as Captain Ahab's in his pursuit of Moby Dick, as dogged as Indiana Jones's quest for the Holy Grail. Fox, one of the best-known documentary filmmakers to ever focus on the UFO mystery, has spent 14 long years investigating an astounding series of events often referred to as ‘the Brazilian Roswell.' Fox's 2022 film “Moment of Contact” revealed powerful testimony from an impressive array of independent witnesses in and around Varginha, Brazil, some of whom saw the craft, the crash, the large deployment of military personnel, and the capture of at least one of the injured crew members who fled from the disabled UFO. The being was described as a bizarre, oily-skinned, nonhuman entity, one that seemed intelligent, injured, and frightened. In the years since the release of that film, Fox has returned to Brazil multiple times to seek out the rumored medical team which met, treated, and communicated with the alien life form. Now, he is unveiling the rest of the story. In this episode of Weaponized, James Fox shares with Jeremy and George the story of how he tracked down the key witnesses who have previously been too frightened to say anything, why they were intimidated and by whom, and details about a wide-ranging cover-up that is still active nearly 30 years after the original events. A new, updated version of his film has now been released, and a major media event is being staged just days from now. On January 20, at the National Press Club in Washington, D.C., Fox will introduce several of the firsthand witnesses. Getting them into the US proved to be difficult and Fox says his pursuit of a videotaped recording of the creature also drew the attention of unknown saboteurs. Fox also revealed to Weaponized a secondary objective of the January news conference. He wants the US military and intelligence community to tell Congress what became of the creature, and any other evidence related to non-human beings that may have been recovered from documented UFO crashes in the US and elsewhere. (The public is invited to attend the event and media personnel will be permitted to livestream the entire event.) The Varginha UFO crash is one of the seminal events in history. The mystery surrounding what became of the injured crew member has the potential to blow the lid off of an 80-year cover-up that is still underway. GOT A TIP? Reach out to us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WeaponizedPodcast@Proton.me⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ••• Watch Corbell's six-part UFO docuseries titled UFO REVOLUTION on TUBI here : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tubitv.com/series/300002259/tmz-presents-ufo-revolution/season-2⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch Knapp's six-part UFO docuseries titled INVESTIGATION ALIEN on NETFLIX here : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://netflix.com/title/81674441⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ••• You can now watch all of Corbell's films for free on YouTube Movies : BOB LAZAR : AREA 51 & FLYING SAUCERS https://youtu.be/sZaE5rIavVA HUNT FOR THE SKINWALKER https://youtu.be/TczkJ6UAQ8A PATIENT SEVENTEEN https://youtu.be/gDVX0kRqXxE ••• For breaking news, follow Corbell & Knapp on all social media. Extras and bonuses from the episode can be found at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WeaponizedPodcast.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

For Tolkien, fairy stories are not stories about fairies, but stories that take place in Faerie. And in doing so, they make Faerie present. They are not escapist fantasies but disclosures of a real mode of being and invitations to live in that mode. In this episode, Phil and JF explore the great writer's radical claims about the nature of story, life, and reality. Upcoming Events Erik Davis and JF's six-week course on Herman Melville's Moby-Dick begins on January 20th. For details and to enroll, visit the Weirdosphere. For information on the upcoming Weird Academia events in Bloomington (Jan 27-29), visit the symposium web page at the Center for Possible Minds. Music in this Episode "What a Load of Gnosis," from Weird Studies: Music from the Podcast, Volume I "Springtime on Ganymede," from Weird Studies: Music from the Podcast, Volume II References J. R. R. Tolkein, “On Fairy Stories”  Immanuel Kant, Critique of Pure Reason  Arthur Schopenhauer, The World as Will and Idea  Franz Liszt, Transcendental Etude No. 4: Mazeppa (played by Lazar Berman)  Dogen, "Instructions for the Cook" Jeff Kripal, Mutants and Mystics  Eric Wargo, From Nowhere J.F. Martel, Review of “From Nowhere” for Journal of Scientific Exploration Richard Wagner, Parsifal  Learn more about your ad choices. Visit megaphone.fm/adchoices

Good morning, afternoon, and evening, everybody! Happy Money Monday! Scott Carson here, finally shaking off that flu (mostly!) and ready to kick off 2026 by tackling a question I get constantly: "How do I raise private capital when I've only got $19?" This isn't about wishing for a magic cheat code or waiting for Moby Dick to show up with a half-billion-dollar fund. This episode is about the real, raw, mental game of raising money, and how to pump up those "money muscles" (yes, I like that hashtag!).I dove into the AI well (Chatbot, Gemini, all the cool kids) to get the straight goods on the top 10 marketing strategies for attracting private money. But let's be real, folks: these tools mean squat if you're not playing the mental game right. Stop being a "wallflower" at events or thinking you're "begging for money." You're offering opportunity, and it's time to act like it!Here's your no-nonsense guide to pumping up your private capital:Conquer the "Mental Money Block": Ditch the fear of "begging" and embrace the fact you're offering opportunity. Remember the "80% of sales after the fifth contact" rule – consistency, not desperation, wins!The AI-Approved Marketing Arsenal: Get the top 10 strategies (straight from the internet's brain!) for attracting investors: from compelling pitch decks and one-page summaries to killer case studies and targeted email newsletters.Your Email List is Your Gold Mine: Why owning your audience through your email database and an investor newsletter (like LinkedIn's, which hits their inbox!) is your most valuable asset, far more reliable than fickle social media platforms.ABM (Always Be Marketing) & Momentum: Learn why consistent daily/weekly marketing activities – whether it's short videos, email blasts, or networking – are crucial. You can't build "money muscles" by only hitting the gym once a month!Networking Ain't a Spectator Sport: Stop hiding! Show up at local investor clubs, ask questions, and be ready with your pitch deck. Investors fund people they know, like, and trust, not anonymous logos or people glued to their phones in the corner.This isn't about an overnight transformation (unless you "cut a leg off" to lose 50lbs!). It's about consistent action. If you want different results in 2026, you gotta do different things. And guess what? Most of you are smarter and more educated than 99% of people out there – so start sharing your "gold" (deal flow, expertise)! Don't let your "perfect" stand in the way of "delivered."If you're ready to get off the sidelines and into the game, join me at our upcoming workshop (notebuyingfordummies.com) or book a call (talkwithscottcarson.com). Let's make 2026 your most profitable year!#PrivateCapital #RealEstateInvesting #NoteInvesting #CapitalRaising #InvestorMarketing #AIMarketing #FinancialFreedom #Networking #Podcast #MoneyMuscles #PitchDeck #EmailMarketing #ConsistencyWatch the Original VIDEO HERE!Book a Call With Scott HERE!Sign up for the next FREE One-Day Note Class HERE!Sign up for the WCN Membership HERE!Sign up for the next Note Buying For Dummies Workshop HERE!Love the show? Subscribe, rate, review, and share!Here's How »Join the Note Closers Show community today:WeCloseNotes.comThe Note Closers Show FacebookThe Note Closers Show TwitterScott Carson LinkedInThe Note Closers Show YouTubeThe Note Closers Show VimeoThe Note Closers Show InstagramWe Close Notes Pinterest

A Siamese white elephant has gone missing in New Jersey. So, you know, it's Tuesday. Mark Twain, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.     Let's talk about ads. Now, most podcasts offer a subscription where you can pay $10 or so a month, and you get to listen to their show with no ads, and get a few bonus episodes. Here's the thing – this largely goes to benefit the podcast platforms. The actual creators don't get much.   So, I created a better plan. For $9.99 per month, you get unlimited downloadable and streamable access to the entire Classic Tales Library. I've been building this for 18 years. This gives you access to longer books that wouldn't work in the podcast format. Books like Nicholas Nickleby, Moby Dick, or Plutarch's Lives. Only about a quarter of the books in the library were released through the podcast. So you can instantly download and listen to whatever you want, all the time. This is the Audiobook Library Card.   Go to audiobooklibrarycard.com or follow the link in the show notes, and download and listen all you want.   Go to audiobooklibrarycard.com or follow the link in the show notes.     And now, The Stolen White Elephant, by Mark Twain       Follow this link to get The Audiobook Library Card for $9.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

The New Yorker at 100 - Storia di un settimanale è un documentario in streaming su Netflix che racconta un pezzo di storia del giornalismo. Moby Dick - La balena, al Palazzo ducale di Genova, è una mostra collettiva che unisce letteratura, arte contemporanea, natura e attivismo ecologico. I gentiluomini di fortuna della scrittrice britannico-somala Nadifa Mohamed ricostruisce la storia di Mahmood Mattan, l'ultimo uomo a essere giustiziato a Cardiff, nel Regno Unito, e il primo a essere riabilitato dopo essere stato riconosciuto come vittima di malagiustizia. Il musicista e critico musicale Paul Morley traccia, in un nuovo libro intitolato David Bowie oltre lo spazio e il tempo, un identikit culturale della rockstar britannica a dieci anni dalla sua morte. CONAlexander Stille, giornalista e scrittore statunitenseLeonardo Merlini, giornalista di Aska news che collabora con InternazionaleIgiaba Scego, scrittrice che cura la rubrica Ragazzi su InternazionalePaola De Angelis, conduttrice radiofonica e autriceMusiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.The New Yorker at 100: https://www.youtube.com/watch?v=8m-R4vcx9MIMoby Dick - La balena: https://www.youtube.com/watch?v=U94rgaantJYI gentiluomini di fortuna: https://www.youtube.com/watch?v=MkrR0-MPKzwDavid Bowie oltre lo spazio e il tempo: https://www.youtube.com/watch?v=FiK7s_0tGsgCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Good morning, afternoon, and good evening, everybody! Scott Carson here, and boy, do I have a story that just cracks me up every New Year! This morning, while huffing and puffing on my bike, I got a text about a "half-billion dollar fund" in the UK looking to acquire mortgage-backed securities immediately. Yep, you heard that right – from someone who's never bought a note and whose social media is more about conspiracy theories than cash flow. Sounds legit, right?Folks, it's time for a public service announcement to the note industry: QUIT CHASING WHALES! If you're being approached by "joker brokers" promising you a slice of a multi-million (or billion) dollar pie, but their money's "out of the country" and they don't know what a QIB form is, run for the hills! This episode is about ditching the Moby Dick illusion and building real wealth with your own portfolio.Here's why you need to stop chasing phantom deals and get real in 2026:Exposing the "Joker Broker" Trap: Learn to spot the red flags of unrealistic deals – from phantom funds to foreign money and requests from inexperienced intermediaries (especially those more worried about RFAK than real estate).The QIB Form Reality Check: Understand what a Qualified Institutional Buyer (QIB) truly is and why genuine institutional players won't be calling "little old Scott Carson" or you for a half-billion dollar deal.Why Whales Already Have Fishermen: Big funds and family offices already have established networks. Your energy is better spent building your own relationships and portfolio, not trying to pitch someone who “fell in love with the property” but not the note.Build Your Own Damn Ship (and Find Your Own Fish!): Instead of waiting for a grand slam, focus on acquiring notes for your portfolio. Even $50,000 notes can bring in significant cash flow, which is far more impactful than chasing ghosts.The Power of Private Money (in Smaller Batches): Discover how networking at local real estate clubs and marketing to IRA investors can unlock the "smaller batches" of private capital you actually need to fund your deals and grow your business.Listen, if you're a "lowly old person" who's never bought a note but thinks you're going to broker a half-billion dollar deal, I've got oceanfront property in Arizona to sell you. Stop letting these pipe dreams tatter and bruise your investing spirit. Focus on tangible action, build your own portfolio, and generate your own profitable cash flow. Go buy one, two, three notes a month for yourself, and you'll be happier, wealthier, and far less likely to vomit. Sayonara, Moby!Watch the Original VIDEO HERE!Book a Call With Scott HERE!Sign up for the next FREE One-Day Note Class HERE!Sign up for the WCN Membership HERE!Sign up for the next Note Buying For Dummies Workshop HERE!Love the show? Subscribe, rate, review, and share!Here's How »Join the Note Closers Show community today:WeCloseNotes.comThe Note Closers Show FacebookThe Note Closers Show TwitterScott Carson LinkedInThe Note Closers Show YouTubeThe Note Closers Show VimeoThe Note Closers Show InstagramWe Close Notes Pinterest

EPISODE 121 -  “RICHARD BASEHART: CLASSIC STAR OF THE MONTH” - 1/05/2026  RICHARD BASEHART wasn't the flashiest of actors, but he certainly was one of the most versatile. He always brought such haunting depth and emotional intensity to his roles, often portraying characters teetering on the edge of psychological turmoil. With his piercing blue eyes and floppy blonde hair, his sensitive, brooding presence gave him the appearance of an erudite or a poet. And that voice! He had a fantastic baritone voice that could convey both vulnerability and menace. He really excelled at playing sensitive, troubled men—sometimes deeply introspective, other times psychotic or dangerously unhinged. From his chilling portrayal of the deranged killer in “He Walked by Night” (1948) to the tormented clown in FEDERICO FELLINI's “La Strada” (1954), Basehart always infused each performance with a profound humanity, sensitivity, and quiet strength, making him one of the most compelling and underrated actors of his generation. This week we honor him as our January Star of the Month. SHOW NOTES:  Sources: ActorsandOthers.com ClassicMovieHub.com WalkofFame.com Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Repeat Performance (1947), starring Joan Leslie, Louis Hayward, Richard Basehart, Tom Conway, and Virginia Field; Cry Wolf (1947), starring Errol Flynn, Barbara Stanwyck, Richard Basehart & Geraldine Brooks; He Walked By Night (1948), starring Scott Brady & Richard Basehart; Rosanna McCoy (1949), starring Farley Granger & Joan Evans; Tension (1949), starring Richard Basehart, Audrey Totter, Barry Sullivan, & Cyd Charisse; Fourteen Hours (1951), starring Richard Basehart, Paul Douglas, Barbara Bel Geddes, Agnes Moorhead, Jeffrey Hunter, Debra Paget, & Grace Kelly; The House on Telegraph Hill (1951), starring Richard Basehart & Valentina Cortese; Decision Before Dawn (1951), starring Oskar Werner & Richard Basehart; Titanic (1953), starring Barbara Stanwyck & Clifton Webb; La Strada (1954), starring Anthony Quinn & Richard Basehart; Il Bidone (1955), starring Richard Basehart & Broderick Crawford; Moby Dick (1956), starring Gregory Peck, Richard Basehart & Orson Welles; The Brothers Karamazov (1958), starring Yul Brynner & Richard Basehart; Portrait in Black (1960), starring Lana Turner & Anthoy Quinn; The Savage Guns (1961), starring Richard Basehart & Alex Nicol; Hitler (1962); The City Beneath The Sea (1971), starring Stuart Whitman & Rosemary Forsyth; The Island of Dr. Moreau (1977), starring Burt Lancaster & Michael York; Being There (1979), starring Peter Sellers & Shirley MacLaine; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Bedétlen ünnepi különkiadás, számozatlan, fríííííí: 00:30 A „Nőtlen tiszti” spontán formátum és az olvasónő. Hugo Johnson. Ál-marokkói AI-psychrock. 03:30 Kvíz 1, és a Zambia elleni diadal. Vitár Róbert emlékezete. 05:20: El Kaabi elkábította a rabati stadion közönségét. 10:00 Horgoló reality a Channel 4-n. 11:00 A Lumumba-imitátor. Kutyaherényi marokkói szappan. 14.00 Hogy énekelte föl a csordavokált három szólamban Winkler a második Moby Dick-lemezen? 15:00 Michael Monroe, Hanoi Rocks. Az igazi neve: Matti Antero Kristian Fagerholm, 18:00 Nigériából kéne hozni egy Orbánt. 20:00 Orbán országában már hiánycikk a Kinder Joy. A lakosság harácsol. Stranger Things. 23:00 Patria. (Másfél évvel ezelőtt már volt róla szó.) Nem hat rész valójában, hanem nyolc. Bede Márton cikke. 27:15 Espelette-i paprika, Capsicum annnum Baszkföldön 28:30 A Winkler-féle chiliszósz titka. 31:00 Miről érkezett a legtöbb olvasói levél 2025-ben? 32:15: A WD-40 törvény. 35:15 Kvíz: király csehül. (Csak az ország neve nem hangzik el. Egyébként – szpojler!!! – : Kambodzsa. 37:45 Amikor Bruno Cuccinelli a Sex Actionben basszgitározott… 42:00 A kanadai olimpikon droglord luxusmotorgyűjteménye, 45:00 VV Aurélió, az orbánista, rendpárti exdrogdealer, aki aranyköpéseiről lett híres, aztán összetűzésbe került a törvénnyel, édeasapja szerepét is élvezi. 47:50 A történelmi faszhelikoterezés. 50:00 Belső sávban ragadt tötymörgők az Egyesült Királyságban. 52:45 Tóth-Hódi Pamela és a gépi falvakolás. 63:00 Kézben tartott mobil. 65:00 Idegösszeroppanás sok kurvaanyáddal. 70:00 Vízkiöntésre alkalmatlan edények. 72:00 Szomjasak a madarak. 82:00 Ki indul Újlipótban? 85:00 Új kamupárt és sminkfilc. 86:00 Winkler újraéleszti az SZDSZ-t: Szédületes Dudák Szegeden. Egy kulcstartónk már van. 90:00 Milyen motorja van Seres Máriának? Kitelepítés. 94:00 Torxkulcs a kormányban. See omnystudio.com/listener for privacy information.

The Grand Duke's life is in danger, and the telegraph wire has been cut. Who can carry a dispatch from the Czar across revolutionary Siberia in time to warn him?  Jules Verne, today on The Classic Tales Podcast.   Welcome to The Classic Tales Podcast. Thank you for listening.   Let's talk about ads. Now, most podcasts offer a subscription where you can pay $10 or so a month, and you get to listen to their show with no ads, and get a few bonus episodes. Here's the thing – this largely goes to benefit the podcast platforms. The actual creators don't get much.   So, I created a better plan. For $9.99 per month, you get unlimited downloadable and streamable access to the entire Classic Tales Library. I've been building this for 18 years. This gives you access to longer books that wouldn't work in the podcast format. Books like Nicholas Nickleby, Moby Dick, or Plutarch's Lives. Only about a quarter of the books in the library were released through the podcast. So you can instantly download and listen to whatever you want, all the time. This is the Audiobook Library Card.   Go to audiobooklibrarycard.com or follow the link in the show notes, and download and listen all you want.   Today's story is the first in an episodic release of the novel Michael Strogoff, by Jules Verne. I don't know about you, but my favorite Jules Verne novel might be Around the World in 80 Days. Michael Strogoff is similarly commissioned with a race against time, but the story is placed in Czarist Russia, and is essentially a spy novel. This first episode is kind of a lot to set up, but once we get going – hold on tight!     And now, Michael Strogoff, Part 1 of 9, by Jules Verne     Follow this link to get The Audiobook Library Card for a special price of $6.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Enjoy a classic story in English and learn 9 uses of ‘see' - in 5 minutes.FIND BBC LEARNING ENGLISH HERE:Visit our website ✔️ https://www.bbc.co.uk/learningenglish Follow us ✔️ https://www.bbc.co.uk/learningenglish/followusLIKE PODCASTS? Try some of our other popular podcasts including: ✔️ 6 Minute English ✔️ Learning English from the News ✔️ Learning English ConversationsThey're all available by searching in your podcast app.

To tide us over as we prepare for a new season of Weird Studies, here is an "audio extra," originally recorded for our Patreon supporters, wherein we discuss imposter syndrome, the eternal inadequacy of the intellect, the perils of playing with swords, and the role of trust in creation. A new episode will drop on Wednesday, January 14th, 2026. Happy New Year to all. To join our Patreon, go to www.patreon.com/weirdstudies To enroll in the upcoming Moby Dick course starting on January 20th, visit www.weirdosphere.org. For information on the Weird Academia conference in Bloomington, Indiana, visit www.possibleminds.org/weird-academia Episode image: Caspar David Friedrich, Abtei im Eichwald (1808-1810). Learn more about your ad choices. Visit megaphone.fm/adchoices

Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature—and to my surprise, it became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!

It's that time of year again! Time for our yearly reading recap, where we discuss all the great, and not-so-great, books we've read this past year. But first, we open the episode with a most seductive reading from Moby Dick.  You can follow us on Instagram, Facebook, and Twitter @dpwpodcast You can check out Caleb's work at www.calebjamesk.com 

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.comAndy Mills, audio storyteller extraordinaire, joins Nancy and Sarah to talk about the “AI hinge moment” we're living in, the subject of his new podcast “The Last Invention.” How scared should we be? Let's discuss. They talk creative process, journalism's inflection point and what was lost and gained in “the war of public shaming.” Plus: Books books books!Also discussed:* Gotta love a rotund tree* “The thing about when you're making your sauna …”* The country mouse/city mouse ideal* Are we really living in “unprecedented times”?* The secrets of how Andy builds a podcast* The trend to exaggerate victim status is REALLY UNHEALTHY* Bringing down a deer with a bow-and-arrow is harder than you think* When pain comes your way, don't add regret to it* The Wall Street Journal is crushing it* Make centricism sexy again! * One was joyous, one was meh: Apple vs. Free Press holiday parties* Andy explains frog embryology to Nancy* Andy and Sarah are Magnolia stans* Alexander Hamilton got what he deserved* Demon Copperhead: Even funnier than Moby Dick! * “There's so much comfort in history.”* WANTED: Presidential biography recommendationsPlus, three cheers for Bari Weiss and building new media, everyone loves Anna Karenina, “to be alive is to be heartbroken,” and much more!Give yourself the gift of deep conversation. Become a paid subscriber.

Here's a mid-December update from Heather with some important CraftLit news. We're officially moving CraftLit off Patreon and onto Supercast, and while the transition took a lot of work, the result is a much easier and better experience for listeners. In this update, I cover: • Why CraftLit is leaving Patreon • How easy the move to Supercast is (no extra charges, no double payments) • What Patreon supporters need to do • Help for "app orphans" who lost access to premium audio • Where to find Christmas playlists across platforms • Discounts available through the end of December 2025 • How gift subscriptions work on Supercast • A quick programming update (no Moby-Dick this week) • Upcoming holiday audio and a new spooky Christmas story If you've ever supported CraftLit, use the app, or are thinking about becoming a premium subscriber, this video walks you through what's changing and how to get set up. Thank you for supporting CraftLit and for your patience as the tech finally caught up with what we've wanted to do all along. Happy holidays

Merriam-Webster's Word of the Day for December 11, 2025 is: leviathan • luh-VYE-uh-thun • noun Leviathan is a word with literary flair that can refer broadly to something very large and powerful, or more narrowly to a large sea animal, or a totalitarian state having a vast bureaucracy. // Towering leviathans of the forest, giant sequoias often reach heights of more than 200 feet. See the entry > Examples: “These are dim days for the leviathan merchants. The smart whaling families have diversified and will hang onto their wealth for years to come. ... The less smart, those convulsed by the strange desire to continue doing what had always been done, who consider it a divinely issued directive to rid the waves of great fish, now face a problem: the Atlantic whale that built their houses and ships has seemingly wised up ...” — Ethan Rutherford, North Sun, or The Voyage of the Whaleship Esther: A Novel, 2025 Did you know? Old Testament references to a huge sea monster, Leviathan (in Hebrew, Liwyāthān), are thought to have been inspired by an ancient myth in which the god Baal slays a multiheaded sea monster. Leviathan appears in the Book of Psalms as a sea serpent that is killed by God and then given as food to creatures in the wilderness, and it is mentioned in the Book of Job as well. After making a splash in English in the 1300s, the word Leviathan began to be used, capitalized and uncapitalized, for enormous sea creatures both imagined and real—including as a synonym of whale over 100 times in Herman Melville's Moby-Dick, as in “ere the Pequod's weedy hull rolls side by side with the barnacled hulls of the leviathan.” Today, leviathan can be used for anything large and powerful, from ships to corporations.

Back in episode 112, Phil and JF devised a gimmick for a show: randomly select one of the many aphorisms in The Book of Probes, a compendium of Marshall McLuhan's prophetic quips designed by David Carson, and see what happens. It proved lively enough that they're trying it again nearly a hundred episodes later. The resulting conversation touches the weird across a range of themes: tourism, the two kinds of truth, advertising, Kubrick's marketing savvy, technology, orality versus literacy, and much more. A fitting feast for the mind as the year draws to a close. From all of us at Weird Studies, happy holidays. • Sign up for JF Martel and Erik Davis's upcoming course on Moby-Dick. • Join Phil, JF, and composer Pierre-Yves Martel for Weirdosphere's Solstice Story Hour on December 21. • For dates, venues, and the full slate of Weird Academia events in Bloomington this January, visit the Centre for Possible Minds website. • To participate in the Weird Academia Colloquium, email organizers Emma Stamm and Michael Garfield at elfthoughts@gmail.com Header Image: NASA. REFERENCES Marshall McLuhan, Distant Early Warning Deck Thomas Mann, The Magic Mountain Plato, The Seventh Letter Marshall McLuhan, The Book of Probes Toronto School of Communication Theory Walter Ong, Orality and Literacy Paul Kingsnorth, Against the Machine Charles Taylor, A Secular Age Plato, The Republic  Marshall McLuhan, Understanding Media Jonathan Crary, 24/7 H. P. Lovecraft, The Color out of Space Learn more about your ad choices. Visit megaphone.fm/adchoices

In the summer of 1819,  the whaleship Essex set sail from Nantucket, chasing fortune across the vast and indifferent Pacific. What began as a routine whaling voyage soon veered into a nightmare, however, when the hunted became the hunter, and the ship, until now known as one of the luckiest around, was smashed to splinters, leaving her crew adrift in an ocean without mercy. Their struggle was a descent into fear, hunger, and the raw edge of human endurance that would go on to inspire the story of Moby Dick, though much of the darker elements would be left at sea, where such stories belonged. SOURCES Chase, Owen (1821) Narrative of the Wreck of the Whaleship Essex. Wesleyan University Press. NH, USA. Heffernan, Thomas (1981) Stove by a Whale: Owen Chase & The Essex. Wesleyan University Press, NH, USA. Philbrick, Nathaniel (2000) In the Heart of the Sea: The Tragedy of the Whaleship Essex. Viking Press. NY, USA. ------ For almost anything, head over to the podcasts hub at ⁠⁠⁠⁠darkhistories.com ⁠⁠⁠⁠ Support the show by visiting our Patreon for bonus episodes and Early Access: ⁠⁠⁠⁠https://www.patreon.com/darkhistories⁠⁠⁠⁠ The Dark Histories books are available to buy here: ⁠⁠⁠⁠http://author.to/darkhistories⁠⁠⁠⁠ Dark Histories merch is available here: ⁠⁠⁠⁠https://bit.ly/3GChjk9⁠⁠⁠⁠ Connect with us on Facebook: ⁠⁠⁠⁠http://facebook.com/darkhistoriespodcast⁠⁠⁠⁠ Or find us on Twitter: ⁠⁠⁠⁠http://twitter.com/darkhistories⁠⁠⁠⁠ & Instagram: ⁠⁠⁠⁠https://www.instagram.com/dark_histories/⁠⁠⁠⁠ Or you can contact us directly via email at ⁠⁠⁠⁠contact@darkhistories.com⁠⁠⁠⁠ or join our Discord community: ⁠⁠⁠⁠https://discord.gg/cmGcBFf⁠⁠⁠⁠ The Dark Histories Butterfly was drawn by Courtney, who you can find on Instagram @bewildereye Music was recorded by me © Ben Cutmore 2017 Other Outro music was Paul Whiteman & his orchestra with Mildred Bailey - All of me (1931). It's out of copyright now, but if you're interested, that was that. Learn more about your ad choices. Visit megaphone.fm/adchoices