Podcasts about Never Let Me Go

Our final great political fiction (for now!) is a meta-fiction and auto-fiction that is also a compelling work of historical reconstruction. Laurent Binet's HHhH (2010) tells the story of Operation Anthropoid, the mission that led to the assassination of Reinhold Heydrich, the architect of the Final Solution. Why was Binet so eager to recast history as a struggle between good and evil? How does he deal with all the evil that followed from this heroic attempt to do good? What makes his Nazis different from the ones to be found in other twenty-first century novels?   Join us on Friday 19th June at the Regent Street Cinema in London for the final film in our current season: a screening of Never Let Me Go followed by a live podcast recording with geneticist and science writer Adam Rutherford. Tickets available now https://bit.ly/4x641XC   You can find out everything you need to know about this podcast – who we are, what we do, plus merch, events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com   Next Time: PPF Live – Jimmy Wales on the Lessons of Wikipedia Learn more about your ad choices. Visit podcastchoices.com/adchoices

The penultimate great political fiction in this series is not strictly a fiction: it's Annie Ernaux's retelling of her own life in The Years (2008), thereby recapturing the story of France in the second half of the twentieth century. How can one woman's story stand in for all the others? What does this book tell us about the passing of political time? Why do the years 1968 and 1981 mark the end of idealism? What comes next? Join us on Friday 19th June at the Regent Street Cinema in London for the final film in our current season: a screening of Never Let Me Go followed by a live podcast recording with geneticist and science writer Adam Rutherford. Tickets available now https://bit.ly/4x641XC You can find out everything you need to know about this podcast – who we are, what we do, plus merch, events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com Next Time in Great Political Fictions: HHhH Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's political fiction is a spy novel, a Cold War comedy and a meditation on the nature of good and evil: Graham Greene's The Human Factor. Why has Greene so fallen out of fashion? What made the South African secret police his idea of pure evil? Was this book shaped by Greene's own experiences with ‘the third man' Kim Philby? And how did Greene prefigure the world of Slow Horses? Out now on PPF+: our latest bonus episode in which David talks to Luke Kemp, author of Goliath's Curse, about whether and how Ursula Le Guin's vision of a stateless world matches up to his own. To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus Join us on Friday 19th June at the Regent Street Cinema in London for the final film in our current season: a screening of Never Let Me Go followed by a live podcast recording with geneticist and science writer Adam Rutherford. Tickets available now https://bit.ly/4x641XC You can find out everything you need to know about this podcast – who we are, what we do, plus merch, events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com Next Time in Great Political Fictions: The Years Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's great political fiction is a path-breaking work of science fiction: David explores Ursula Le Guin's The Dispossessed (1974), which imagines a world without the need for government or coercive authority. What makes this the most realistic of all utopias? How was Le Guin's vision of anarchism shaped by nineteenth-century Russia and twentieth-century Israel? Why was her imagined version of political freedom so coloured by the Cold War? And where does Oppenheimer fit in? Out tomorrow on PPF+: a bonus episode in which David talks to Luke Kemp, author of Goliath's Curse, about whether and how Le Guin's vision of a stateless world matches his own. To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus Join us on Friday 19th June at the Regent Street Cinema in London for the final film in our current season: a screening of Never Let Me Go followed by a live podcast recording with geneticist and science writer Adam Rutherford. Tickets available now https://bit.ly/4x641XC You can find out everything you need to know about this podcast – who we are, what we do, plus merch, events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com Next Time in Great Political Fictions: The Human Factor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Malcolm Clemens Young Grace Cathedral, San Francisco, CA 2G20 2 Pentecost (Proper 5A) 11:00 a.m. Eucharist Sunday 7 June 2026   Genesis 12:1-9 Psalm 33:1-12 Romans 4:13-25 Matthew 9:9-13, 18-26

In the second of two episodes about Doris Lessing's The Golden Notebook, David talks to critic and memoirist Catherine Taylor about the novel's place in the history of feminism. Is its idea of ‘free women' meant to be ironic? Why are the things that shocked its original readers not the things that shock its readers today? What makes Lessing so much more angry about male hypocrisy than she is about male brutality? And what else by Lessing should we all read? Read more by Catherine on Doris Lessing in this recent essay published in Aeon https://aeon.co/essays/what-we-can-learn-from-doris-lessings-experiments-in-living Join us on Friday 19th June at the Regent Street Cinema in London for the final film in our current season: a screening of Never Let Me Go followed by a live podcast recording with geneticist and science writer Adam Rutherford. Tickets available now https://bit.ly/4x641XC You can find out everything you need to know about this podcast – who we are, what we do, plus merch, events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com Next Time in Great Political Fictions: The Dispossessed Learn more about your ad choices. Visit podcastchoices.com/adchoices

My colleague Oliver Traldi recently published an essay called ‘Jane Austen's Virtuous Liberalism'. It's a very nice discussion of the ways in which Austen understand the challenges of character formation.Virtue, as Austen sees it, faces two tough challenges. First, people whose characters are not yet formed must see how to be virtuous rather than vicious. Then, the virtuous must somehow find a way to succeed in their struggles against the vicious without adopting vicious means.In this episode, Oliver and I discussed Austen's ideas of virtue, what that has to do with liberalism, the relationship between philosophy and literature more broadly, as well as poetry and ideas about the Great Books. We also talked about the Keira Knightly Pride and Prejudice. Yes, we both liked it. Here is why Oliver thinks Jane Austen is so popular among philosophers.TRALDI: And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.And here is an extract about Austen, Smith, and the wonderfully fertile period at the end of the eighteen century.TRALDI: But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—This was my favourite bit.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?Oliver is an analytical, political philosopher. You can find out more about his work here. Here he is on Twitter. His Substack is orting. You can watch the episode on YouTube here.TranscriptHENRY OLIVER: Today I am talking to Oliver Traldi. Oliver is an assistant professor of philosophy at the University of Toledo in Ohio. He is my colleague on the Emerging Scholars Program at the Mercatus Center, and he's written a book about political beliefs as well as many other articles for magazines, online.He's got a Substack. He's maybe the most prominent political and epistemological young philosopher of his generation. [laughter] But most importantly for us, he is interested in Jane Austen and the idea of virtue. Oliver, welcome.OLIVER TRALDI: Thank you so much for having me.Reading Austen as a PhilosopherOLIVER: Let's just start—before we get to this article you've written, tell me about being a philosopher but reading Jane Austen, because she's often read and commented on by people who are not philosophers or who are only philosophers by acquaintance or whatever.TRALDI: Right.OLIVER: Is it different reading as a philosopher, do you think?TRALDI: I think yes and no. One thing as a philosopher, there are—contemporary philosophy, we have very exacting standards of rigor and clarity. And when we look for a theory, we want something that's been improved by hundreds of people and thousands of journal articles.And so, if you were to simply extract a theory of virtue from a novel and say, “Does this—is this the end-all, be-all of moral thinking?” obviously you're going to be disappointed. So I think as a philosopher, you have to look for other types of things, other types of sensitivities rather than logical sensitivity.You have to say, how sensitive is the author to the different types of situations where people's virtue can be exhibited or challenged? Or how sensitive is the author to the different types of pressures that a character's convictions can be put under, or the different sorts of compromises that they might have to make, or the different sorts of people who might not be virtuous who they might have to interact with and sort of, you know, contract with or avoid? And what are going to be the impacts of different kinds of choices in those situations?So the novelists, I think, tend—if they do it well, a novelist who's interested in morality will understand living morally probably better than a philosopher, while maybe not understanding, say, arguments about whether morality supervenes on reality or vice versa, or what grounds morality, or different theories of meta-ethics or whatever.OLIVER: I mean, there are obviously some novelists who do have a better appreciation of those things than others, we should say.TRALDI: Yes, I think that's absolutely true. And as I wrote in my article, I do think Austen in particular had an appreciation for this issue that you might call moral disarming or unilateral disarming. You know, does the moral person put themselves at a disadvantage relative to the immoral person? And then how do we actually help—how does morality survive?So that's a kind of philosophical question, but I tend to think—I taught last year—I think we've talked about this a bit. I taught in a great books program at Tulsa.OLIVER: This is the Jennifer Frey program.TRALDI: This is the ill-fated Jennifer Frey program. Jennifer—I don't know if you've met her, but she's an incredibly charismatic person. But somehow the program, despite being enormously successful, did not survive. You know, I was there for a year, and they decided that was long enough.OLIVER: [laughs] You don't think your arrival was the—TRALDI: No, no. I hope not. I most certainly hope not.OLIVER: No. General problems of higher education prevailed. Yes.TRALDI: Yes, many, many problems of higher education these days. But yes, so I think—what was I saying?OLIVER: Well, I think we're getting to this question of, you are not just a philosopher; you teach the great books.TRALDI: Right, exactly. The great books. That's where I was. Yes.Philosophy and the Great BooksOLIVER: So, one thing I'm interested in is that, you know, reading as a philosopher, you get a slightly different perspective on Austen. When you read other fiction, poetry, whatever, is there a benefit to you as a philosopher? Does it broaden you in some way?TRALDI: Yes. I think absolutely, it's broadening, but it's also focusing in a different way. You know, contemporary philosophy is often described or captured with the word epicycles. So what we mean when we say epicycles is, you have some major theory, which is supposed to answer some big question. And then your career as a philosopher—you're like three layers deep in the theory, in some sub-debate, and you're making some really fine-grained distinctions.And if you can make those distinctions successfully, you've had a really great career. But I think it's easy to forget, why are we doing—you know, what attracted us to philosophy? Why are we doing this to begin with?And the great novels, great books in general—one example I always use is the Book of Job. It doesn't really—it's not doing clear philosophy on the question of why do bad things happen to good people. But when you read it, you feel the question, why do bad things happen to good people? You get it, you know? You get why this is a question that people have worried about for thousands of years. You get why it calls out for an answer.You know, there's a lot of truth out there. I'm looking at a set of coat hangers, and I could count the coat hangers. But if you were given the decision, would I rather have an answer to how many coat hangers are across the room from me, or why do bad things happen to good people? You'd probably go with the latter one. There's somehow some kind of depth or importance to that question, right?And I think there's—a great novelist can often generate some vividity to these questions. They can show how these questions are part of a good life, asking these questions, trying to have these questions answered—or a not-so-good life.Certainly in Austen there are a lot of characters who learn to be more virtuous. Probably Emma is the clearest example. But you might also think of Marianne Dashwood. Really—OLIVER: Lizzy Bennet.TRALDI: Lizzy Bennet really learns to be a better person. I actually think her character is rather close to Emma in a lot of ways.OLIVER: Yes, I think Emma's sort of a clear rewrite of Lizzy in some—yes, yes.TRALDI: Yes, and in some ways more evocative, actually. Yes. I mean, we can talk about all these books. But yes, I think there's these things, even—obviously qua literature, they have other virtues, right? Which much philosophy doesn't have; very little philosophy has the literary virtues.But the philosophical virtue that a lot of literature does have is you see, okay, these are the—this is what a life is like. This is what making choices is like. These are the big questions when you decide how to live your life and what kinds of choices to make.And I think Austen—these questions are all through Austen, even though nobody has to murder anybody in Austen. Nobody has to make decisions about war and peace or about, you know, civilizational decline or civilizational progress or anything like that. These people making these small choices in a lot of ways. But those are the lives that most of us lead. And when you read Austen, you think, “Oh, okay, there's a virtuous and a vicious way to lead this kind of rather normal life.”The Good LifeOLIVER: The question of what is a good life, or what is a good life in a commercial society, maybe, is the sort of bedrock of what she's doing.TRALDI: Yes, I think so. And that's why I think Austen—you know, Austen wasn't on our syllabus at Tulsa, but she was certainly discussed. And the “what is a good life” question—to me, it's the big question that a great books program for college students should always come back to.If I didn't know what else to talk about, I would just say, “Well, we just read this book.” You know, we read these old biographies of Charlemagne from, like, Einhard—Notker the Stammerer and Einhard, his adopted son or whatever. I don't remember. But this is like 800s. I'm sure you know more about this stuff than I do.And I wasn't quite sure what to do with them because what do I know about Charlemagne? So I just said, “Does it seem like Charlemagne lived a good life?” And you know, you're off to the races. And I think that's important at that age, because that's the age at which—OLIVER: For the undergraduates?TRALDI: Yes. I think that's the age at which you're starting to make your own big decisions about what sort of life to lead. And I think for me, looking back to myself at that age, I think one thing I did wrong—at Tulsa I was in some ways as much a student as a teacher. I was rereading a lot of this stuff for the first time in decades. And some of it I was reading for the first time. As I told you, I was reading a lot of Austen for the first time for this essay.OLIVER: Right, right.TRALDI: And yes, it was stuff that I had thought about at a theoretical level, you know, like what are the ins and outs of this theory or this philosophical move or something like that. But you feel the question a bit differently when you're like, “Okay, I'm an adult. I have to decide whether to live in this way or that way.”The world is open to you. You could convert to Thomism [laughter] like so many have tried to have me do, or you could become a merchant after reading The Wealth of Nations. Or you could become a revolutionary after reading Marx, or you could become a Nietzschean. You know, there are all these choices open to you.OLIVER: Please don't become a Nietzchean.TRALDI: No, no. That is, I'm a—OLIVER: Keep your children out of school if that's going to be the result. [laughs]TRALDI: Yes. I'm a committed moralist, so I cannot, but he is—he made a comeback, that's for sure.Philosophy and PoetryOLIVER: Now, there's this obviously sort of long-running question in philosophy about, what is the relationship between philosophy and poetry? Are they antagonists, or are they in some way, you know, twins, and each provides one half of what is needed for a complete way of understanding the world? Do you have a position on this?TRALDI: Yes, I mean, I think they're what the kids call twinning.OLIVER: Twinning? [laughs]TRALDI: I think they're twinning. No, no, I think that means something different. I think that means when you're wearing the same outfit or something like that.OLIVER: So we're almost twinning with our stripes—yes, I see.TRALDI: We're almost. We actually—we are stripes and blue. Yes, we're closer than I would've expected.I would say closer to twins. There are a lot of claims that philosophy is at odds somehow with this or that. There's also this—certain people will say, “Well, ever since Socrates, philosophy has been at odds with politics.” And a big part of philosophy is, how do you survive? Well, I don't know. Nobody's trying to kill me. I think of myself as a decently committed philosopher.OLIVER: It seems to me this changed fundamentally in the Enlightenment and with the Romantics, and they see it all much more joined up. It's a sort of ancient-and-modern dynamic.TRALDI: Yes, there may be an ancient-and-modern distinction there. But yes, for me I don't see any kind of contradiction. Now, there are—and I think this comes out of what I said before—philosophical attempts to understand poetry. And certain kinds of literary and aesthetic devices do sometimes fall a little flat.The philosophical literature on metaphor, for instance—I think some theories of metaphor really don't get why people use metaphors. [laughter] So one of the most important theories of metaphor is that they're all just false, that it's like everybody who uses a metaphor is lying. This isn't the full theory. There are bells and whistles added.OLIVER: Sure, sure.TRALDI: But yes, so I think there's no contradiction. But at the same time, they are different modes in some ways, and people who do the one are often trying to do something different than the other.I do think that the desire for rigor and precision and clarity that philosophers have can be a little maddening to nonphilosophers, who see the pull of philosophical questions like, “What sort of life I should lead?” and then see, what do philosophers actually do?And we're doing all this modal logic and all these truth tables and all this very technical stuff that looks like math. And they say, “That can't possibly be the right way to think about how to live.” And it's true that there are these studies of—that suggest ethicists aren't actually very good people and things like that, although you have to wonder what is the background ethical theory that went into evaluating them.So yes, I don't think there's really a contradiction between philosophy and anything else. But certainly, there was a point in my life where I always come back to trying to write poetry and do poorly and then stop. But it was always something where I would say, “Okay, if I'm doing philosophy in the afternoon, I better wait till the evening to write poetry.” You have to sort of reboot and get into a different mode.OLIVER: Iris Murdoch used to write philosophy in the morning and novels in the afternoon. That kind of thing.TRALDI: Yes, I think that's very sensible.OLIVER: And she was upstairs for the one and downstairs for the other.TRALDI: Yes. That's even better, you know?Favorite PoetsOLIVER: Which poets do you like?TRALDI: Geez, I guess for an American, I like Wallace Stevens. I wasn't expecting this question. For a Brit, you know, I actually like Philip Larkin a lot.OLIVER: Oh, yes?TRALDI: I know—what is the opinion of Larkin? Is he considered—OLIVER: Very high.TRALDI: Very high? Okay.OLIVER: Some—there are some dissenters, but basically he's the guy.TRALDI: He's the guy, okay. Yes.OLIVER: Twentieth-century English poetry is like Auden, Larkin, Betjeman.TRALDI: Yes, Auden is—actually, my friend Jane Cooper just wrote something about Auden.OLIVER: Yes, Jane is excellent.TRALDI: Yes, Jane is really great.OLIVER: That was in the New Statesman if you want to look it up.TRALDI: That was in the New Statesman. Yes, yes, yes. But Auden, I don't know quite as well.I mean, poetry is—I think it's interesting the way that we receive poetry now. I think you were talking about this a few days ago, about things like poems appearing as inspirational quotes on social media or something like that, and whoever is the most quotable. And you felt like maybe Dostoevsky is very quotable.OLIVER: Dostoevsky has a sort of screenshot quality.TRALDI: Yes, yes.OLIVER: As does Martin Amis.TRALDI: Yes. So I—OLIVER: Whereas Philip Larkin in a funny way—you know, he has very short poems. You can get the whole poem on Twitter. Like, Robert Frost has that. But something like “The Whitsun Weddings,” it's quite hard to just take three lines out. The whole thing works as a—and that, so that poem gets less—TRALDI: Yes. Which is what you would expect from a good poem, really, that it would form a kind of whole.OLIVER: Exactly. If it's a three-page ode, it should have a continuous quality.TRALDI: Yes, it should have a kind of internal structure. Yes.OLIVER: There are some one-line things and—but I think it's notable that a poet like Wordsworth doesn't seem to get a lot of social media play. And I think probably that's one reason.TRALDI: So yes, I think Larkin is somebody who, I did see some shorter references to him, and I thought I'd better just go and look up a ton of poems by this guy. And Stevens was the same way.Death and Philip LarkinOLIVER: So, which Larkin do you like?TRALDI: You're really putting me on the spot here. [laughter] It has been a little while.OLIVER: I lied to you and said it would be about Jane Austen.TRALDI: Yes, now I'm completely screwed. Well, he has a bunch about death. He has one where death is a ship following you. And he has one where death is, like, a fruit that gets picked or something.OLIVER: Apple?TRALDI: Might be an apple.OLIVER: He decides not to throw the apple.TRALDI: There's one with sweetbreads in it. And now I'm really—OLIVER: The ship one, “Next, Please”—that's excellent.TRALDI: Yes.OLIVER: He sees the—it's like hearing the music coming, and then the ship.TRALDI: I forgot that that was the title. I forgot that that was the title.OLIVER: And then as the ship goes past, it leaves nothing in its wake. It's very sort of—very gloomy.TRALDI: It's very gloomy, yes. I think I read Larkin in a gloomy phase; it was like Larkin and Radiohead or something.OLIVER: But he's a good example of what you were saying before, that he won't think propositionally. He's logical in the sense that he's sort of orderly, and he goes from one thing to the next. But he's not being a philosopher.TRALDI: No, of course. Yes.OLIVER: But he's very preoccupied with the sorts of questions that philosophers are probing, but has a sort of very meaningful treatment of them.TRALDI: Yes.OLIVER: And I think in a way, the sharp response that you want from the reader in those questions, Larkin is better at provoking than someone like Bertrand Russell or some other contemporary of his.TRALDI: Yes, yes.OLIVER: Bertrand Russell's a bit earlier, but you know what I mean.TRALDI: No, I think that's exactly right. And I think that is why I'm a fan of the great books pedagogically and not—I don't know if Larkin will be called a great, you know, like, who knows? I don't really understand that designation, but tings like poetry and novels.OLIVER: The biggest dissenter was Harold Bloom, who said Philip Larkin's just a period piece. And he doesn't understand why everyone likes him.TRALDI: Oh, yes, well, I'm not on board with everything. Oh, I've also been—OLIVER: No, you're not very Bloomian.TRALDI: I'm not very Bloomian, I don't think.OLIVER: Either Allan or Harold.TRALDI: Yes. Well, I actually—this is very embarrassing, but I've actually never read The Closing of the American Mind, which I know is—OLIVER: But why should you? I'm not sure it's retained its—TRALDI: Well, it's certainly been received into my circle. But it is like a classic of anti-ideological—OLIVER: Sure. Have you read Adler, How to Read a Book, that kind of great books stuff?TRALDI: No. There's so many things that I haven't read. I mean, I'm just learning how to read. I learned how to read in Tulsa last year, [laughter] in Oklahoma, which is not where most people would go to learn how to read.Jane Austen and the Problem of MoralityOLIVER: So let's move to Jane Austen. Your thesis basically is, many moral theories face this problem that if I believe XYZ theory and you don't believe it, you can get the advantage of me. Because I'll always stick to my principles and you can just be a bad guy.TRALDI: Yes.OLIVER: So is morality screwed? This is what people say about liberalism. This is what you're arguing. And you think Jane Austen's got an answer to that?TRALDI: Yes, I think she has a kind of answer. And again, one decision I had to make while writing the essay was, am I going to go super—this is a completely philosophically rigorous and respectable answer? Or am I just going to kind of sketch it?OLIVER: Slum it in literary criticism? [laughter]TRALDI: Yes, I wouldn't put it quite that way, but—and I think I went for the latter, where I just wanted to kind of evoke the answer. And I think the answer has something to do with living in a large enough society where—and Austen I think is not the only person to give this answer. But you live in a large enough society where, when people see you acting well and somebody else acting poorly, the disadvantage that you have in that one interaction is outweighed by the advantages you have from the society that you gain from being seen to act well by many others.So one thing I didn't mention here, but a connection I made when I was first coming up with this idea, is that it's actually a lot like what Martin Luther King Jr. says about civil disobedience. So he says, you might think, if you're out there and the police are coming at you with bats, or the white supremacists are coming at you with bats or whatever, weapons or whatever, you might think, “I'm on the losing end of this interaction.”But actually what will happen is that this interaction will be seen by many others. And you, by keeping your calm, will be seen to be the virtuous one, and they, by being violent, will be seen to be the vicious ones. And this can only help your political cause. I'm probably abstracting some of the details of King's presentation.OLIVER: In a vulgar sense, this is the sort of “be the change you want to see” approach.TRALDI: Yes, but also, be the change you want other people to see. You know? Because that's how it gets saved from—and again, one of the ways in which this is not quite philosophically rigorous is because the philosopher can say, “Well, what about an example where nobody's going to see it? Or what about an example where the situation is set up that in doing the right thing, you're perceived to have done the wrong thing?” And you get back into tough problems. And that's why we have philosophy. You know, there's always going to be these puzzles.OLIVER: But we don't get the—I think this is what the novelists are helpful for. We don't get to set the conditions in our lives. You know, when you're doing a philosophical problem, you can just say, “Well, these are the conditions. What happens then?” And what Jane Austen is so good at is saying, “I'm going to take her and drop her in this house, and that's life. And she's just going to—she won't even know what the conditions are for a long time.” That's the novelist's preoccupation.TRALDI: Yes. Yes. It's interesting what you said about not even knowing what the conditions are. It's one thing I love, which is there in, I think, a lot of Austen—and it's done by a lot of my favorite novelists. I think Kazuo Ishiguro is really good at this. It's just novels where you see the characters' growing awareness of their circumstances and—OLIVER: Like in Klara and the Sun or something.TRALDI: Yes, or I think certainly in Never Let Me Go and in Remains of the Day, a lot of the action is in a situation where you understand what's going on better than the characters do.Clues and GamesTRALDI: And I think we talked about this the other day. In Austen, Emma, for example, is this sort of, like, halfway detective where she sees a lot of clues that could help her understand the nature of the life she's leading and the circumstances she's in, but she always misinterprets the clues. But on the other hand, it's not like she misses them entirely. She's kind of on the right track, and at least she's trying.OLIVER: And what I think Austen does so well in that book—I think it's her most important book—is that by putting us, without quite realizing it, with Emma's blinkers on, as it were, and only allowing our perspective to be her perspective, she makes us the detective.But whereas in a detective novel, you know, there's a funny little man and he is a detective, and he says, “Oh, there's a clue in this novel,” the read of—on the first read very often goes straight past what they must later realize to be a clue. And that is such a normal condition of life, that, “Oh, actually, that was one of the conditions, but you couldn't have known it. Sorry.” And you can only work it out in retrospect.TRALDI: Yes. In modern love, these are sometimes called red flags. [laughter] I think it's not quite a precise analogy, but yes, I think it's right. And I certainly—I had read Emma years ago and didn't really notice. As you say, on my first read, I didn't really notice, even having watched—I think it was the, what is it, the Kate Beckinsale version maybe, from ITV in like 1996 or something.It was really in reading it for this essay that I noticed that this feature that, starting on page 30 or 40 or so, there's a—and they're often in games. The clues are often in games. So very early on, Elton is playing some sort of poem game with Emma.OLIVER: The riddles, yes.TRALDI: The riddle game. And you know, Emma already misinterprets his riddles as being about Harriet rather than about her. But then there's also—the riddles also have some relation to things that happen much later.OLIVER: Then there's the anagram game at the end.TRALDI: There's the anagram game at the end. Yes, it's the—and I don't think there are many games like that in any of the other Austen.OLIVER: People play games, but we're not taken into them and have them narrated in that way.TRALDI: And they're not word games in general. There's card games and things like that. And you know, in Pride and Prejudice, Wickham has all these gambling debts and things like that.OLIVER: Yes.TRALDI: You know, in—I don't know if you know Whit Stillman, but for the same magazine a couple years ago I wrote about Whit Stillman, who's a sort of conservative filmmaker who's a huge Austen fan and brings in Austenian themes to a lot of his movies, but writes them about characters in the 1960s and '70s. And one of them was called The Last Days of Disco, for example, about—and some of the broader social themes he talks about are also there in Austen.So one thing that was just on the edges of my consciousness as I read through the novels for this essay was the question of the noble man versus the working man, which I think is very present in Austen and has something to do with her conception of virtue: that the virtuous person will be engaging in commerce in some way.OLIVER: Those moments of the noble and the virtuous man or whatever often take place in a shop, like the drapier in Emma or the jewelry shop in Sense and Sensibility.TRALDI: That's interesting. That's interesting.OLIVER: She's very careful to take us into a commercial situation and contrast.TRALDI: See, that is the sort of detail that I think a philosopher—I think we—the mere—the vibe of, “You're in a shop, and this means something.” I think this is something philosophers are—we can watch for the action; we can judge the characters' actions. But then there are these questions of atmosphere and milieu. And certain things happen in a shop; certain things happen at the seaside. In Persuasion there's an injury by the seaside.OLIVER: Yes. That's one of the most exciting scenes in Austen. Very dramatic.TRALDI: Yes, yes. I think actually Persuasion in some ways is quite different than her other books. It has a sort of—you know, in some ways it feels a little more like Frankenstein or Wuthering Heights at points. There's a little bit of a windblown, dark quality to it at times. It's a little bit bleaker. It's a little hard to explain why, but that's just a feeling that I had reading it that maybe had changed with some of the other literary tastes of the time.Artlessness in Austen's HeroinesOLIVER: Now, the quality that you focus on in the heroines, in this question of virtue defending itself against bad actors who break the rules, is artlessness.TRALDI: Yes. So this is a term Austen uses quite a bit, and almost always, she very much picks and chooses the characters who are going to receive this term. And I thought that this is like—it's not only her artless characters who face this question about how can morality survive, or how can virtue prevail, but I think they're the limit point.Like, if you really are unwilling to use—and I mentioned in the essay, when Darcy describes—I forget what; maybe it's him describing how he found Lydia and Wickham, or it's something to do with Wickham—he said, “I had to resort to arts.” So it must be, the “arts” back then means—one of the meanings of the term is dishonesty or subterfuge or something.OLIVER: Yes, if someone was artful, it could have—TRALDI: Yes, like the Artful Dodger.OLIVER: Exactly. Could have negative connotations for sure.TRALDI: Yes. And so the artless one, you know, they're missing something.So it's the question of, if you view—morality in a way means you're missing something, right? You've taken arts out of your arsenal. You've taken tools that could deal with certain situations, and you've just decided not to use them. So the question is, how can it be an advantage to have less tools?You know, we're here at Mercatus; the economists would tell you it's never advantageous to have fewer choices, right? There's no paradox of choice. It's never advantageous to have fewer choices. And so I think this is the—if morality is a kind of unilateral disarmament, artlessness is the clearest case of that.OLIVER: And you're seeing that in Fanny Price, Elinor—TRALDI: You see that in Fanny Price. You see that in Elinor. Harriet Smith is described as artless over and over again. And then there are these other characters who are described as artful, or other things that are mentioned as arts.I think Harriet, in a lot of ways, is the one who's most often described this way. And it's interesting because you think of Emma changing a lot in Emma, but Knightley actually shifts in his evaluation of Harriet, who he thought of as sort of an unserious person. And Knightley himself comes to recognize her artlessness as a kind of seriousness which makes her a good match, not ultimately for him, but for his dude, Robert.OLIVER: The farmer.TRALDI: The farmer, yes.OLIVER: He doesn't change his view of her social position, though.TRALDI: No, certainly not. But he does change his view of her character, basically. You know, her artlessness is not silliness. It has a sort of depth to it.And yes, certainly Fanny. In the Whit Stillman movie Metropolitan that's part of what set me on this, there's this whole discussion of the book Mansfield Park and this old Lionel Trilling essay about it where he says, how is it—there's this question about how modern people can even like Mansfield Park because we've sort of lost the notion of virtue being exciting or something.One of the most provocative lines to me in Austen was in Sense and Sensibility where it says that Elinor glories in Edward's integrity, which is an odd thing to glory in. You don't glory—nobody is on Instagram showing off their integrity, you know?OLIVER: It's like that René Gerard quote people like to pass around: “Everyone is on diet pills and nobody wants to be a saint.”TRALDI: I like that. That is very Instagrammable.OLIVER: Exactly. Exactly.TRALDI: That's very good, actually. I like that. Yes, so there's something provocative about the notion that virtue can be exciting, and in particular can be romantically exciting.The Importance of IntegrityOLIVER: Or even less than that. One thing I think is difficult for people interpreting Austen today is that virtue, whether it's exciting or romantically exciting, or the notion of integrity is of interest for its own sake.There's a lot of—you know, we have integrity as an organization. It's very important for me to have integrity as a professional. But there's not as much a sense of, just having integrity is the good life. We don't need to be complicated about this. That's just—you should just do that. And Austen's very firm on that all the way through.And criticism wants to pull her towards sometimes feminism, sometimes discussions of slavery, sometimes various other things. And she's just constantly sort of resisting that by saying, “I like integrity. I like good people. I don't think it's that hard.” It's a good line you've picked up on, I think.TRALDI: There's a character in The Wire who says, “A man's gotta have a code.” I think he's Omar, who murders the drug dealers and steals from them.OLIVER: I haven't seen it.TRALDI: So he says, “A man's gotta have a code.” And I think there is a—even in a character who in some ways is bad, we admire the integrity of having a code and sticking to it.There is this debate, I guess in moral philosophy, or at least on the outskirts of moral philosophy, about, “Well, if your code is wrong, maybe it's better not to stick to it.” I don't share that perspective. I think part of the good life is holding yourself to certain standards. And if those standards turn out to be wrong, the holding yourself is still of moral value, right? Not allowing yourself—OLIVER: It doesn't mean they're not adjustable.TRALDI: Yes, no, of course. If you decide the standards are wrong, and in Austen—OLIVER: It's sort of implicit in the idea of having standards that you will be honest and therefore accept when your standards need to be improved or whatever. Right?TRALDI: Yes, I think that's absolutely right. And in Austen we certainly see people shifting their standards. And I think one thing that I—of course, modern readers and watchers of Austen do not quite understand some of these things. But I think in Pride and Prejudice in particular, we're supposed to feel that Lizzy Bennet is quite hard on people and has to learn to improve herself in that way.OLIVER: We're delighted with her when she does that because we think it's sassy.TRALDI: Yes, exactly. If you go on YouTube, you can see all these, like, “Lizzy Bennet owning people's lives for 50 minutes,” these compilations of clips from the various movies or whatever. And she's obviously very, very clever.But she realizes—after coming to understand who Wickham is and feeling that she might not have another chance with Darcy, she comes to realize that she has had certain prejudices, which have made her blind to the realities of the world and blind to what might be her best options.So yes, I was saying I believe in integrity; that's all I was saying. And integrity obviously is adjustable, but I tend to think that it's better—even if the rule is wrong, it's better for the person who has it to hold themselves to it, rather than to adjust to try to get an advantage.And in philosophy, we have all sorts of terminology for these sorts of questions: “Are you an internalist or an externalist about reasons or about rules or whatever?” I think the more literary way to say it would just be that integrity is a virtue. And people should stick to their codes unless they see a good reason to change them.Austen and Adam SmithOLIVER: Now, you have recently been reading Adam Smith.TRALDI: Yes, I did read a lot of Adam Smith for this debate we had last week. Although I did a poor job because I had forgotten that the debate was about whether Smith was a philosopher or an economist. [laughter] I thought it was simply, is he a philosopher or not? So I put myself in the odd position of arguing that Adam Smith is not an economist.But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—OLIVER: Primarily from Theory of Moral Sentiments.TRALDI: So I would say that the notion of sympathy as being fundamentally part of how you recognize a good person seems to me to be there in Austen. The characters are—OLIVER: And this is the thing about awareness of other people and learning from that awareness.TRALDI: Awareness of other people and learning from other people and feeling other people's emotions. One thing that is related to sympathy in an odd way—and I think actually Austen and Smith conceive of it a bit differently, but that is there for both of them, in particular in Sense and Sensibility—is this notion of self-control or self-command.OLIVER: Self command. Yes. Yes.The Importance of Self-CommandTRALDI: Now, Smith gives a really odd argument about self command, which is that if you don't have control over your emotions, you will end up feeling or expressing something that other people can't sympathize with. And this is bad because sympathy is good, or something like that. I actually think it's a rather confused argument.OLIVER: I think what he's saying is that if you display a lack of self-command, then no matter what you are feeling, people find it difficult to deal with that sort of uncontrolled behavior. It's not the particular expression of feeling; it's the fact that you are a little unstable or—TRALDI: Yes, I think that's right.OLIVER: —a bit extra.TRALDI: I think what Smith doesn't do is explain quite how that's bad. But what I think is that actually, in Sense and Sensibility, it's a little bit the reverse, where actually Elinor and their mother, they do sympathize with Marianne. They do feel what she's feeling after—who's the other, the w guy in Sense and Sensibility? They're all w's.OLIVER: Oh, Willoughby.TRALDI: Willoughby, right, right. Not Wickham, Willoughby. When Willoughby—OLIVER: You can just say “the cad.”TRALDI: The cad. There's always a cad. So when the cad leaves, Marianne has all these emotions, and you really feel them. And Marianne also has a lack of self-command when Willoughby is there. There's this whole episode, which I didn't quite make the most of but felt very important, where they go to the house of this woman. They just sort of barge into this house, Willoughby and Marianne.And this is really supposed to show something about the relationship. If you and your partner barge into somebody's house, it can't be a good relationship somehow because it's leading you into bad actions. That's my sense of what that episode is supposed to show from the highest possible remove.OLIVER: I think, yes, and I think there are several other instances of that: when they ride in the carriage together, unaccompanied.TRALDI: Right, right.OLIVER: And there's a sort of general consternation about this. And Marianne sort of says, “Oh, well, how can it be a problem?” And they—part of the consternation is, you're breaking the rules in a very flagrant way, but also that you are assuming that it's okay because you'll get married. And this assumption is a very big one.TRALDI: Yes. And obviously there is this assumption that—she doesn't recognize quite how—she thinks her position is much more secure than it actually is, which is how it turns out in the book. But I think we're supposed to think that even if she were right about Willoughby's affection, which in a sense, she—Willoughby—OLIVER: No. Even if they do get married, she's broken the rules in a way that—TRALDI: She's broken certain rules in a way that is—but I think what's different from Smith is, there is sympathy from her family even though she lacks self-command. But that is precisely—so it's sort of a different theory of why self-command is good. It's precisely because her emotional state is actually draining for her family.And then Elinor says—when she learns that Elinor has actually been going through something—OLIVER: The same.TRALDI: —very similar, and maybe even rougher, in this whole thing with Lucy Steele telling her about this, you know, blah, blah, blah.OLIVER: Which is a beautiful name—to steal. I mean, it's great.TRALDI: It's an amazing—honestly, in some ways Sense and Sensibility may have been my favorite. I think it's just lovely.OLIVER: If I just wanted to just read one for fun, that's what I go to. I do, yes.TRALDI: Yes. And there's a lot—none of these things are quite perfectly in there. But I think honestly, everything that's in the other novels has a little part to play in Sense and Sensibility. You know, I think if I were to recommend just one, if somebody was like, “I have time for just one,” I might recommend Sense and Sensibility.But in the end, Marianne says—again, it's one of these amazingly evocative lines. Elinor says, “You didn't act that badly. Do you compare your conduct with Willoughby's?” And she says, “No, I compare it with—Elinor, I compare it with your conduct. You have this self-command.”And it's precisely the fact—it's not—and I think this is why philosophers do like Austen, because it's not—it's still literary, but there is a precision to her moral evaluations. It's precisely the fact that Elinor knew that her family loved her and didn't want to burden—it's all quite conscious. She didn't want to burden her family with her emotions. But you actually see that Elinor has this family trait of having very strong sentiment, which Marianne does, and simply also has this virtue of self-command.And that is—there are film adaptations and TV adaptations that demonstrate self-command, but it's a very hard thing to film. It's something you feel inside. It's a very hard—the actors have to be very good for you to see—you see pieces of it in some of the adaptations of Persuasion and some of the adaptations of Sense and Sensibility, but self-command is very hard to find.Austen AdaptationsOLIVER: Which adaptations do you like the best?TRALDI: I'm forgetting—I often like the long ones that I think were for the British ITV. So I like the—I think Kate Beckinsale was in the Emma one. Although I think there was one of Persuasion, which was also quite good. I like the one of Northanger Abbey. I don't think it's that good, but it's kind of cute, which I think it's probably the cutest of her long novels.Whit Stillman did a very loose adaptation of Lady Susan, which is hilariously funny at times, and also has Kate Beckinsale and some other great actors in it.OLIVER: Did you see the new Persuasion on Netflix a couple of years ago?TRALDI: No. No.OLIVER: It has that—is it Dakota Johnson, the actress, who's famous for other non-Austenian—Fifty Shades of Grey or whatever.TRALDI: Yes, and isn't she one of the Avengers or something like that?OLIVER: Something like that. But everyone was very upset that it was this terrible adaptation.TRALDI: Oh, yes.OLIVER: Didn't—it sort of killed all of Austen's words. She looks at the camera; she drinks from the bottle. I actually thought it was quite fun. On the basis that all adaptations are bad—TRALDI: I think if you allow some looseness, it can be quite fun. So for example, the 2005 Pride and Prejudice, I think if you're just sort of like, “Well, this is just somebody who was inspired by Pride and Prejudice,” you can have a lot of fun with the movie.OLIVER: I think as an interpretation of the book, that film is quite bad.TRALDI: Oh, yes. I think it's absolutely missing the mark.OLIVER: But in terms of like, the countryside and the house and the geese and the food, it's fantastic.TRALDI: Oh, yes. It's lovely to look at.OLIVER: The dresses, right? The clothes are amazing.TRALDI: And a lot of the—and the cast is honestly like—OLIVER: Yes, it's great.TRALDI: The cast is really, really great. And the parts as they are—OLIVER: Rosamund Pike is maybe the best Jane on TV.TRALDI: She's terrific. And who's the one who plays Kitty?OLIVER: Yes.TRALDI: Who is in—and the father is the guy from The Hunger Games. I forget his name, but I think the father is excellent in that. But of course, it's not exactly the father from Austen.OLIVER: No, no, no.TRALDI: But as a movie itself—but yes, I like a lot of these longer TV versions.One odd thing—they make these choices. So there is some scholarly apparatus brought to bear on some of them. So I think maybe it's Persuasion that there were multiple versions of, and some of the adaptations use pieces from the unpublished version, which are interesting. And as I was reading it, I had to Google around a bit and figure out these things.Austen's Moral PrecisionTRALDI: I was going to say about Austen's moral precision, the other place where I think this comes in—and I wrote a bit about this in the essay—is near the end of Mansfield Park, when—the names are what I'm worst at—when Edmund, right, is finally disillusioned with—OLIVER: Mary.TRALDI: With Mary Crawford?OLIVER: Mm-hmm.TRALDI: It's because there was this affair. There's always a sibling or a cousin who makes some horrible mistake, you know? So there was this affair, and Mary Crawford can only criticize it by saying that they weren't very prudent, you know, in prudential terms. They took a big risk. They made a bad decision. You know, they really screwed themselves over.OLIVER: They could have made it work. Yes.TRALDI: Yes. And Edmund realizes that she lacks moral fervor because he thinks the appropriate criticism should be a moral one. And as a psychological matter, it shouldn't even enter your head, I think is the idea. I'm extrapolating a bit, but if you see somebody acting this badly, to then say, “Well, geez, you're doing something that isn't in your interest”—for that to be your first thought indicates that your priorities are highly misplaced in a way that, to him, is quite unattractive.And this also struck me as a moment of—this is something we philosophers talk about. What is the distinction between prudence and morality? They both tell you what you should do, in some sense, but there's different—the shoulds have different forces, right? So Edmund has a certain moral precision and sensitivity which, actually, Fanny is basically the only person he knows—not that everybody in the house is a bad person; his father is a decent guy, and one of the aunts is okay, I think.But yes, there's a real sophistication to this evaluation. And it's funny to me that she actually used this as the—I mean, I suspect that even at the time there were readers who were just like, “Wait, I really don't get what the nature of Edmund's problem is here,” because it's not like Mary—Mary's not like, “Oh, yes, I support infidelity.” You know? She's not like— it's if you blinked, you might miss it, the mistake that Mary has made.And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.Every Word MattersOLIVER: I mean, one way people talk about the great books is to say that every word matters. And a lot of novelists will say that about their own. Well, you know, Elizabeth Bowen used to say, “What you're doing is to make everything count.” Austen is one of the examples where it's actually true. Every word is being used carefully.TRALDI: Yes. It's funny, this bears on another Twitter argument I had recently about this phrase logographic necessity. Basically, every word in a great book is there for a reason. I think that's right. Although you have to be careful about—if you were to say, “Well, every word in Plato is there for a reason, so you can't really say he's wrong about every—” you would be kind of abandoning the philosophical mission.OLIVER: I mean it in the sense of what you might call the artistic or structural integrity of the book. Not everything has to tell in the meaning sense. But it all holds as a unit for some—TRALDI: Yes. I think everything is there—there is what we could call an internal reason for everything to be there. Everything is there to hold together—OLIVER: Like the making of a piece of furniture or something.TRALDI: And I think you hear—I think this is one thing that—and not all classical music, but I think it's one thing that distinguishes classical music even from very good contemporary pop music or jazz or rock music, is that you have this sense of, “Yes, every note I hear basically is holding up a larger structure of some sort.”OLIVER: Yes. And Jane Austen is very Mozart in that way.TRALDI: Yes, I think that's right. Yes.Austen's Place in Great Books ProgramsOLIVER: So should Jane Austen have a bigger place on great books programs, based on all these things you've said about her?TRALDI: Yes, this is—so, there was actually a debate—I did not write the piece in response to this debate, but this is—OLIVER: Tanner Greer.TRALDI: Yes, there was—Tanner Greer weighed in on this, and my friend Circe. I think—OLIVER: I think they're just desperately wrong.TRALDI: You think they don't—that she—OLIVER: I think Emma is obviously a book that should be on one of these syllabuses. Maybe Sense and Sensibility.TRALDI: Yes. I think the ones I would consider are Emma, Sense and Sensibility, Mansfield Park. I do think they're actually longer than I realized, which is always—I mean, there are these very practical concerns with putting together a syllabus.OLIVER: Sure, sure. Although I want to ask you about that, because my response to a lot of these debates, which is maybe just because of where I studied, but just make them read more. And if they don't do the reading, that's their, you know—TRALDI: That's true. Well, I don't want to get into this too much. We already make them read a lot compared to—so for example, a year ago, I had my students read two novels in a week, which is more than most courses make college students read.OLIVER: But that's by no means unreasonable.TRALDI: No, no, of course, of course.OLIVER: You know.TRALDI: Well, exigencies of the teenage mind aside—OLIVER: Because I often think this, when people debate how things should be taught and why it's so important to keep these programs, and they'll talk about the importance of writing essays. And then it turns out the students maybe write one essay a semester. And I sort of think, well, who cares? All this rhetoric for one essay.TRALDI: Yes. I don't know if I'm really ever going to assign essays again. It just is—the age of AI is upon us.OLIVER: Sure. But you see what I mean.TRALDI: No, yes, I know exactly what you mean. And I do think reading a lot is the main part of—and certainly, you know, when I read all seven of these in two weeks, that's much more reading than I normally do, as well, to write this essay.OLIVER: But you didn't have to lie on the sofa afterwards with a cold compress. You were fine.TRALDI: In a way it was a really good two weeks. If you get to read—I mean, this is why we have good lives, right? If you get to read Jane Austen and you call that work, it's a nice life.OLIVER: So yes, will you be putting Emma on your program?TRALDI: I would definitely consider Emma. I would definitely consider Sense and Sensibility. I would consider Mansfield Park. I think these are the ones that have—the moral element is very prominent. But it's obviously there in all of her books.OLIVER: You can have a really good moral discussion about Mansfield Park, which is a bigger, broader thing than Pride and Prejudice, for example.TRALDI: Yes, I think so. I would definitely consider—in the 1800s there were—obviously the British novel of the 1800s was a big deal, and there's—OLIVER: [laughs] We did quite well, yes.TRALDI: You all did quite well. So the ones we did at Tulsa—we had Frankenstein and Wuthering Heights and The Picture of Dorian Gray. And then we had one Irish, The Portrait of the Artist as a Young Man. And I don't think anybody—if you replaced one of those with Emma or Mansfield Park, I don't think anybody would say, “Oh, you made a horrible call.”OLIVER: I think Tanner's point was that you simply don't have that many slots for an English novel that deals with these sorts of ideas, and that it should obviously be Middlemarch because that is the bigger novel. It's about bigger questions of society. It's about the whole—it's got more greatness in it, whereas Austen is sort of more about the individual.TRALDI: So I do think that this question of greatness—I think there are some people who read Austen and they think, “Well, this is—obviously it has all these sorts of themes, but it's not great. It has this littleness to it. It has this smallness to it.”OLIVER: It's domestic.TRALDI: That is not my reading of it. I think if that's the question, I don't feel that way. I think it pulls out these great themes about the nature of virtue and the nature of moral learning, becoming a better person, the nature of love. We read Sappho. We read the Symposium.To me, you read Wuthering Heights and you say, “Oh, this is a really big book because it's about society and how trauma gets passed down, and it has these horror elements, and it's very dark.” But actually, it's quite hard to figure out, how do we turn Wuthering Heights in a discussion about how to live? With Austen, it's just completely straightforward.OLIVER: [laughs] How not to live, maybe.TRALDI: Yes. In Austen, it's just completely straightforward. This is the discussion. This is what she had in mind as well, this question of how to live. So to me, Austen is completely—in terms of her successes as an artist, she belongs. In terms of her themes, she belongs. So I would not rule her out. I think she is absolutely a great, and who knows what that means, but I think she would be completely appropriate on any of these syllabi.Reading PlansOLIVER: Very good. And what will you read next?TRALDI: What will I read next? I mean, our—from the beginning, I'm thinking I should read some more poetry. It's been a while. Actually, speaking of—this is funny. Well, I want to get into William Empson. He had an odd life, which I think somebody should do like a movie about him or something.OLIVER: Yes, he'd make a great movie.TRALDI: I think Empson would be a good movie. So that might be—OLIVER: Are you going to read the poems or the criticism?TRALDI: Probably a little of both, but that's for a while from now. I think, you know, at the moment I'm back to reading philosophy. So what novel will I read next? That's a good question. What should I read next?OLIVER: If you like Jane Austen?TRALDI: Yes.OLIVER: Maybe read one of the people that she admired, like Samuel Richardson or Fanny Burney, someone like that.TRALDI: You know, I do think—you saying Samuel Richardson reminded me, I've read very little Samuel Johnson. I think reading some of the great critics, I think, writing this piece—OLIVER: Oh, Johnson, yes. You would like Johnson.TRALDI: I think I would like Johnson. I think I would like Empson. The history of literary criticism is something I have very, very little idea of.OLIVER: Oh, well, then, Johnson. I mean, he's the best.TRALDI: Yes, I think I should, I should definitely read Johnson.OLIVER: English literary criticism begins and ends with Samuel Johnson.TRALDI: You know what, this is a little different, but—I might have talked about this with you a little bit—I want to read The Fable of the Bees, Mandeville, because reading about Smith—a lot of the ideas that we think of as Smithian are actually Mandevillian, and he kind of moderated them.OLIVER: Well, he hated Mandeville.TRALDI: Yes.OLIVER: Very hard on him.TRALDI: Yes. So a lot—like the invisible hand, it's only a small part of Smith's thinking, but it was like the entirety of Mandeville's thinking, this sort of dynamic.OLIVER: Well, I think it means different things for them. I think Mandeville, in a funny way, is more philosophical in the sense you were saying, and trying to make these propositions. And Smith was saying, “Well, what about feelings? What about all these funny things that we can't account for? Like, look around. It's too messy.”TRALDI: No, that makes sense to me. Yes, I think between Mandeville and Smith, Mandeville is somebody who thought virtue was sort of like a con.OLIVER: A fool's game.TRALDI: Exactly. You're sort of a sucker if you try to be virtuous.OLIVER: I think he also just assumed that if you were commercial, you were obviously on the get.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?In philosophy, we do ask, what is a good character and what is the good action in this sort of situation? What is the bad action in this sort of situation? But it's not for the philosopher to say, “Okay, in the sorts of situations you're likely to be in, what do you pay—where do you direct your attention to try to figure out these things about?”And it's not—I don't think Austen—it's not super subtle either. In Persuasion—I mentioned in the essay—in Persuasion, it starts out by saying Anne really cared about paying off the family's debts, and the rest of her family didn't give a s**t, you know? And it's sort of like, okay, so we just immediately are like, Anne's the sort of person who you might want to have a business transaction with because if she has a debt to you, she might actually pay it. And I forget if that's the exact detail, but it's something like that, you know?OLIVER: And there's also the novelist—Jane Austen is very good at what you don't see, which aga

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Ruth and friends listeneing to the more senior students search for the person whom she is to be like in the future. Tommy and Kath have time together and discuss theories about various things from Hailstrom.

Labhraíonn Rónán Mistéil le Cuán faoin leabhar 'Never Let Me Go'.

As usual, Jonathan and Gary raise a number of thorny questions about reading SF and fantasy, and resolve none of them. Beginning with Jonathan's account of his recent reading of Kazuo Ishiguro's Never Let Me Go, we speculate on what sort of expectations we bring as readers to novels in which the interiority of the characters is privileged over the SF elements, whether a novel can do both, and whether the reading protocols are different for different genres. This leads toward a customarily rambling discussion that touches upon everything from Jo Walton and Ada Palmer's new nonfiction book Trace Elements to novels by Le Guin, Wolfe, Bujold and others, and eventually leads us to a consideration of Matt Dinniman's Dungeon Crawler Carl novels, along with books we're either reading right now or looking forward to in the next few weeks.

This episode is brought to YOU by HANDJOBS! **twinkling sound**  This week Daphne reveals how she knows about Sam's secret! Sookie attempts to force a bond with Barry the telepath, but fails miserably. Meanwhile Tara gets overwhelmed by the world, but comes home to Maryann who offers comfort! Rewatch, Listen & Laugh as Alaina talks away Eric's previous  poor oral hygiene, Mikie has thoughts about the episode title, and Ash readies herself to show Maryann these hands because of her "Temu Gran costume" she puts on! (Honestly! The fucking nerve of this woman!) And don't forget to follow us at @the_rewatcher on Instagram for special bonus content!!  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Notes and Links to Yiming Ma's Work      Born in Shanghai, Yiming Ma spent a decade in tech and finance before writing the dystopian novel These Memories Do Not Belong to Us, named a Spotify Editors' Pick, longlisted for the Goodreads Choice Award, and featured on Best Book of 2025 lists by Electric Literature, Debutiful, PEN America,and elsewhere.    Yiming attended Stanford for his MBA, and Warren Wilson for his MFA. His stories and essays appear in the New York Times, The Guardian, The Globe and Mail, Florida Review, and elsewhere. His story “Swimmer of Yangtze” won the 2018 Guardian 4th Estate Story Prize. Buy These Memories Do Not Belong to Us   Locus Magazine Review of These Memories Don't Belong to Us     Yiming Ma's Website   Interview with Michael Zapata for Chicago Review of Books: “Mirrors, Memories, Rebellions: An Interview with Yiming Ma” At about 2:10, Yiming shares the feedback he's gotten and the ways in which These Memories Do Not Belong to Us has “resonated” with readers At about 4:20, Yiming talks about his relationship with “home” and reading as a kid At about 5:15, Ishiguro's Never Let Me Go is highlighted as a formative and transformative read for Yiming At about 8:15, Yiming expands on how his immigrant background informed his career choices, agency, and adaptive skills and outlook on capitalism-he connects these to his book's plot and themes  At about 10:25, Pete reflects on the book as science fiction/speculative fiction At about 11:25, Yiming responds to Pete's question about contemporary books that “flipped the switch” At about 12:50, Yiming reflects on the dearth of fiction read by people in his former work life, as well as ideas of empathy and the changing landscape of diversity in authorship At about 15:00, Yiming talks about AI and men reading (or not reading) fiction, and differences between his writer friends and tech friends  At about 18:00, Yiming describes the structure of the book in conjunction with seeds for the book, largely coming from the pandemic and ideas of what is remembered and not remembered and how At about 21:55, Yiming explains how his award-winning story “Swimmer of Yangtze” and the idea of “constellation writing” At about 23:00, Yiming lays out the book's opening/exposition  At about 24:40, Yiming responds to Pete's questions about early connections and memories between Jill and Hao At about 28:00, Yiming recalls the early question about seeds for the book in reflecting on the motif of watches in the novel  At about 30:15, the two discuss “Easter eggs” in the book regarding “Ri-Ben” (China in Japanese), and Pete reflects on geopolitical tragedies that frame the “constellation writing”  At about 32:10, Pete asks Yiming about the book's “Memory Epics” and ideas of art vs. commercialism and censorship in connection to today's similarities  At about 36:40, Yiming expands on the story “Chankonabe” and its connections to real-life and its fit in the novel's “constellation” At about 37:35, Yiming talks about the importance of mantras in his book as guides for his storytelling At about 40:00, Yiming talks about research on sumo wrestling and the resulting questions and reflection that brought out some profound scenes  At about 43:15, The two discuss the book's first-person accounts from the main narrator, and Yiming expands upon ideas of agency and resistance against systems  At about 45:30, Yiming reflects on connections between the Chrysanthemum Virus and the coronavirus At about 51:00, The two discuss the story “Swimmer of Yangtze” At about 52:10, Yiming tells of the beautiful homage to his grandmother in the book At about 53:10, Yiming turns the tables and asks Pete probing questions about the ever-encroaching AI At about 56:40, Yiming talks about the “incredible” students he's spoken with and reflects on a “biased sample” and the “paradigm shift” between disparate groups he speaks with regarding AI and its implementation  At about 1:01:00, Yiming reflects on the “worry” he has over critical thinking skills and employment in a future focused on AI At about 1:02:20, Pete asks about “+86 Shanghai” and its immigration stories  At about 1:03:20, The two discuss the balance between changing the system and ideas of assimilation and Yiming talks about personal connections to “mining [his] own immigration story” and changing immigration narratives At about 1:07:50, The two reflect on Kaveh Akbar's brilliant work that Yiming riffs off in the book; Pete shares a story about Kaveh's profundity in action, and Yiming talks about censorship and the timing of the release of his book      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 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 327 with Adolfo Guzman-Lopez. Adolfo Guzman-Lopez has been a reporter at LAist 89.3, the Los Angeles NPR affiliate since 2000. He reported and hosted Imperfect Paradise: The Forgotten Revolutionary, a true crime podcast looking into the death in 1994 of Chicano college activist Oscar Gomez. He has reported on L.A. politics, education, art, museums and other topics. His stories have also aired and published nationally on NPR, The Washington Post, and other media, and his poetry, especially from time with the Taco Shop Poets, has been awarded and anthologized.     The episode airs later today, March 3.      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.       You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.

Cassidy Olsen is back to chat with us about 2010s dystopian dram in NEVER LET ME GO. Together we discuss the careers of the three leads, Alex Garland: screenwriter, crying during movies, tumblr and the bleak tone inside a coming of age film

One particular episode of "The Bear" inspired me to think about Kazuo Ishiguro's classic novel "Never Let Me Go"- friendship, love, memory, regret, and what it is that makes us human.  This is a bonus episode I released a few years ago to my Patreon supporters. I think it fits well with the holiday season, see you in the new year! The Bear: https://en.wikipedia.org/wiki/The_Bear_(TV_series)  Season 2 Episode 7-"Forks": https://www.imdb.com/title/tt26230388/  Never Let Me Go: https://en.wikipedia.org/wiki/Never_Let_Me_Go_(novel)  -Consider Supporting the Podcast!- Leave a rating or review on apple podcasts or spotify! Support the podcast on Patreon: https://www.patreon.com/reflectinghistory Check out my podcast series on Aftersun, Piranesi, Arcane, The Dark Knight Trilogy, and Nazi Germany and the Battle for the Human Heart here: https://www.reflectinghistory.com/bonuscontent Try my podcast series "Nazi Germany and the Battle for the Human Heart"-- What led to the rise of Nazi Germany? The answer may surprise you…Why do 'good' people support evil leaders? What allure does fascism hold that enables it to garner popular support? To what extent are ordinary people responsible for the development of authoritarian evil? This 13 part podcast series explores these massive questions and more through the lens of Nazi Germany and the ordinary people who collaborated or resisted as the Third Reich expanded. You'll not only learn about the horrifying, surprising, and powerful ways in which the Nazis seized and maintained power, but also fundamental lessons about what fascism is-how to spot it and why it spreads. Through exploring the past, I hope to unlock lessons that everyone can apply to the present day. Check it out on my Patreon page at: https://www.patreon.com/reflectinghistory. Try my podcast series "Piranesi: Exploring the Infinite Halls of a Literary Masterpiece"-- This podcast series is a deep analysis of Susanna Clark's literary masterpiece "Piranesi." Whether you are someone who is reading the novel for academic purposes, or you simply want to enjoy an incredible story for it's own sake, this podcast series goes chapter by chapter into the plot, characters, and themes of the book..."The Beauty of the House is immeasurable; it's kindness infinite." Piranesi lives in an infinite house, with no long-term memory and only a loose sense of identity. As the secrets of the House deepen and the mystery of his life becomes more sinister, Piranesi must discover who he is and how this brings him closer to the "Great and Secret Knowledge" that the House contains. Touching on themes of memory, identity, mental health, knowledge, reason, experience, meaning, reflection, ideals, and more…Piranesi will be remembered as one of the great books of the 21st century. Hope you enjoy the series as much as I enjoyed making it. Check it out at https://www.patreon.com/reflectinghistory. Subscribe to my newsletter! A free, low stress, monthly-quarterly email offering historical perspective on modern day issues, behind the scenes content on my latest podcast episodes, and historical lessons/takeaways from the world of history, psychology, and philosophy: https://www.reflectinghistory.com/newsletter.

Adeline Atlas 11 X Published AUTHOR Digital Twin: Create Your AI Clone: https://www.soulreno.com/digital-twinSOS: School of Soul Vault: Full Access ALL SERIES⁠https://www.soulreno.com/joinus-202f0461-ba1e-4ff8-8111-9dee8c726340Instagram:⁠https://www.instagram.com/soulrenovation/Soul Renovation - BooksSoul Game - https://tinyurl.com/vay2xdcpWhy Play: ⁠https://tinyurl.com/2eh584jfHow To Play: ⁠https://tinyurl.com/2ad4msf3Digital Soul: https://tinyurl.com/3hk29s9xEvery Word: ⁠⁠http://tiny.cc/ihrs001Drain Me: ⁠https://tinyurl.com/bde5fnf4The Rabbit Hole: https://tinyurl.com/3swnmxfjDestiny Swapping: https://tinyurl.com/35dzpvssSpanish Editions:Every Word: https://tinyurl.com/ytec7cvcDrain Me: https://tinyurl.com/3jv4fc5n

Whether you like ripping page turners, incredible characters, books that make you laugh out loud, exploring unforgettable new worlds, or literary books that will make you see the world in a new way, there's a great intro to scifi out there for everyone!Join the Hugonauts book club on discord to tell us about your favorite time travel booksOr you can watch the episode on YouTube if you prefer videoIf you want to jump around, here are the timestamps for all the books we talked about: 00:00 Intro 00:38 Incredible Characters - Vorkosigan Saga by Lois McMaster Bujold 3:07 A Long Way to a Small, Angry Planet by Becky Chambers 4:04 Flowers for Algernon by Daniel Keyes 4:52 Unforgettable Worlds - The Expanse by James S.A. Corey 6:58 Hyperion by Dan Simmons 8:24 House of Suns by Alastair Reynolds 9:20 Children of Time by Adrian Tchaikovsky 10:56 The Forever War by Joe Haldeman 12:22 Funny SF - Hitchhiker's Guide to the Galaxy by Douglas Adams 13:36 Snow Crash by Neal Stephenson 14:50 Old Man's War by John Scalzi 16:01 Page turners - Project Hail Mary by Andy Weir 17:43 Dark Matter or Recursion by Blake Crouch 18:52 All Systems Red by Martha Wells 20:01 Ender's Game by Orson Scott Card 21:35 Ready Player One by Ernest Cline 22:34 Literary SciFi - The Left Hand of Darkness by Ursula K. LeGuin 24:55 Never Let Me Go by Kazuo Ishiguro 26:26 The Road by Cormac McCarthy 27:49 Slaughterhouse-Five by Kurt Vonnegut 28:40 Starship Troopers by Robert Heinlein

This is Season 7, Episode 2 of this "The Vampire Diaries" related podcast! Pete is watching the show for the first time and Ash is a superfan. Each episode they watch an episode of TVD and discuss. This week they talk about bad costumes, Stephen King books and podcasts, 6 7, wanting to relax, padcosts, and much more!  They do some Pete-dictions at the end of the show. Talk to Pete here: https://www.instagram.com/theportableproducer/ We were voted one of the Top 10 The Vampire Diaries Podcasts on the web. https://blog.feedspot.com/the_vampire_dairies_podcasts/ Also we're in the top 100 Vampire Podcasts here: https://www.millionpodcasts.com/vampire-podcasts/ The EC Little Free Library: https://www.instagram.com/eclittlefreelibrary/ Pete is on Letterboxd! https://letterboxd.com/peterlh/ Check out The VamPetey merch at https://www.teepublic.com/user/highdive If you like #TheVampireDiaries and/or you are a young adult, you should check out Pete's books! https://www.amazon.com/Peter-L-Harmon/e/B011SBWJF8/ref=dp_byline_cont_pop_book_1 And if you love this show, please leave us a review. Go to RateThisPodcast.com/vampetey and follow the instructions.

In which Kate is joined by pod regular, journalist Phil Chaffee and Professor Elizabeth Eva Leach. Both read over 200 books a year, and their reading stacks this year have included the Booker longlist.  And so who better to consider the books that didn't make the final cut – but which are, notwithstanding, the 'best' books selected from over 150 submitted titles. As we know, really great books can get overlooked for the shortlist. Consider Trust by Hernan Diaz, longlisted but not shortlisted, or, going further back Never Let Me Go by Kazuo Ishiguro and before that Penelope Fitzgerald's miraculous novel The Blue Flower. The fallibility of the judging process thus proven let's leave no stone unturned in considering this year's selection. Did the judges overlook a new favourite read? The Booker Prize is announced on 10th November and we'll be recording an episode on the shortlist on the night. Coming soon! Booklist Misinterpretation by Ledia Xhoga  Seascraper by Benjamin Wood Endling by Maria Reva One Boat by Jonathan Buckley The Outline Trilogy by Rachel Cusk The Rough Guide to Venice and the Veneto Universality by Natasha Brown The South by Tash Aw Love Forms by Claire Adam Barn 8 by Deb Olin Unferth The Loneliness of Sonia and Sunny by Kiran Desai Patreon Head to www.patreon.com/thebookclubreview for all the benefits (extra shows, readalongs, book club and more) and how to sign up, and know that you'll be supporting a show that takes a lot of time and love to make. Serious Readers To take advantage of the special offer code for any Serious Readers HD Essential Reading Light head to SeriousReaders.com/bcr and use the code BCR at checkout Instagram Follow Kate for updates between shows @bookclubreviewpodcast

  Thank you for tuning in to Episode 306 of the Down Cellar Studio Podcast. Full show notes with photos can be found on my website. This week's segments included:   Off the Needles, Hook or Bobbins On the Needles, Hook or Bobbins Brainstorming From the Armchair Some Years Later In my Travels KAL News Events Ask Me Anything On a Happy Note Quote of the Week   Thank you to this episode's sponsors: Stitched by Jessalu, Fibernymph Dye Works & AdoreKnit   Off the Needles, Hook or Bobbins   Mayor of Halloween Town Socks Yarn: Woolens & Nosh Targhee Sock in the Mayor of Halloween Town colorway Pattern: OMG Heel Socks by Megan Williams ($5 knitting pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Ravelry Project Page   On the Needles, Hook or Bobbins   Sweetly Striped Hat Pattern: Sweetly Striped Hat by Chit Chat Knits. $4.50 knitting pattern available on Ravelry Yarn: Berroco Vintage in colorway 5185 Tide Pool Needles: US 6 (4.0 mm) & US 8 (5.0 mm) Ravelry Project Page Pattern: Snack Shack Sponsor- Chit Chat Knits- 20 points Project Bag & Notions Pouch- Pro Shop Sponsor The Huckleberry Girl- 40 pts each= 80 points Check out this video on how to do a 1x1 left & right cross without a cable needle from my YouTube Channel Progress: I need one more repeat & will begin crown decreases   Traveler Sweater Pattern: The Traveler by Andrea Mowry ($9 pattern available on Ravelry & the designer's website) Yarn: Hazel Knits Small Batch Sport (90/10 SW/Nylon) Needles: US 3 (3.25 mm) & US 4 (3.5 mm) Ravelry Project Page Progress: 18 purl ridges done; blocking to see if I have enough of the body knit or if I want to add more length.   Born to Be Mild Socks Yarn: Hypnotic Yarn Plush Sock in the Born to Be Mild Colorway Pattern: OMG Heel Socks by Megan Williams ($5 knitting pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Ravelry Project Page Progress- Part of the way through the cuff on sock #2. About the yarn: tan base with browns and robin's egg. It reminds me of a robin's nest.   Game Day Party Socks Yarn: Mandi's Makings SW Merino Fingering Weight Yarn in the Pigskin '25 Exclusive Game Day Party Colorway. Green mini skein for heel from Goosey Fibers (Wizard of Oz Advent Calendar yarn) Pattern: OMG Heel Socks by Megan Williams ($5 knitting pattern available on Ravelry) Ravelry Project Page Yarn: Pigskin '25 Exclusive- 60 points Progress: just beyond the heel on the first sock   Log Cabin Blanket Pattern: Log Cabin Square by Julie Harrison. Free crochet pattern available on Ravelry. Video tutorial available on the Little Woollie Makes YouTube Channel Yarn: Legacy Fiber Artz Minis (mostly from Advent calendars 2023 & 2024) Hook: I (5.5 mm) Ravelry Project Page Inspired by Rachel (treehousefiberarts on Instagram) and Sue & Chelsea (Legacy Fiber Artz on Instagram). Check out the Floss Toss Ravelry Group for details on their Scrappy Blanket CAL; you do not have to use this pattern. Any scrappy crochet blanket counts. My color placement is inspired by this project/pattern available on Ravelry. The basic idea is that you use 1 main color for Rounds 1 & 3 (center and outer square), and then 4 separate colors for the 4 sides of the middle square) Round 1 & Round 3 done using same colors (2 sock yarns held together)- totals about 22g (11g of each colorway) Contrast Colors: total weight of yarns used (reminder- yarns are held double so I only need half the weight listed for each mini). CC 1 & 2: 2g needed. CC 3 & 4: 4g needed Progress: 9 so far - 2 new ones this month   Hot pink spinning Fiber: Mountain Vewe Coopworths Fiber in hot pink (no specific colorway name)- three 4oz bumps Ravelry Project Page Twist direction: singles = Z plied = S This means when I'm spinning, my wheel is spinning clockwise and when plying my wheel is moving counter-clockwise. Progress: ~3/4 way through first bump. 1st bobbin full and the second is well underway   Brainstorming Check out these designs by our Pigskin Sponsors that call for Super Bulky Yarn- Ravelry Link I may try the Fabled Hat pattern by Maggie of Yarnaceous Fibers-$6 Ravelry pattern or the Copper Foxes Super Bulky cowl by Kacey Knits, a $7 Ravelry Pattern Tiny scarf like the Sophie Scarf (Ravelry Pattern) but I likely won't use a pattern since many of my shawls that are knit side to side start off similarly. Christmas gifts- toys for the littlest of the nieces/nephews. More to come on the next episode.  The Love in Stitches Membership is working on colorwork sweaters and cozies.   From the Armchair The Outsiders by S.E. Hinton. Amazon Affiliate Link. Never Let Me Go by Kazuo Ishiguro. Amazon Affiliate Link. Everything is Tuberculosis by John Green. Amazon Affiliate Link. The Academy by Elin Hilderbrand & Shelby Cunningham. Amazon Affiliate Link. The Night She Disappeared by Lisa Jewell. Amazon Affiliate Link.   Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.   Some Years Later   Mini Skein Hexagon Blanket Pattern: Basic Crochet Hexagon Pattern & Tips from Make Do and Crew Website & YouTube Tutorial Hook: F (3.75 mm) Yarn: Mini skeins from 2022 agirlandherwool Advent Calendar, 24 Days of Cheer Swap minis + other scraps/swap yarn Ravelry Project Page I've been closing the end of each hexagon with this join- link to Instagram post Learned double magic circle from this YouTube video. Update: I took this blanket camping in Vermont, washed it when it came home and many of the centers burst open. So frustrating. I thought the double magic circle was the key but no, perhaps not. I will do a chain/slip stitch beginning moving forward.   In My Travels I shared a bit about our recent trip to Vermont.   KAL News   Pigskin Party '25 Event Dates: KAL Dates- Thursday September 4, 2025- Monday February 9, 2026 Find everything you need in the Start Here Thread in the Ravelry Group Official Rules Registration Form  (you must be Registered to be eligible for prizes) Enter your projects using the Point Tally Form Find the full list of Sponsors in this Google Doc. Coupon Codes are listed in this Ravelry Thread Exclusive Items from our Pro Shop Sponsors are listed in this Ravelry Thread Questions-  ask them in this Ravelry Thread or email Jen at downcellarstudio @ gmail.com Check out this Ravelry Thread with helpful tips for the event, crowd sourced from our incredible players.   Updates In This Episode Our first Official Sponsor of the Quarter is Love in Stitches with Knitty Natty is hosting a Cozy Up Challenge! Check out all of the details in this Ravelry Post. Join Knitty Natty & me for a special zoom hangout Thursday 10/2 at 8p Eastern. Cast on, chat, learn about some of Natalie's cool cozy patterns and have some fun. Use code "PIGSKINPARTY" to save 10% on Natalie's cozy patterns. Details in the Start Here Thread. Official Sponsor for Quarter 2 (November)- Twice Sheared Sheep Official Sponsor for Quarter 3 (December)- Suburban Stitcher Official Sponsor for Quarter 4 (January)- Yarnaceous Fibers The Pink Challenge also kicks off 10/1/25. Check out the challenge details in this Ravelry Thread & don't forget to make an appointment if you're due for a mammogram or other screening. The Charity Challenge is also ready- check out the details in this Ravelry Thread.   Events Vermont Sheep & Wool. October 4 & 5 Indie Untangled. October 17 CAKEpalooza. October 17 A Woolen Affair. October 17 NY Sheep & Wool (aka Rhinebeck). October 18 & 19. Down Cellar Studio Meet up at Saturday 2p at the Pavilion to the left of the beer tent! Come and say hi. The Fiber Festival of New England. November 1 & 2 Sunkissed Fiber Festival: January 24-25, 2026- just outside Tampa, FL   Ask Me Anything   Tune in to hear answers MikkaelaB asked about the Pigskin Party.  Check out the Ask Me Anything Thread in Ravelry to ask a question and hear my answer on an upcoming episode.   On a Happy Note Dinner in Plymouth with my Mom's cousins Adult Ballet Class Vermont Trip Seeing the Mrs. Doubtfire musical Finding out my niece Hattie was cast as Gretl in a local production of The Sound of Music Going to the movies! Laura & I saw The Long Walk, based on a 1979 Stephen King novel Participating in a Clothing Swap & doing second-hand shopping with friends. Raffa Life in Cranston, RI- saunas, steam rooms & cold plunge   Quote of the Week "With every choice, you create the life you'll live; with every decision you design it." Mollie Marti   ------   Thank you for tuning in!   Contact Information: Check out the Down Cellar Studio Patreon! Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Instagram: BostonJen1 YouTube: Down Cellar Studio Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio Check out my Down Cellar Studio YouTube Channel Knit Picks Affiliate Link Bookshop Affiliate Link Yarnable Subscription Box Affiliate Link FearLESS Living Fund to benefit the Blind Center of Nevada Music -"Soft Orange Glow" by Josh Woodward. Free download: http://joshwoodward.com/ Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.  

Welcome to "Literature and Us"! In our foundational episode, host Danny tackles a huge question: with AI that can write, summarize, and create, do we still need literature? We argue that the answer is a resounding YES. While algorithms process data, literature provides something irreplaceable: human experience. Join us as we explore how stories serve as the ultimate technology for understanding ourselves and others in a way that data streams simply can't. This isn't a battle against technology, but a celebration of what makes us uniquely human. In this episode, you'll discover: The crucial difference between an AI's summaryand a reader's experience. How literature acts as an "empathy engine,"allowing us to live a thousand lives and understand different perspectives through books like To Kill a Mockingbird and Never Let Me Go. Why reading is a powerful workout for your brain, serving as a "critical thinking gymnasium"that helps you spot misinformation and navigate a complex world. How timeless stories from Shakespeare to Tolstoy connect us to the unfiltered human condition—love, loss, grief, and joy—in all its messy glory. Why the "inefficiency" of reading is actually its greatest strength in our fast-paced, optimized world. To unlock full access to all our episodes, consider becoming a premium subscriber on Apple Podcasts or Patreon. And don't forget to visit englishpluspodcast.com for even more content, including articles, in-depth studies, and our brand-new audio series and courses now available in our Patreon Shop!

In this week's episode, Kayla and Taylor discuss Kazuo Ishiguro's 2005 novel Never Let me Go. Topics include the 20th anniversary of this book, how to classify it, the ethics of cloning for organ harvesting, memory and loneliness, rich people clones, talkin' the title, Kathy as narrator (and carer), and the medical inaccuracies of Grey's Anatomy. Plus, we talk at length about quitting social media. And remember: there's no cow on the ice.This week's drink: Amaretto Sour via Friday Night CocktailsINGREDIENTS:1 ½ ounces amaretto liqueur1 ounce lemon juice, freshly squeezed1 teaspoon rich simple syrupGarnish: dried orange wheelINSTRUCTIONS:Add amaretto, lemon juice, and simple syrup to a shaker.Add ice and shake until well-chilled.Strain into a rocks glass over fresh ice.Garnish with a dried orange wheelFor Kayla's variation, add 1 oz of bourbon and an egg white (dry shake first before adding ice and shaking again until chilled)Current/recommended reads, links, etc.:Njuta: Enjoy, Delight In: The Swedish Art of Savoring the Moment by Niki BrantmarkA Physical Education: How I Escaped Diet Culture and Gained the Power of Lifting by Casey JohnstonThe Only Good Indians by Stephen Graham JonesFollow us on Instagram @literatureandlibationspod.Visit our website: literatureandlibationspod.com to submit feedback, questions, or your own takes on what we are reading. You can also see what we are reading for future episodes! You can email us at literatureandlibationspod@gmail.com.Please leave us a review and/or rating! It really helps others find our podcast…and it makes us happy!Purchase books via bookshop.org or check them out from your local public library. Join us next time as we read Thrust by Lidia Yuknavitch

In this episode, Trevor and Paul turn their attention to Nobel Prize–winner Kazuo Ishiguro, whose eight novels over the past forty years have earned both admiration and debate. Together, we trace Ishiguro's remarkable range: the restrained heartbreak of Remains of the Day, the dream-logic labyrinth of The Unconsoled, the quiet devastation of Never Let Me Go, the ambitious allegory of The Buried Giant, and the AI exploration of Klara and the Sun. Along the way, we weigh Ishiguro's signature themes of memory, regret, art, and the stories we tell ourselves—and ask what makes him one of the most distinctive voices in contemporary literature, even when his experiments don't always succeed.Whether you're a longtime devotee or just curious where to begin, we hope you'll join us for a conversation about masterpieces and misfires.We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our second novella book club, where we're reading Giovanni's Room by James Baldwin. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Paul: A Fine Balance, by Rohinton Mistry* Trevor: The Ice Palace, by Tarjei Vesaas, translated by Elizabeth RokkanBooks by Kazuo Ishiguro* A Pale View of Hills* An Artist of the Floating World* The Remains of the Day* The Unconsoled* When We Were Orphans* Never Let Me Go* The Buried Giant* Klara and the SunThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Not one but TWO Oscar-winning composers join Mark Kermode on stage at the BFI Southbank to talk all things movie music, for the launch of the new book, Mark Kermode's Surround Sound: The Stories of Movie Music, co-written by Mark with Jenny Nelson.First up, Rachel Portman, the first woman composer to win an Oscar and the only woman to be nominated more than once, talks about her award-winning score for Emma (1996), illustrating how she developed the themes on the piano. She also touches on her scores for We Were The Lucky Ones, Never Let Me Go, and her commercial work.Next to join the conversation is Anne Dudley, who won an Oscar for The Full Monty (1997). She too illustrates some of her work on the piano, for Elle for instance, and she discusses new release Signs Of Life, which she scored and which is also her debut as producer.Mark Kermode's Surround Sound: The Stories of Movie Music, co-written by Mark with Jenny Nelson, is released by Picador and is available wherever you get your books, now.---Opening title quotes from:Mary Poppins (Robert Stevenson, Walt Disney Productions – featuring Julie Andrews)Nope (Jordan Peele, Universal Pictures – featuring Keke Palmer)Withnail & I (Bruce Robinson, HandMade Films – featuring Richard E. Grant)The Exorcist (William Friedkin, Warner Bros. – featuring Ellen Burstyn and Linda Blair)These films are essential viewing.Watch them. Love them. Share them.They are masterpieces.MK3D and Kermode on Film are produced by HLA AgencyThis episode was edited by Alex Archbold Jones © HLA Agency Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Kayla and Taylor discuss Christopher Buehlman's 2012 novel Between Two Fires. Topics include delicious cocktails we had in California, how this book came on our radar, our appreciation of the writing and language used, the horrors unleashed (and how extra they are), the devastation of the Black Death, Heaven vs. Hell (and religion vs. science), and our motley band of heroes. Plus, we try to parse the true nature of Delphine (God?). And we, inevitably, talk religion. This week's drink: WineINGREDIENTS:1 bottle of your favorite wineINSTRUCTIONS:Open the bottle, pour into a glass, and drink until you forget the horrors around youCurrent/recommended reads, links, etc.:Tilt by Emma PatteeNew season of The Great British Baking ShowFollow us on Instagram @literatureandlibationspod.Visit our website: literatureandlibationspod.com to submit feedback, questions, or your own takes on what we are reading. You can also see what we are reading for future episodes! You can email us at literatureandlibationspod@gmail.com.Please leave us a review and/or rating! It really helps others find our podcast…and it makes us happy!Purchase books via bookshop.org or check them out from your local public library. Join us next time as we read Never Let Me Go by Kazuo Ishiguro

This week we're discussing every album by Placebo. While they can be considered a fairly niche band, Placebo has had massive widespread appeal and success since the mid 90s. However, we call BS on the legitimacy of their albums as the years go on. Needless to say, they're not exactly our band.   Intro/Band Overview 00:00 Placebo 21:28 Without You I'm Nothing 32:10 Black Market Music 44:31 Sleeping with Ghosts 1:03:15 Meds 1:11:01 Battle for the Sun 1:19:22 Loud Like Love 1:29:29 Never Let Me Go 1:39:50 Outro 1:49:39   ----------------------------------------------------------------------------------------------------------   Patreon https://www.patreon.com/everyalbumever   Merch https://pandermonkey.creator-spring.com/   Mike's EP: Pander Monkey on Bandcamp, Spotify, Apple,   Mike on Instagram @pandermonkey Alex on Bluesky @octatron3030 Tom on Instagram @tomosmansounds   History Tom's stuff: Music on Spotify, Apple Podcast on Spotify, YouTube Substack Website   ---------------------------------------------------------------------------------------------------------- Mike's Picks: Placebo (1996) -- Best Album Without You I'm Nothing (1998) -- Personal Favorite Never Let Me Go (2022) -- Worst Album, Least Favorite   Alex's Picks: Without You I'm Nothing (1998) -- Best Album, Personal Favorite Loud Like Love (2013) -- Worst Album, Least Favorite  

On a more serious note we continue our Clone Block with a review of 2010's drama Never Let Me Go.A trio of childhood friends tackle love, tragedy, and life with an ever looming crisis of what their purpose is and what it means to really live. Directed by: Mark RomanekWritten by: Alex GarlandBased on the novel by: Kazuo IshiguroStarring: Carey Mulligan, Andrew Garfield, and Kiera KnightleyCome on in and have a listen! What do you think of this movie? What are others like it you enjoyed? We'd love to hear from you! Please like, follow, subscribe, share.

Welcome to the Summer Break Rewind!While The Conversation takes a short summer break, I'll be sharing fan-favourite episodes from Season Three, along with brilliant conversations from Page One: The Writer's Podcast. Season Four returns in September until then, enjoy the rewind!-----------------------------------------------------------------------------------------------In this special Summer Rewind episode of The Conversation Podcast, I'm sharing Episode 53 of Page One: The Writer's Podcast, where hosts Marco and Tariq sit down with Alex Garland, the critically acclaimed writer and director of movies such as Ex Machina, Annihilation and, most recently, the TV series Devs. His career began with the bestselling novel, The Beach, before he moved on to writing screenplays for films such as 28 Days Later, Sunshine, Never Let Me Go and Dredd.We'd love to hear your thoughts. Take a moment to complete The Conversation survey and share your views about the podcast. http://bit.ly/theconversationwithnadinematheson-survey"Enjoying 'The Conversation'? Support the podcast by buying me a cup of coffee ☕️https://ko-fi.com/nadinemathesonPurchase books by the featured authors through my affiliate shop on Bookshop.org Hosted on Acast. See acast.com/privacy for more information.

Sharing my thoughts on Kazuo Ishiguro's ‘Never Let Me Go' Vital Dissent website Join my email list and become a premium member: http://www.vitaldissent.club Vital Dissent Merch 10% off with code VD10 Show notes:  Never Let Me Go –  Affiliate Link Dark Tales – Affiliate Link Pat's StoryGraph account Patrick MacFarlane (@patmacfarlane_) / X

Sharing my thoughts on Kazuo Ishiguro's ‘Never Let Me Go' Vital Dissent website Join my email list and become a premium member: http://www.vitaldissent.club Vital Dissent Merch 10% off with code VD10 Show notes:  Never Let Me Go -  Affiliate Link Dark Tales - Affiliate Link Pat's StoryGraph account Patrick MacFarlane (@patmacfarlane_) / X The Libertarian Institute

Filmmaker Mark Romanek's early love of cinema not only lead him to early acclaim at Sundance for his 1986 film Static, but his later award-winning feature films like One Hour Photo (2002), and Never Let Me Go (2010). But it also lead him to become one of the most prolific and identifiable auteurs of the 1990's music video boom, with a client list that includes Jay-Z, Beck, Fiona Apple, Beyonce, Nine Inch Nails, Taylor Swift, Billie Eilish, Lady Gaga, David Bowie, and even Johnny Cash. In this week's Special Episode, we take a detour from chats with musical artists and record producers to talk about the images behind popular music icons, and Romanek's ongoing journey of sound and vision.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.

Send us a textIn today's episode, I interview Jake Wachtel, whose film "The Sentry" recently screened at SXSW London, Raindance, and the Palm Springs International ShortFest.Listen to hear about the idea for the film that came from wanting to get to know one of the anonymous henchmen from an action film like James Bond, the challenges of filming in the former residence of a king, and how visual effects and sound combined to create a ghostly character.Books mentioned in this episode include:Never Let Me Go by Kazuo IshiguroThe Overstory by Richard PowerPlayground by Richard PowerFilms and TV shows mentioned in this episode include:"The Sentry" directed by Jake WachtelKarmalink directed by Jake WachtelAfter Yang directed by KogonadaEternal Sunshine of the Spotless Mind directed by Michel GondryBicycle Thieves directed by Vittorio De SicaMinority Report directed by Steven SpielbergThe Jungle Book directed by Wolfgang Reitherman"Cattywampus" directed by Jono Chanin (trailer)Listen to "Love You Only" by Ros Sereysothea whose music is featured in the film.Follow Jake on Instagram @jakewachtel.director and the film @thesentryfilm.Support the show

Based on the book of the same name, by Kazuo Ishiguro, Never Let Me Go is a 2011 film starring Keira Knightley, Carey Mulligan and Andrew Garfield. Joe & Adam dive into: what is a sci-fi? Was the indie scene spared Garfield when he became Spiderman? And does Mulligan have it? Plus more.

The Kazuo Ishiguro season continues with maybe his least known, maybe his least liked work: Nocturnes. Sitting between the mega-hit Never Let Me Go and the critical blockbuster The Buried Giant, this book is often overlooked and, maybe, it kind of deserves to be? But first, we talk GAMING - specifically Clair Obscure: Expedition 33 and The Hundred Line: Last Defense Academy, because our woke Marxist schools taught us that everything is a text. Music by Hedvig Mollestad Trio, theme tune by Caina.

Whether you're a library reader, a used bookstore connoisseur, or just buy books faster than you read ‘em, this episode is for you! We're chatting about the backlist books (AKA books released over 1 year ago) on our TBR.    Olivia's List Saint X by Alexis Schaitkin (2020) Seawife by Amity Gaige (2020) Godshot by Chelsea Bieker (2020) The Great Believers by Rebecca Makkai (2018) Parable of the Sower by Octavia Butler (1993) Poisonwood Bible by Barbara Kingsolver (1998) Migrations by Charlotte McConaghy (2020) Ghosts by Dolly Alderton (2020) Such a Fun Age by Kiley Reid (2019)   Becca's List Greenlights by Matthew McConaghey (2020) Early Morning Riser by Katherine Heiney (2021) Sorrow and Bliss by Meg Mason (2020) Bel Canto by Ann Patchett (2001) The Invisible Life of Addie LaRue (2020) Never Let Me Go by Kazuo Ishiguro (2005) Happy All The Time by Laurie Colwin (1978) Giovanni's Room by James Baldwin (1956) American Wife by Curtis Sittenfeld (2008) Summer of ‘69 by Elin Hilderbrand (2019) or Summer People (2003) Cleopatra and Frankenstein by Coco Mellors (2022)   Listener Reccomendations The Great Believers by Rebecca Makkai (2018) The Country Club Murders (Book 1 The Deep End by Julie Mulhern) The Cave Dwellers by Christina McDowell Wrong Place, Wrong Time by Gillian McCallister The Calculating Stars by Mary Robinette Kowal  Lady Tan's Circle of Women by Lisa See Geek Love by Katherine Dunn The Good Part by Sophie Cousens  Oona Out of Order by Margarita Montimore The Nine Lives of Rose Napolitano by Donna Freitas   Obsessions Becca - Maybe Happy Ending musical Olivia - Walks + Merlin bird ID app   What we read this week Becca - Maggie; Or A Man and a Woman Walk Into A Bar by Katie Yee (7/24) Olivia - She Used To Be Nice by Alexia LaFata (8/12), The Colony by Annika Norlin   This Month's Book Club Pick - Audition by Katie Kitamura (have thoughts about this book you want to share? Call in at 843-405-3157 or email us a voice memo at badonpaperpodcast@gmail.com)   Sponsors Quince - Go to Quince.com/bop for free shipping on your order and 365 day returns Wayfair - Shop a huge selection of outdoor furniture online at wayfair.com   Join our Facebook group for amazing book recs & more!  Buy our Merch! Join our Geneva! Order Olivia's Book, Such a Bad Influence! Subscribe to Olivia's Newsletter! Order Becca's Book, The Christmas Orphans Club! Subscribe to Becca's Newsletter!  Follow us on Instagram @badonpaperpodcast. Follow Olivia on Instagram @oliviamuenter and Becca @beccamfreeman.    

This is Season 6, Episode 15 of this "The Vampire Diaries" related podcast! Pete is watching the show for the first time and Ash is a superfan. Each episode they watch an episode of TVD and discuss. This week they talk about their new sponsor, tee hee hee, pug health and expenses, seasons and summer books, viewcams and ford escapes, backdoor pilots, funerals, people not being in chairs ... and much more!  They do some Pete-dictions at the end of the show. Talk to Pete here: https://www.instagram.com/theportableproducer/ We were voted one of the Top 10 The Vampire Diaries Podcasts on the web. https://blog.feedspot.com/the_vampire_dairies_podcasts/ Also we're in the top 100 Vampire Podcasts here: https://www.millionpodcasts.com/vampire-podcasts/ The EC Little Free Library: https://www.instagram.com/eclittlefreelibrary/ Pete is on Letterboxd! https://letterboxd.com/peterlh/ Check out The VamPetey merch at https://www.teepublic.com/user/highdive If you like #TheVampireDiaries and/or you are a young adult, you should check out Pete's books! https://www.amazon.com/Peter-L-Harmon/e/B011SBWJF8/ref=dp_byline_cont_pop_book_1 And if you love this show, please leave us a review. Go to RateThisPodcast.com/vampetey and follow the instructions.

It's the 20th anniversary of the publication of Kazuo Ishiguro's modern classic, Never Let Me Go. Jeff and Rebecca recorded this episode diving into the book and movie in 2022. To listen to the whole episode, sign up to become a member of The Book Riot podcast Patreon. You'll get new bonus episodes as they publish, as well as access to all the bonus stuff we've done so far. This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Soul Cafe: Never Let Me Go Catch Chris Clay Mon - Fri 2p-6pm EST On www.soulcaferadio.com  Produced By Heather Whitley and C.Clay Season 9   Hour 1 Aqyila - Sunshine DESTIN CONRAD - THE LAST TIME (feat. Teezo Touchdown) Babyface - Want You (feat. After 7) Bob Baldwin fet James Robinson - Stay Chxrry22 - MORE   The Double Down:  Luther Vandoss Wait For Love Never Let Me Go   Alex Isley - Ms. Goody Two Shoes Kevin Ross - Spin     Interpretation Loves-Train Herb Alpert - Making Love In The Rain H.E.R. - Damage   Patrick Cooper - That Day Ruth B. - Paper Airplanes Isaac Hayes - Ellie's Love theme Kem - Find Your Way (Back In My Life)   Hour 2 Johnnie Taylor- When She Stops Askin JANE HANDCOCK - Stingy Autumn Paige - Baggage  Johnny Gill - Game Changer Stephanie Mills - Don't Stop Doin' What 'Cha Do     Rare Hard To Find Throwback  Oleta Adams  Get Here 1990   THEHONESTGUY & Camper - ONE MORE TIME (TRY) Tyrese - When We Make Love-01 Joe Kay - Bump In The Road (feat. Sinead Harnett)   Blue Eyed Soul Corner  Lisa Stansfield - You Can't Deny It Amelia Rose & Paul Grant - Chasing Elenore - Whispers Ruthanne - The Vow  Christina Aguilera - Loving me for me Raquel Rodriguez - You've Got Me Olivia Newton-John & Gospel According To - Grace And Gratitude (Choir Version)   End Of Show

Welcome to Cyberpunk Cinema – the Definitive Dive into the Dark Future of Science Fiction. I am your host, Anthony La Pira, and I will be taking you on a cinematic journey through the sprawling cityscapes, the crippling datastorms, and the cybernetic implants that encompass all things Cyberpunk.In this week's episode, I will be breaking-down the 2014 cyberpunk thriller EX MACHINA – written and directed by Alex Garland; starring Alicia Vikander, Domhall Gleeson, and Oscar Isaac.A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.Ex Machina was the directorial debut by Alex Garland after he busted onto the scene writing screenplays for The Beach, 28 Days Later, Sunshine, Never Let Me Go, and Dredd. He was a celebrated writer who became a critically acclaimed director, which is a rare feat in Hollywood at this level. Overall, his filmmaking has been excellent and he definitely has his own voice and I can't wait to see what else he has in store for us in the future.So, do me a favor – it's time to access your cranial jacks, boot up your Ono-Sendai Cyberspace 7, and slap on your damn mirror-shades. You know what time it is! Cyberpunk Cinema starts…now!Anthony's IG - https://www.instagram.com/stormgiantproductionsCyberpunk Cinema IG - https://www.instagram.com/cyberpunk.cinemaSignal Fragment SoundCloud - https://soundcloud.com/signalfragmentSend us a text

Kazuo Ishiguro's most popular novel is as relevant today as when it was published 20 years ago.--When it was published in 2005, Kazuo Ishiguro's novel Never Let Me Go was acclaimed by critics and shortlisted for the Booker Prize. Twenty years on – having been adapted for stage and screen and adopted as a set text for schools – it is Ishiguro's most read work, and is considered a modern classic.Why does this profoundly settling book continue to absorb us? And what does it tell us about the role novels play in helping us grapple with the ethical dilemmas created by advances in science and technology?The critic David Sexton has been re-reading Never Let Me Go and joins Tom Gatti on the Culture from the New Statesman to discuss the impact of Ishiguro's most popular work.RECOMMENDED NEXT EPISODE: Winner of the 2025 Booker Prize, Samantha Harvey, on her novel Orbital - and how "political choices are sculpting the surface of the earth"https://www.newstatesman.com/podcasts/culture-podcast/2024/11/booker-prize-winner-samantha-harvey-political-choices-are-sculpting-the-surface-of-the-earthREADDavid's essay: Kazuo Ishiguro's everyday dystopiahttps://www.newstatesman.com/culture/books/book-of-the-day/2025/03/kazuo-ishiguro-never-let-me-go-everyday-dystopiaGO AD-FREESubscribers can listen to all episodes ad-free in the New Statesman app: iOS: https://apps.apple.com/gb/app/new-statesman-magazine/id610498525Android: https://play.google.com/store/apps/details?id=com.progressivemediagroup.newstatesman&hl=en_GB&gl=US&pli=1SIGN UP FOR OUR NEWSLETTERGet the best of our reporting direct to your inbox every weekend with The Saturday Read.Sign up at saturdayread.substack.comBECOME A SUBSCRIBERFull access from £8.99 per month: https://secure.newstatesman.com/offer Hosted on Acast. See acast.com/privacy for more information.

I love learning from fellow writers about their inspiration, style, brilliant insights, and so much more. Author and professor, Chuck Rosenthal joins me to discuss: writing about his personal trauma history in a memoir his insights on learning from what's around you and what you read his wisdom on telling your story and discovering your characters the importance of keeping your mind alive and so much more! Welcome to The Healing Place Podcast! I am your host, Teri Wellbrock. You can listen in on Pandora, iTunes, Blubrry, Spotify, iHeartRadio, Stitcher, Deezer, Google Podcasts, Amazon Music, and more, or directly on my website at www.teriwellbrock.com/podcasts/. You can also catch our insightful interview on YouTube. Bio: Chuck Rosenthal Chuck Rosenthal was born in Erie, Pennsylvania. He attended Allegheny College, Bowling Green State University, SUNY Buffalo, and the University of California, Davis, where he earned several advanced degrees in English, Sociological Theory and philosophy. He earned a Ph.D. in English and American literature with emphasis in creative writing and narrative theory from the University of Utah. Rosenthal is the author of fourteen novels: the Loop Trilogy: Loop's Progress, Experiments with Life and Deaf, and Loop's End; Elena of the Stars; Avatar Angel, the Last Novel of Jack Kerouac; My Mistress Humanity; The Heart of Mars; Coyote O'Donohughe's History of Texas; Ten Thousand Heavens; The Legend of La Diosa; You Can Fly, a Sequel to the Peter Pan Tales; The Hammer the Sickle and the Heart, Trotsky and Kahlo in Mexico; and Let's Face the Music and Dance a hybrid novel. He has published a memoir, Never Let Me Go, and a travel book, Are We Not There Yet? Travels in Nepal, North India, and Bhutan (Magic Journalism), as well as a second book of Magic Journalism, West of Eden: A Life in 21st Century Los Angeles. Rosenthal published two books of experimental poetry, Tomorrow you'll Be One of Us (sci-fi poems with Gil Wronsky and Gronk, illustrator) and The Shortest Farewells Are the Best (noir poems, also with Gail Wronsky). They also wrote and directed the sci-fi play, People of Earth, This Is Your Last Warning, performed at the Craft and Folk Art Museum in Los Angeles. Rosenthal has written a book of animal philosophy, How the Animals Around You Think, the Semiotics of Animal Cognition. He's published in numerous journals, and read and lectured at universities and on television and radio throughout the U.S. as well as in Mexico, Argentina, India and England. ​Website: https://chuckrosenthal.com/   Teri's #1 book as a new-release in the Aging Parents category: https://a.co/d/5m1j2Kr Teri's audiobooks: https://www.audible.com/search?searchNarrator=Teri+Wellbrock&ref=a_pd_The-Be_c1_narrator_1&pf_rd_p=df6bf89c-ab0c-4323-993a-2a046c7399f9&pf_rd_r=B7A6GV5QNZFF621RXWP4&pageLoadId=lXhpwTs0D4YwhCM8&creativeId=16015ba4-2e2d-4ae3-93c5-e937781a25cd Teri's monthly newsletter: https://us18.campaign-archive.com/?u=8265f971343b0f411b871aba1&id=1352bd63df Teri's book launch team: https://www.facebook.com/groups/unicornshadows   AMAZON AFFILIATE Teri Wellbrock and Unicorn Shadows are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com. In other words, I make commission off of purchases made using any affiliate links on my site.

32: She's not good at counting, but she can read! Let's recap my reading list from 2024, starting with books I loathed to books I loved. Consider this my Goodreads: https://margotlee.substack.com/p/consider-this-my-goodreadsList spoler below:16)Memory Piece by Lisa Ko15)Delicious! by Ruth Reichel14)Cleopatra and Frankenstein 13)The Guest by Emma Kline12)M Train by Patti Smith 11)Never Let Me Go by Kazuo Ishiguro 10)Lessons in Chemistry by Bonnie Garmus9)Legends and Lattes by Yravis Baldree8)The Rachel Incident by Caroline O'Donoghue7)The Art of Hearing Heartbeats by Jan-Phillipp Sendeker6)The Song of Achilles by Madeline Miller 5)All Fours by Miranda July4)The Giver by Lois Lowry3)The Marriage Portrait by Maggie O/Farrell 2)The Seven Spiritual Laws to Success by Deepak Chopra1)The Bee Sting by Paul MurrayFind me on Instagram: https://www.instagram.com/margot.lee/YouTube: https://www.youtube.com/@MargotLeeNo Particular Order Instagram: https://www.instagram.com/noparticularorder/ No Particular Order Shop: https://noparticularorder.co/

Cesky and Panda discuss The Garden by Nick Newman (released February 18, 2025). Described as "A darkly beautiful, eerie, hypnotic novel about two elderly sisters living alone at the edge of the world." Perhaps a more appropriate read for fans of The Road by Cormac McCarthy or Never Let Me Go by Kazuo Ishiguro. But don't expect much sff aspects to the story.Disclaimer: We received an ARC of The Garden from NetGalleyMusic: Galactic Damages by Jingle PunksDiscord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/FNcpuuA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueSky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/greenteampod.bsky.social⁠⁠⁠⁠Threads:⁠⁠⁠⁠https://www.threads.net/@greenteampod⁠⁠⁠⁠ Reddit: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.reddit.com/r/thelegendarium/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Grab a box of tissues or maybe ten, and get those scene bangs pushed to the side babe, cuz we're traveling back to 2010 to link up with dystopian organ donors Andrew Garfield, Keira Knightly, and Carrie Mulligan. Send us a textSWAMP stuff:PatreonSocials:TikTok: @theswamppodcastInstagram: @theswamppodBluesky: @theswamppodcast.bsky.socialYouTubeOur Letterboxd Accounts: @okaydara and @ekievraOur website: https://www.the-swamp-podcast.com/Email: theswamppod@gmail.com

Kazuo Ishiguro season keeps on truckin' into 2005's Never Let Me Go, perhaps his most widely read and equally widely loved novels. There are brain-donor clones drawing dank pepes, Ruth being a total b-word and -even though we are 100% anti-worldbuilding- some bad worldbuilding. Music by Skagos: https://skagos.bandcamp.com/album/chariot-sun-blazing

Cake failed. Apparently this was the finale? Get 15% off, plus free shipping on your first set of sheets at BollAndBranch.com/craycray. Sign up for our premium podcast feed with 3x the content! Just go to https://www.realitycraycray.com/ for a 30 second sign up for as little as $5, or if you already have a Patreon account, go to http://patreon.com/realitycraycray.  Other Links: Instagram https://realitycraycray.com/instagram Leave us a review: https://realitycraycray.com/review-us Gift a Subscription: https://realitycraycray.com/gift Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cake failed. Apparently this was the finale? Get 15% off, plus free shipping on your first set of sheets at BollAndBranch.com/craycray. Sign up for our premium podcast feed with 3x the content! Just go to https://www.realitycraycray.com/ for a 30 second sign up for as little as $5, or if you already have a Patreon account, go to http://patreon.com/realitycraycray.  Other Links: Instagram https://realitycraycray.com/instagram Leave us a review: https://realitycraycray.com/review-us Gift a Subscription: https://realitycraycray.com/gift Learn more about your ad choices. Visit podcastchoices.com/adchoices

Wherein Matilda and Niles share an emotional goodbye. Vanja reaches out to Josko and wants answers. Sunny's dad issues an ultimatum. Magda hopes for a proposal. Tigerlily shares troubling news about her relationship with Adnan. — Please support us by giving us a 5-star review on Apple Podcast, Spotify, Amazon Music or any podcast app of your choice. Patron supporters get EXCLUSIVE content such us a live every first Monday of the month. Follow us! Instagram, X and TikTok:  @docusweeties  @justcallmewah  @Chrislfarah Patreon.com/docusweeties (http://Patreon.com/docusweeties) Join us on our Facebook group!  https://www.facebook.com/groups/6702616296426962

Amye and Amanda recap and chat about 90 Day Fiance: Before the 90 Days S7:EP19 Never Let Me GoMatilda and Niles share an emotional goodbye. Vanja reaches out to Josko and wants answers. Sunny's dad issues an ultimatum. Magda hopes for a proposal. Tigerlily shares troubling news about her relationship with Adnan.Get bonus content and support the show:PATREON—>https://www.patreon.com/littlemissrecapSUPERCAST—->https://littlemissrecap.supercast.com/Gift someone you love a membership to our Patreon!https://www.patreon.com/littlemissrecap/gift***SPONSORS:You can support the show by checking out this month's sponsors!Factor Meals:Get started at www.factormeals.com/littlemiss50off use code littlemiss50off to get 50% off your first box plus free shipping.Check out Earth Breeze laundry sheets. They save the environment and are free of all harsh chemicals! Use code: RECAP to save 40% off when you subscribe!https://earthbreeze.com/recap and use code: RECAP***Get in touch with us:Facebook: https://www.facebook.com/groups/littlemissrecapFacebook group: https://www.facebook.com/groups/littlemissrecapInstagram: @littlemissrecap Voicemail: www.littlemissrecap.comEmail: amye@littlemissrecap.comGet some merch! https://littlemissrecapmerch.myshopify.com/Little Miss Recap is part of the Acast Creator Network. To advertise with us, please contact amye@littlemissrecap.com Hosted on Acast. See acast.com/privacy for more information.

It's finally time to discuss our listener-chosen July Book Club Pick, Margo's Got Money Troubles by Rufi Thorpe! We're thrilled to dive into our overall thoughts, what genre we'd place this book in, how the book deepened our perspective about sex work, the romance subplot, and how much the final line stuck with us.    (Liked the book? We loved this Rufi Thorpe interview about her writing process!)   Obsessions Becca - Amazon short set Olivia - Becca's 100 Best Books List, Oldster's interview with Bella Ruth Bader    Books Becca - No One Tells You This by Glynnis MacNichol, Never Let Me Go by Kazuo Ishiguro Olivia - Piglet by Lottie Hazell   This Month's Book Club Pick - One Star Romance by Laura Hankin (have thoughts about this book you want to share? Call in at 843-405-3157 or email us a voice memo at badonpaperpodcast@gmail.com)   Join our Facebook group for amazing book recs & more!  Buy our Merch! Join our Geneva! Order Olivia's Book, Such a Bad Influence! Subscribe to Olivia's Newsletter! Order Becca's Book, The Christmas Orphans Club! Subscribe to Becca's Newsletter!  Follow us on Instagram @badonpaperpodcast. Follow Olivia on Instagram @oliviamuenter and Becca @beccamfreeman.