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Zur Jubiläumsfolge bringt der Kulturbeauftragte des Evangelischen Kirche in Deutschland (EKD) ein beeindruckendes Geschenkt: Das Gedicht "Wunderheilung" des englischen Lyrikers Philip Larkin erzählt in befremdlicher Distanz von der Szenerie einer Massensegnung, in aller Skurrilität, Abgründigkeit und Faszination. Dass tatsächlich Berührendes geschieht, mag womöglich an anderer Macht liegen... Dazu stellen Seelenfutter-Gastgeber Susanne Garsoffky und Friedemann Magaard die Gedichte "Glaube" von Rose Ausländer, schlicht und stark, und "faith" von Emily Dickinson, eine lyrische Miniatur, die mit ironischem Blick auf die Inszenierung von (Männer-)Glauben schaut. Dazu gibt es Bibelworte von Johannes, Markus und aus den Psalmen. SeelenfutterJubiläumsfolge 300, mit Johann Hinrich Claussen: Von Tauwetter, unbekanntenWelten und einem Mikroskop. Gedichte von Philip Larkin, Rose Ausländer undEmily Dickinson Zur Jubiläumsfolge bringt derKulturbeauftragte der Evangelischen Kirche in Deutschland Johann Hinrich Claussenein opulentes Geschenk: Das Gedicht „Wunderheilung“ des englischen LyrikersPhilip Larkin erzählt von der Szenerie einer Massensegnung, in aller Skurrilität,Abgründigkeit und Faszination. Dass tatsächlich Berührendes geschieht, liegtwomöglich in anderer Macht. Dazu stellen die Seelenfutter-Gastgeber SusanneGarsoffky und Friedemann Magaard die Gedichte „Glaube“ von Rose Ausländer,schlicht und stark, und „faith“ von Emily Dickinson, eine lyrische Miniatur,die mit ironischem Abstand auf die Inszenierung von (Männer-)Glauben schaut. Dazugibt es Bibelwort von Johannes, Markus und aus den Psalmen.SeelenfutterJubiläumsfolge 300, mit Johann Hinrich Claussen: Von Tauwetter, unbekanntenWelten und einem Mikroskop. Gedichte von Philip Larkin, Rose Ausländer undEmily Dickinson Zur Jubiläumsfolge bringt derKulturbeauftragte der Evangelischen Kirche in Deutschland Johann Hinrich Claussenein opulentes Geschenk: Das Gedicht „Wunderheilung“ des englischen LyrikersPhilip Larkin erzählt von der Szenerie einer Massensegnung, in aller Skurrilität,Abgründigkeit und Faszination. Dass tatsächlich Berührendes geschieht, liegtwomöglich in anderer Macht. Dazu stellen die Seelenfutter-Gastgeber SusanneGarsoffky und Friedemann Magaard die Gedichte „Glaube“ von Rose Ausländer,schlicht und stark, und „faith“ von Emily Dickinson, eine lyrische Miniatur,die mit ironischem Abstand auf die Inszenierung von (Männer-)Glauben schaut. Dazugibt es Bibelwort von Johannes, Markus und aus den Psalmen.
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This episode continues our series on the aubade (a morning love song) with a dramatic turn. Larkin reinvents the tradition as waking to the fact that every new day brings a person one day closer to death. To see the tradition that Larkin reimagines, see our previous episode on John Donne, "The Sun Rising." For the text of Larkin's "Aubade" see the Poetry Foundation. For more on Larkin, see the Poetry Foundation. Thanks to Farrar, Straus, and Giroux, as well as Faber and Faber, for permission to read Larkin's "Aubade" for this episode. Photo by Barry Wilkinson/Radio Times via Getty Images
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
This week, Dana, Steve, and Nadira Goffe assess if we as a culture can ever really escape Neverland— namely, the gigantic and fraught legacy of Michael Jackson. They unpack the biopic Michael. Directed by Antoine Fuqua, starring Jackson's own nephew Jaafar Jackson, and produced by much of the Jackson family, the film is chock full of musical numbers and light on the troubling aspects of the singer's life. Does it ever rise above King of Pop hagiography? They discuss.Next, they take up Half Man, the new limited series from Baby Reindeer creator Richard Gadd. It's a brutal look at a toxic male relationship. Is its unflinching eye too unflinching? Perhaps.Finally, how can one become cultured? What does that even mean!? Such are the questions raised by T Magazine's recent special issue “How to Be Cultured.” Our panel debates the package's various high brow listicles, takes their quiz, and Nadira even makes her own culture list as rebuttal! (See below.)In an exclusive bonus episode for Slate Plus subscribers, our hosts share which cultural figures they think would make for good biopic subjects.EndorsementsNadira: The new EP NAIL from Yves, particularly the title track, and Curtis Live! the live album by Curtis Mayfield, especially the song "The Makings of You."Steve: The poem "Like the Train's Beat" by Philip Larkin.Dana: The book On Michael Jackson by Margo Jefferson about Michael Jackson's complicated cultural place.Nadira's Culture List:(Editor's Note: Nadira added two things since our discussion — we're all still staying curious and expanding our cultural horizons!)“Throw Some Ds on It” — Rich Boy (Song; 2007)“Jealous Guy” — Donny Hathaway covering John Lennon live (Song; 1972)Any vlogger on YouTube, but particularly the work of Casey NeistatHappily Ever After: Fairy Tales for Every Child (TV Show; 1995)Fleabag (TV Show; 2016-2019)Monster (Anime Series, currently avail. on Netflix; 2004)Stop Making Sense (Movie; 1984)The Devil Wears Prada (Movie; 2006)Step Up 2: The Streets (Movie; 2008)Tampopo (Movie; 1985)Spider-Man: Into the Spider-Verse (Movie; 2018)Original Cast Album Company (Movie; 1970)Quo Vadis, Aida? (Movie; 2004)Playing in the Dark — Toni Morrison (Book; 1992)Tomorrow, and Tomorrow, and Tomorrow — Gabrielle Zevin (Book; 2022)Any painting by Kerry James Marshall, but particularly “School of Beauty, School of Culture” and “Portrait of the artist as a shadow of his former self”Fallingwater, Frank Lloyd Wright (Architecture; 1964)--Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.
This week, Dana, Steve, and Nadira Goffe assess if we as a culture can ever really escape Neverland— namely, the gigantic and fraught legacy of Michael Jackson. They unpack the biopic Michael. Directed by Antoine Fuqua, starring Jackson's own nephew Jaafar Jackson, and produced by much of the Jackson family, the film is chock full of musical numbers and light on the troubling aspects of the singer's life. Does it ever rise above King of Pop hagiography? They discuss.Next, they take up Half Man, the new limited series from Baby Reindeer creator Richard Gadd. It's a brutal look at a toxic male relationship. Is its unflinching eye too unflinching? Perhaps.Finally, how can one become cultured? What does that even mean!? Such are the questions raised by T Magazine's recent special issue “How to Be Cultured.” Our panel debates the package's various high brow listicles, takes their quiz, and Nadira even makes her own culture list as rebuttal! (See below.)In an exclusive bonus episode for Slate Plus subscribers, our hosts share which cultural figures they think would make for good biopic subjects.EndorsementsNadira: The new EP NAIL from Yves, particularly the title track, and Curtis Live! the live album by Curtis Mayfield, especially the song "The Makings of You."Steve: The poem "Like the Train's Beat" by Philip Larkin.Dana: The book On Michael Jackson by Margo Jefferson about Michael Jackson's complicated cultural place.Nadira's Culture List:(Editor's Note: Nadira added two things since our discussion — we're all still staying curious and expanding our cultural horizons!)“Throw Some Ds on It” — Rich Boy (Song; 2007)“Jealous Guy” — Donny Hathaway covering John Lennon live (Song; 1972)Any vlogger on YouTube, but particularly the work of Casey NeistatHappily Ever After: Fairy Tales for Every Child (TV Show; 1995)Fleabag (TV Show; 2016-2019)Monster (Anime Series, currently avail. on Netflix; 2004)Stop Making Sense (Movie; 1984)The Devil Wears Prada (Movie; 2006)Step Up 2: The Streets (Movie; 2008)Tampopo (Movie; 1985)Spider-Man: Into the Spider-Verse (Movie; 2018)Original Cast Album Company (Movie; 1970)Quo Vadis, Aida? (Movie; 2004)Playing in the Dark — Toni Morrison (Book; 1992)Tomorrow, and Tomorrow, and Tomorrow — Gabrielle Zevin (Book; 2022)Any painting by Kerry James Marshall, but particularly “School of Beauty, School of Culture” and “Portrait of the artist as a shadow of his former self”Fallingwater, Frank Lloyd Wright (Architecture; 1964)--Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.
Here is a recording of my portion of a very cool literary event in Havelock North.The Cuba Press drove into town on the big orange metaphorical bus and we had readings, and a chat about our books in front of a wonderful and engaged audience. They stayed! They bought our books. They had great questions for us and comments afterwords. Thanks so much to the brilliant Wardini Books and Mary and Cuba Press.What you'll hear here is just my portion — I'm in conversation with my publisher, editor, and friend Mary McCallum. (I don't have the write to record and distribute the other writers, but just so you know we all had the same amount of time to discuss our books, our writing, and how it related to Havelock North/Hawke's Bay).I chose to read a cover poem of Philip Larkin's This Be The Verse, my own poem in response to that, The End of the Larkin Line (from my 2020 collection, The Death of Music Journalism). And then two pieces from 2024's The Richard Poems, including Girls And Boys at the Havelock North Swimming Pools — as featured in Best NZ Poems: It was such a fun event — and really special to be back in the Havelock North Library. A place I first stepped foot in when I was about four years old.Sounds Good! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Sounds Good! at simonsweetman.substack.com/subscribe
Daan Doesborgh gaat in het Harry Mulisch Huis mét een thermosfles glühwein in gesprek met Sophia Blyden, Maarten van der Graaff, Johan Kuiper, Miriam van Ommeren, Kitty Saal, Yentl van Stokkum, Feline Streekstra en Teddy Tops over Harry Mulisch, Philip Larkin, Rogi Wieg, Antjie Krog, Anne Carson, Ingmar Heytze, Joost Oomen en Hans Vlek, en natuurlijk over KERST! Dank aan het Harry Mulisch Huis en natuurlijk aan de SLAA, en aan jullie allemaal voor weer een jaar Poëziepodcast. Fijne feestdagen en tot in het nieuwe jaar!
Hi there, Today I am delighted to be arts calling humorist, poet, and essayist Kurt Luchs! (kurtluchs.com) About our guest: Kurt Luchs was born in Cheektowaga, New York, grew up in Wheaton, Illinois, and has lived and worked all over the United States, mostly in publishing and media. Currently he's based in Kalamazoo, Michigan. His first poetry publication came at age sixteen in the long-gone journal Epos, right next to a poem by Bukowski. He has also written comedy for television (Politically Incorrect with Bill Maher and the Late Late Show with Craig Kilborn) and radio (American Comedy Network), as well as contributing humor to the New Yorker, the Onion and McSweeney's Internet Tendency, among others. He is author of the poetry collections Death Row Row Row Your Boat (Sagging Meniscus, 2024), Falling in the Direction of Up (SM, 2021), and the humor collection It's Funny Until Someone Loses an Eye (Then It's Really Funny) (SM, 2017). His poetry chapbooks include One of These Things Is Not Like the Other (Finishing Line Press 2019), and The Sound of One Hand Slapping (SurVision Press 2022). He won a 2022 Pushcart Prize, a 2021 James Tate Poetry Prize, the 2021 Eyelands Book Award for Short Stories, and the 2019 Atlanta Review International Poetry Contest. He is a Contributing Editor of Exacting Clam. About TRIBUTARIES, now available from Sagging Meniscus Press! https://www.saggingmeniscus.com/catalog/tributaries In Tributaries, Kurt Luchs chooses twenty poems that hold vital meaning for him as a reader and writer—many, but not all, recognized as classics—and pays twofold tribute to them. First, he explores each poem with a deep-diving personal essay on how the poet works their magic upon us. Then he gives a tribute poem of his own, in response to, or inspired by, the poem under discussion. The result is a uniquely well-rounded, multidimensional way of honoring great poems, unlocking more of their treasures for both first-time and long-time lovers of poetry. Poets featured are Wallace Stevens, Robinson Jeffers, David Ignatow, Philip Larkin, D. H. Lawrence, Etheridge Knight, Wislawa Szymborska, Lucille Clifton, Gabriela Mistral, H. D., Jorge Luis Borges, Federico Garcia Lorca, Mary Oliver, Lewis Carroll, Kenneth Koch, Homer, Louise Glück, Robert Bly, Charles Simic and James Tate. Thanks for this amazing conversation, Kurt! All the best! -- Arts Calling is produced by Jaime Alejandro. HOW TO SUPPORT ARTS CALLING: PLEASE CONSIDER LEAVING A REVIEW, OR SHARING THIS EPISODE WITH A FRIEND! YOUR SUPPORT TRULY MAKES A DIFFERENCE. THANKS FOR LISTENING! Much love, j artscalling.com
Send us a textIn this episode we discuss Philip Larkin [ the English Poet] and his love of jazz and his hate of other jazz This is our website This is our InstagramThis is our Facebook group
Send us a textIn this episode we discuss Philip Larkin [the English Poet] and his love of some jazz and his hatred of other jazz This is our website This is our InstagramThis is our Facebook group
Odysseys of one sort or another theme this archive edition of the SPL podcast. Our guide, the poet Alasdair Paterson, takes us on a journey from a wry take on Homer's Greece through the Liverpool music scene of the 1970s, onwards to post-Soviet Russia, ending in Arcadia. Little wonder Paterson's collection is called Elsewhere or Thereabouts (Shearsman). Along the way we welcome guests such as the geologist James Hutton and Paterson's fellow librarian-poet Philip Larkin.
To mark Halloween, Lyn takes us on a walk around her local cemetery and reads Ghosts by Philip Larkin.Thank you to Joe Riley for inspiration - please listen to his excellent in situ poetry podcast Sketch Poetryhttps://open.spotify.com/show/4Ubm0zfLmjrOqVqMWulgf0Spooky music- thank you to https://www.fesliyanstudios.com/royalty-free-music/download/ghost-stories/1291Read the poem here:https://www.reddit.com/r/Poetry/comments/ernxrt/poem_ghosts_by_philip_larkin/orhttps://www.amazon.co.uk/Complete-Poems-Philip-Larkin/dp/0571240062The Complete Poems of Philip Larkin ed. Archie Burnett (Faber and Faber, 2012)Theme music:The Horns of the Morning by Wes Finch and the Mechanicals Bandhttps://themechanicalsband.bandcamp.com/album/the-righteous-jazzProduced by Lyn Lockwood and Gavin Hogg
Lyn and Chris discuss the recent writing workshop run by the Philip Larkin Society called Drafting a World: a Poetry Writing Workshop inspired by the poetry of Philip Larkin, with Nottingham based writer Jane Bluett at the Avenues in Hull on Saturday 11th October at ArtLink. Chris reads his new Larkin poem from the workshop, Father of the Bride and we talk about the power of using Larkinalia and Larkin's words to inspire us. We also discuss the treasures to be found in About Larkin, Maurice Rutherford, the upcoming PLS Book Club and Jill, and the upcoming Stage4Beverley music and literature festival, for which Chris is festival poet, our shared love of yarnbombing and the (very small) PLS Makers Society. We also look ahead to the 2026 PLS Conference March 19-20th.Larkin texts discussedThe Whitsun Weddings, High Windows, Water, Toads Revisited, Jill, A Girl In Winter, Required Writing, For Sidney BechetOther writers/texts mentioned:Dylan Thomas Under Milk Wood (1954), Maurice Rutherford Here 2012, (from Under Travelling Skies ed. Cliff Forshaw) (2012) An Enormous Yes (Peterloo Poets, 1986), Wendy Cope Making Cocoa for Kingsley Amis (Faber and Faber 1986), Barbara Pym,Ted Hughes, Kingsley Amis, TS Eliot, Saltburn (dir. Emerald Fennell, 2023), Brian Bilston, Simon Armitage, Alan JohnsonReading/references:'Fifty Years On: Bringing 'The Whitsun Weddings' to Life: A performance by Ensemble 52: 6 June 2014. A report is on page 14 of this pdf of the society's journal: About Larkin...About-Larkin-38.pdf. Wendy Copethe poem, Mr Strugnell, is featured in Making Cocoa for Kingsley Amis (Faber & Faber, 1986)Wendy Cope - Poetry ArchiveAbout Larkin 15- featuring article by Sean O'Brien and Wendy Cole's interview with Larkin's neighbours at 32 Pearson Parkhttps://philiplarkin.com/wp-content/uploads/2022/08/About-Larkin-15.pdfMaurice Rutherfordhttps://www.thehullstory.com/allarticles/maurice-rutherford-obituaryStage 4 BeverleyFestival Poet - Chris Sewart – Stage 4 Beverley Festival Poet, in association with The Philip Larkin Society - Stage 4 BeverleyTickets and line-up - Stage 4 BeverleyArtlink.Venue for PLS poetry Writing Workshops: Artlink HullChris Sewart Society of Authors profile page:Chris Sewart - The Society of AuthorsSome of Chris's recent poems can be found/purchased at:Echoes - 20 years of Write Out Loud | Write Out LoudThe Fig Tree - Issue 9 - by Tim Fellows - The Fig Tree The Fig Tree - Issue 10 - by Tim Fellows - The Fig TreeThe Fig Tree Coal Mining Anthology - Shop – Crooked Spire PressThe Leaf, issue 2 - The Leaf issue 2 | Three Blue BeansPlease register to attend the PLS Conference 2026 here (currently at an Early Bird rate)https://www.eventbrite.co.uk/e/1727992314529?aff=oddtdtcreatorHull History Centre Larkin event on November 15th- art workshop followed by talk on Ted Tarling- please purchase your tickets here and come alonghttps://www.eventbrite.co.uk/e/1761076670729?aff=oddtdtcreatorMusic:Henry Allen Feeling Drowsy (1929)Theme music:The Horns of the Morning by Wes Finch and the Mechanicals Bandhttps://themechanicalsband.bandcamp.com/album/the-righteous-jazzProduced by Lyn Lockwood and Gavin Hogg and https://www.podmachine.com/Please email Lyn at plsdeputychair@gmail.com with any questions or commentsPLS Membership, events, merchandise and information: philiplarkin.com
In this episode of Lit with Charles, I speak with Alexander Starritt, author of the novels We Germans (2020) and Drayton and Mackenzie (2024).We Germans is a devastatingly humane wartime confession: an elderly German writes a long letter to his British grandson about serving on the Eastern Front, with the grandson's present-day interjections sharpening the moral contrasts between war and ordinary life. Drayton and Mackenzie is a rare, gripping business novel that follows two friends from graduation into the high-stakes world of building a clean-energy company, where private choices collide with macro forces - finance cycles, technology, and industrial realities.We talk about structure (letters, interjections, and the occasional omniscient lens), how fiction can engage with the “big stuff” shaping our lives (economics, climate, technology), why industrial solutions - not apps - sit at the core of decarbonisation, and how character is revealed gradually, the way real people change. We also explore Alexander's rural upbringing, German heritage, and the literary influences that inform his work - from Larkin's melancholy clarity to Tolstoy's vast social canvas.If you enjoyed this episode, please leave a review and follow me on Instagram @litwithcharles.Alexander Starritt's four picks were:“Dockery and Son,” by Philip Larkin (1964)The Shipping News, by Annie Proulx (1993)Red Plenty, by Francis Spufford (2010)War and Peace, by Leo Tolstoy (1869)
This year we celebrate Larkin's birthday and the 70 year anniversary of the publication of The Less Deceived with a full reading of Larkin's second collection.We begin with an introduction to the collection with regular attendees of the podcast, our chair Graham Chesters and trustee Philip Pullen, and we reflect on some of the history of the publication of The Less Deceived.Thank you to all the people that have helped produce this podcast.A special thank you to our chair Rosie Millard, who was of enormous help with making the recording of Sir Tom Courtenay reading Church Going. Readers:Lines on a Young Lady's Photograph Album Philip PullenWedding-Wind Lynn HarrisonPlaces, Loved Ones Julia MunrowComing Brian BilstonReasons for Attendance Daniel WainDry Point Michael EganNext, Please Dr Andrew PalmerGoing Greg SesteroWants Joe MalagoMaiden Name Mary MccollumBorn Yesterday Cate BlanchettWhatever Happened? Melissa DennisonNo Road Hannah SullivanWires David Biespiel Church Going Sir Tom Courtenay Age Dr Jane BluettMyxomatosis Daniel VinceToads Justine GaubertPoetry of Departures Prof Douglas BellTriple Time Jacqueline BaronSpring Cate BlanchettDeceptions Hannah SullivanI Remember, I Remember Brian BilstonAbsences Sinead MorrisseyLatest Face Gerry SkeensIf, My Darling Alex Howard Skin Marco PirroniArrivals, Departures Jeremy WikeleyAt Grass Julian WildReferences:Early Larkin by James Underwood (Bloomsbury Publishing, 2021)Pretending to Be Me by Tom Courtenay (2003) https://www.amazon.co.uk/Pretending-Be-Me-Philip-Portrait/dp/1405500824Jean Hartley- Philip Larkin, The Marvell Press and Me (Faber, 2011)Philip Larkin, Life, Art and Love by James Booth (Bloomsbury Publishing, 2014)TS Eliot- The Four Quartets (Faber, 1941)On First Looking into Larkin's The Less Deceived A T Tolley 2 The paper first delivered at the 2003 Conference https://philiplarkin.com/wp-content/uploads/2022/08/About-Larkin-18.pdfThe background to the article in the Beverlonian that Graham refers to is referenced in Philip Pullen's piece in About Larkin 45 about the Beverley walkhttps://philiplarkin.com/wp-content/uploads/2022/08/About-Larkin-45.pdfhttps://rosiemillard.substack.com/p/what-will-survive-of-usMusic: Home Cooking by Eddie Condon and his Orchestra from the Larkin's Jazz box set, 2010 https://www.theguardian.com/music/2010/jul/22/various-artists-larkins-jazz-reviewTheme music:The Horns of the Morning by Wes Finch and the Mechanicals Bandhttps://themechanicalsband.bandcamp.com/album/the-righteous-jazzProduced by Lyn Lockwood, Simon Galloway and Gavin HoggPlease email Lyn at plsdeputychair@gmail.com with any questions or commentsPLS Membership, events, merchandise and information: philiplarkin.com
A special episode of More Rosebud today with a great poet, and filled with great poetry. Roger McGough tells Gyles about his striking first memories, his childhood in Liverpool, and interweaves this with some readings of poems inspired by his life. Roger remembers his hardworking father, the long line of men who came to the house to pay their respects to his father laid out in the coffin after his death, meeting Philip Larkin at Hull University, and then his early days performing poetry and sketches in clubs in Liverpool in the sixties - which led to his fame as a poet and as an unlikely pop star in the group The Scaffold - with hits like "Thank You Very Much" and "Lily the Pink". Plus Gyles and Harriet enjoy a poem written by a Rosebud listener. Hosted on Acast. See acast.com/privacy for more information.
In this lecture Miles Leeson, Director of the Iris Murdoch Research Centre at the University of Chichester, discusses Murdoch's reception by her contemporaries and look at the lighter side of how she was lampooned, both directly and indirectly, in the work of H.E. Bates, Malcolm Bradbury, Brigid Brophy, Barbara Pym and Ian McEwan, as well as the reception of her work by Philip Larkin and Monica Jones. Whilst a good deal of this was affectionate, and some even complementary, there was also a streak of jealousy and cruelty present. As Murdoch grew in popularity, and as a public intellectual figure, this became commonplace and is part of the mythic figure of ‘Iris' that was played out in the 2001 film, but has now has begun to fade from the public imagination. Miles's lecture asks what it might mean for us to admire her work today in the light of these texts.
According to the English poet Philip Larkin, the sixties saw the invention of sexual intercourse. While that may not be quite the case, it was certainly a time when a lot of people decided that it was time to revolutionise the way society dealt with sex. The Wilson government saw in a lot of reforms in this direction.There was a partial decriminalisation of gay sex. Abortion was legalised. Divorce was made easier.And there were reforms too in other fields, such as the abolition of the death penalty for murder, the first steps to make racial discrimination illegal, and an explosion in educational opportunity, above all in higher education.But there were plenty of bleak moments too. The Aberfan disaster in Wales was an appalling tragedy. Nor was the economy doing anything like as well as Wilson might have liked. Indeed, after resisting devaluation in 1964 and 1966, he finally had to give way in 1967, cutting the value of sterling by just over 14%.That would be used against him. He'd fallen out with the press and devaluing after saying he wouldn't gave it a cause on which to attack. Especially when he said that the ‘pound in your pocket' hadn't been devalued. Oh, boy, that would be used against him.The end of the sixties wasn't looking too good for him.Illustration: The Swinging Sixties: Carnaby Street, London. From the National Archives, UKMusic: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License
For the video of this episode, go to https://youtu.be/OtUSEC7Fk58. Why are so many Millennials deciding not to have children? How does therapy culture affect how young people view the prospect of becoming parents? Judy and I talk about a New York Times article by Michal Leibowitz that discusses this. She organized her article according to stanzas in Philip Larkin's poem “This Be The Verse,” which famously concludes, “Get out as early as you can / And don't have any kids yourself.” Along the way, we also talk about tribalism—both good and bad!—and mention Daryl Davis's TEDx talk, where he describes why he, a black man, has attended KKK rallies. Michal Leibowitz's article: https://www.nytimes.com/2025/05/30/opinion/therapy-estrangement-childless-millennials.html Daryl Davis's TEXx talk: https://www.ted.com/talks/daryl_davis_why_i_as_a_black_man_attend_kkk_rallies Do you have ideas for topics or guests for our podcast? Go to https://ctin7.com and send us a message. And you can also sign up for Dr. Chalmer's newsletter right from our homepage. Our sponsor is The Blue Tent: Erotic Tales from the Bible by Laria Zylber. Find out more at https://lariazylber.com. Bruce's latest book, Betrayal and Forgiveness: How to Navigate the Turmoil and Learn to Trust Again is available! More information at https://brucechalmer.com/betrayal-and-forgiveness/. And here's the link to leave a review.
Philip Larkin was terrified of death from an early age; Thomas Hardy contemplated what the neighbours would say after he had gone; and Sylvia Plath imagined her own death in vivid and controversial ways. The genre of self-elegy, in which poets have reflected on their own passing, is a small but eloquent one in the history of English poetry. In this episode, Seamus and Mark consider some of its most striking examples, including Chidiock Tichborne's laconic lament on the night of his execution in 1586, Jonathan Swift's breezy anticipation of his posthumous reception, and the more comfortless efforts of 20th-century poets confronting godless extinction.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrldIn other podcast apps: https://lrb.me/closereadingsldRead more in the LRB:Jacqueline Rose on Plath:https://www.lrb.co.uk/the-paper/v24/n16/jacqueline-rose/this-is-not-a-biographyDavid Runciman on Larkin and his father:https://www.lrb.co.uk/the-paper/v43/n03/david-runciman/a-funny-feelingJohn Bayley on Larkinhttps://www.lrb.co.uk/the-paper/v05/n08/john-bayley/the-last-romanticMatthew Bevis on Hardy:https://www.lrb.co.uk/the-paper/v46/n19/matthew-bevis/i-prefer-my-mare Hosted on Acast. See acast.com/privacy for more information.
My guest today is Ian Kerry who is a photographer and Hull enthusiast. And today's episode is a new direction for me as I take the microphone outside and travel 70 miles up the road from Sheffield to the Hessle Foreshore, sitting on a picnic bench taking in the view of the Humber Bridge. Ian, Gavin and I talk about the construction of the bridge and the effect of the bridge's arrival on the local community and the changes to the landscape and human relationships that the bridge brought about. We read a selection of Larkin's poems and prose and explore what the bridge and the wider Holderness area meant to Larkin. You will hear some ambient noises in the background- the wind, people walking past, the occasional car and seagull- I hope it helps to set the scene rather than presents a distraction! We also hear PLS member Chris Sewart, reading Bridge for the Living in full. This was recorded on the other side of the river in Barton Upon Humber, with the south pillars of the bridge just behind us. Thank you Chris for taking the time to record this for us.Larkin poems discussed:Here, The Whitsun Weddings, Bridge for the Living, High Windows, Aubade, The Building, Friday Night in the Royal Station Hotel, AbsencesOther references:Ian's English teacher- Kate TordoffA Rumoured City https://www.amazon.co.uk/Rumoured-City-New-Poets-Hull/dp/090642741XWizard of Oz (1939 dir Victor Fleming)Monitor, Down Cemetery Road with Philip Larkin https://www.youtube.com/watch?v=Coe11pgoj8EAlex Howard https://alexhoward.org/about/https://era.ed.ac.uk/handle/1842/35859Joe Riley https://podcasts.apple.com/ie/podcast/joe-riley-presents-the-whitsun-weddings/id1486735740?i=1000664101367Sketch Poetry podcast; https://open.spotify.com/show/4Ubm0zfLmjrOqVqMWulgf0https://www.theguardian.com/books/booksblog/2010/jun/24/hull-inspires-poets What fresh Hull is this?Philip Larkin's east Yorkshire home town has been called the most poetic city in England. Which town exercises – or defeats – your muse? By John KeenanSongs for Humberside by Christopher Rowe and Ian Clarkhttps://www.discogs.com/release/3734583-Christopher-Rowe-Ian-Clark-Songs-For-Humberside?srsltid=AfmBOorFZyFqtjKQJDPeTX6e7CYglsETWEwiawNbWL4HNZWYIDbVignNBridging the Humber https://www.youtube.com/watch?v=aepcHKLWgjs&t=1366sAlmost Instinct, Almost True booking link https://www.eventbrite.com/e/almost-instinct-almost-true-tickets-1334343379969?aff=oddtdtcreatorMusic: Lazy River (Louis Armstrong) played by Sidney BechetTheme music:The Horns of the Morning by Wes Finch and the Mechanicals Bandhttps://themechanicalsband.bandcamp.com/album/the-righteous-jazzProduced by Lyn Lockwood and Gavin HoggPlease email Lyn at plsdeputychair@gmail.com with any questions or commentsPLS Membership, events, merchandise and information: philiplarkin.com
Episode 136: Mapping Experience Part II Here's a first for PBQ, the second of a two-part series on a single poet! We're calling this two-parter the The Maggie Wolff Experience. We delight in spending more time with Maggie's exceptional series of abcedarians, “Surveys, Maps, and Mothers”, which share an unspooling narrative of intergenerational trauma. Kathy notes the similarity to experiencing an anthology series, with each of the four poems we've discussed offering a complete experience, while added depth and richness emerges from reading multiple poems (this makes Episode 135 or Part I optional but still recommended listening!). Jason calls attention to the skillfully created sonic waves that appear in sections of some of the poems, notably “S” in this episode. We touch on the “lore” of the people in our lives (thanks to Divina for the Gen Z lingo) and Sam makes the connection with Philip Larkin's This Be the Verse (“They fuck you up, your mum and dad.”). All of that and even a quick moment referencing Billy Joel's Movin' Out (Anthony's Song) from 1977 – if you listen, you'll know why! At the table: Kathleen Volk Miller, Marion Wrenn, Samantha Neugebauer, Dagne Forrest, Lisa Zerkle, Jason Schneiderman, Divina Boko, Lillie Volpe (sound engineer) Maggie Wolff is a poet, essayist, fiction writer, and Ph.D. student. She recently won an AWP Intro Journal Award for her poetry, and her work has appeared in Hayden's Ferry Review, Juked, New Delta Review, and other publications. Her chapbook Haunted Daughters has just been released by Press 254. When she isn't spending her time stressing about Phd-ing, she enjoys long walks, horror movies, and hibernating at home. Instagram @m_wolffwriter
Since publishing his debut essay collection—Video Night in Kathmandu, featuring far-flung reportage from 10 Asian countries—in 1988, the prolific travel writer Pico Iyer has gone on to write more than a dozen books exploring themes ranging from displacement and identity to globalization and technology, as well as contribute to publications such as The New York Times, Time, and Condé Nast Traveler. Over the years, Iyer's travels have taken him to some of the world's most remote destinations—North Korea, Bhutan, and Iceland, to name a few—but it's his hundred-plus visits to a Benedictine hermitage in Big Sur, California, that form the heart of his latest book, Aflame: Learning From Silence. Connecting with his inner stillness during these various sojourns in solitude has left him wholly transformed, opening him up to discover the thrumming, ineffable joy of being truly awake to the world and wonderfully alive. On this episode of Time Sensitive, Iyer explores the purpose and joy of travel, and shares deeply moving reflections about what he finds most essential in life.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Pico Iyer[4:25] “Aflame”[4:25] “Autumn Light”[4:25] Philip Larkin[4:25] “The Art of Poetry No. 30”[7:18] Bashō[7:18] Leonard Cohen[10:21] New Camaldoli Hermitage[10:21] Post Ranch Inn [16:25] “Postmodern Tourism: A Conversation with Pico Iyer”[17:08] “The Eloquent Sounds of Silence”[21:48] “The Joy of Quiet”[31:42] “What Ping-Pong Taught Me About Life”[33:14] “Walden”[37:28] “The Open Road”[41:37] “Video Night in Kathmandu”[41:37] “The Lady and the Monk”[41:37] “Lonely Places”[41:37] The Global Soul[44:40] “In the Realm of Jet Lag”[52:35] “Culture: The Leading Hotels of the World”[55:17] Potala Palace[55:17] Naoshima, Japan[55:17] Teshima, Japan[55:17] Narita, Japan[01:00:43] “The Half Known Life”[01:10:10] “No Time”
Our guest today is writer Ralph Dartford who works for the National Literacy Trust and is the poetry editor of literary journal Northern Gravy. Ralph kindly made the journey from Bradford to the Lockwood residence in Sheffield, and we settled down in my living room with mugs of tea and a plate of biscuits, surrounded by books and looked down upon by at least three pictures of Larkin. Ralph also co-organises the fantastic Louder Than Words festival that takes place in Manchester every autumn, and is a celebration of writing about music. They gather together amazing writers, broadcasters and musicians to discuss, explore and debate all things music and music industry related. I hope we will continue to see Ralph at more PLS events.Larkin poems mentioned:The Whitsun Weddings, Dockery and Son, Mr Bleaney, For Sidney Bechet, High Windows, Cut Grass, To The Sea, MCMXIV, Here, BroadcastAll What Jazz: A Record Diary 1961-1971 (1985) by Philip LarkinThe Oxford Book of Twentieth Century English Verse - ed. Philip Larkin (1973) I am happy to see Mr. Larkin's taste in poetry and my own are in agreement ... I congratulate him most warmly on his achievement. - W. H. Auden, The GuardianPoets/writers/musicians mentioned by RalphKae Tempest, Joelle Taylor, Ted Hughes, Seamus Heaney, Vicky Foster, Steve Ely, Chris Jones, Ian Parks, John Betjeman, John Cooper Clarke, John Hegley, Simon Armitage, Carol Ann Duffy, Michael Stewart, Blake Morrison, Count Basie, John Coltrane, Sidney Bechet, Alan Bennett, Stewart Lee, David Quantick, Ray Davis, Blur, Van Morrison, Hang Clouds, Evelyn Glennie, Kingsley Amis, Andrea Dunbar, Helen MortOther references:Adlestrop (1914) by Edward Thomas https://www.edwardthomaspoetryplaces.com/post/adlestropArthur Scargill: “Arthur Scargill, the miners' leader and socialist, once told The Sunday Times, ‘My father still reads the dictionary every day. He says your life depends on your power to master words.” Martin H. Manser, The Penguin Writer's ManualBob Monkhouse https://www.theguardian.com/news/2003/dec/30/guardianobituaries.artsobituariesLongbarrow Press https://longbarrowpress.com/Valley Press https://www.valleypressuk.com/Kes (1968) by Barry HinesRalph is Poetry Editor for Northern Gravy https://northerngravy.com/Ralph reads Geese and England's Dreaming from House Anthems https://www.valleypressuk.com/shop/p/house-anthemsGareth Southgate https://www.bbc.co.uk/news/uk-england-london-57816651 Simon Armitage Larkin Revisited Radio 4 https://www.bbc.co.uk/sounds/brand/m0019yy2Nick Cave- Honorary Vice President for the Philip Larkin Society- Desert Island Discs https://www.bbc.co.uk/programmes/m0027cglLyn's English teacher 1982-1989 https://petercochran.wordpress.com/remembering-peter/The Ted Hughes Network https://research.hud.ac.uk/institutes-centres/tedhughes/James Underwood https://www.bloomsbury.com/uk/early-larkin-9781350197121/Albums mentioned:OK Computer (1997) by Radiohead , Sergeant Pepper's Lonely Hearts Club Band (1967) and The White Album (1968) by The Beatles, Park Life (1994) by BlurSummertime in England by Van Morrison https://www.vice.com/en/article/summertime-in-england-a-monologue-on-van-morrison/Events:https://louderthanwordsfest.com/"My Friend Monica": Remembering Philip Larkin's Partner Monica JonesSat 22 Mar 2025 4:00 PM - 5:00 PM Ken Edwards Lecture Theatre 2, University of Leicester, LE1 7RHhttps://www.tickettailor.com/events/literaryleicester/1538331A celebration marking 70 years of Philip Larkin's 'The Less Deceived'For World Poetry Dayhttps://www.eventbrite.com/e/a-celebration-marking-70-years-of-philip-larkins-the-less-deceived-tickets-1235639173029?aff=oddtdtcreatorProduced by Lyn Lockwood and Gavin HoggPlease email Lyn at plsdeputychair@gmail.com with any questions or commentsPLS Membership, events, merchandise and information: philiplarkin.com
Get out your UV lights & swabs--the queens play a game that fuses poems, then guess the poetic DNA samples. Then we spark up a fusion of a different strain!Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Watch Jools Lebron get mindful and demure here, divaDon't soak tampons in vodka. Poems we discuss in the episode include:Philip Levine's "Bitterness"Laura Kasischke's "Champagne"Kay Ryan's "Shark's Teeth"Kenneth Koch's "One Train May Hide Another"Annie Finch's "Wild Yeasts"Dorothea Lasky's "Toast to my friend or why Friendship is the best kind of Love"Danusha Laméris's "Bonfire Opera"Marie Ponsot's "Among Women"Tina Chang's "God Country"Campbell McGrath's "Sunset, Route 90, Brewster County, Texas"Elizabeth Bishop's "The Fish"W.B. Yeats's "Leda and the Swan"Gerard Manley Hopkins's "The Windhover"Anne Sexton's "Jesus Awake" & "Wanting to Die" Langston Hughes's "The Negro Speaks of Rivers" & "I, Too"Philip Larkin's "Sad Steps" And Beyonce's "You Won't Break My Soul [Queens Remix]," in which she sampled Madonna's song "Vogue," returning it to the culture where it rightly belongs.
Read by Aaron Novak Production and Sound Design by Kevin Seaman
Today's poem is a roller-coaster of machismo and vulnerability in that most singular of places–the poetry section of a small bookstore. Happy reading.Kingsley Amis (1922–1995) was a popular and prolific British novelist, poet, satirist, and critic. Born in suburban South London, the only child of a clerk in the office of the mustard-maker Colman's, he won an English scholarship to St John's College, Oxford, where he began a lifelong friendship with fellow student Philip Larkin. Following service in the British Army's Royal Corps of Signals during World War II, he completed his degree and joined the faculty at the University College of Swansea in Wales. Lucky Jim, his first novel, appeared in 1954 to great acclaim and won a Somerset Maugham Award. Ultimately he published twenty-four novels, including science fiction and a James Bond sequel; more than a dozen collections of poetry, short stories, and literary criticism; restaurant reviews and three books about drinking; political pamphlets and a memoir; and more. Amis received the Booker Prize for his novel The Old Devils in 1986 and was knighted by Queen Elizabeth II in 1990.-bio via NYRB This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe
His earlier episodes on this show have been huge hits, and as he completes a trilogy of books, he returns to complete a trilogy of episodes. Amitava Kumar joins Amit Varma in episode 408 of The Seen and the Unseen to talk about writing, noticing, painting, travelling, trees, and unfulfilled train journeys. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out 1. Amitava Kumar on Instagram, Substack, Twitter, Amazon, Vassar, Granta and his own website. 2. The Green Book: An Observer's Notebook -- Amitava Kumar. 3. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 4. Amitava Kumar Finds His Kashmiri Rain -- Episode 364 of The Seen and the Unseen. 5. The Blue Book: A Writer's Journal — Amitava Kumar. 6. The Yellow Book: A Traveller's Diary — Amitava Kumar. 7. My Beloved Life: A Novel -- Amitava Kumar. 8. A Million Mutinies Now -- VS Naipaul. 9. The Trees — Philip Larkin. 10. Before the Storm -- Amitava Kumar. 11. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 12. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 13. A Suitable Boy -- Vikram Seth. 14. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 15. ‘Indian languages carry the legacy of caste' — Chandra Bhan Prasad interviewed by Sheela Bhatt. 16. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 17. Stage.in. 18. Laapataa Ladies -- Kiran Rao. 19. Kanthapura -- Raja Rao. 20. All About H Hatterr -- GV Desani. 21. From Phansi Yard: My Year with the Women of Yerawada -- Sudha Bharadwaj. 22. India is Broken -- Ashoka Mody. 23. Being Mortal -- Atul Gawande. 24. Earwitness to Place -- Bernie Krause interviewed by Erin Robinsong. 25. All That Breathes -- Shaunak Sen. 26. Frog: 1 Poetry: 0 -- Amitava Kumar. 27. The Heat Will Kill You First -- Jeff Goodell. 28. Danish Husain and the Multiverse of Culture — Episode 359 of The Seen and the Unseen. 29. The Artist's Way -- Julia Cameron. 30. An excerpt from Wittgenstein's diary — Parul Sehgal on Twitter. 31. Tractatus Logico-Philosophicus — Ludwig Wittgenstein. 32. Burdock -- Janet Malcolm. 33. Hermit in Paris — Italo Calvino. 34. Objects From Our Past -- Episode 77 of Everything is Everything. 35. The Wisden Book of Test Cricket (1877-1977) — Compiled & edited by Bill Frindall. 36. Gita Press and the Making of Hindu India — Akshaya Mukul. 37. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 38. The Ferment of Our Founders — Episode 272 of The Seen and the Unseen (w Shruti Kapila). 39. Private Truths, Public Lies — Timur Kuran. 40. The Incredible Insights of Timur Kuran — Episode 349 of The Seen and the Unseen. 41. Bhavni Bhavai -- Ketan Mehta. 42. All We Imagine as Light -- Payal Kapadia. 43. Secondhand Time -- Svetlana Alexievich. 44. Amitava Kumar's post with Danish Husain's postcard. 45. Fire Weather -- John Vaillant. 46. Ill Nature -- Joy Williams. 47. Hawk -- Joy Williams. This episode is sponsored by Rang De, a platform that enables individuals to invest in farmers, rural entrepreneurs and artisans. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Gulmohar' by Simahina.
Today's guest is the lovely Farrah Bala, an expert in leadership coaching and organizational development. Farrah brings a wealth of knowledge to the table, particularly in fostering healthy conflict and promoting authenticity within teams. Our jumping off point was Adam Grant's book Originals + from there we discussed the importance of challenging the status quo, embracing diverse perspectives + cultivating an environment where everyone feels safe to express their ideas. Look for more Book Huddle episodes where we have experts share their fave books. This episode's also part of the December Daily – where, you guessed it, the show is gasp, daily for the whole month Books discussed in this episode: Originals - Adam Grant Hidden Potential - Adam Grant Think Again - Adam Grant Give and Take - Adam Grant Option B - Adam Grant They F*** You Up - Oliver James (note: the title contains a swear word) Philip Larkin's poem of the same name (mentioned in relation to the title of Oliver James's book) Farrah's Website: gofarsight.com Farrah's Podcast: Far Sight Chats Farrah's LinkedIn: linkedin.com/in/farahbala Farrah's Instagram: instagram.com/farahbala Farrah's X: twitter.com/farahbala Farrah's Facebook: facebook.com/FarahBala ==== If you'd like my help with your Business go to www.lizscully.com/endlessClients ==== And don't forget to get your reading list of the 10 essential reads for every successful biz owner - these are the books Liz recommends almost on the daily to her strategy + Mastermind clients. This isn't your usual list of biz books, these answer the challenges you've actually got coming up right now. Helpful, quick to read and very timely. Click here lizscully.com/reading to get your book list
SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:My Grandmaster Mom Sneaked in to a Chess Tournament in LondonAnna CramlingDing LirenDing Liren is CHILLINGJohn Cena speaking mandarin with an ice-creamGrandmasters being SAVAGE for 8 minutes straightGukesh DommarajuJudit PolgárAmélie MauresmoDonald JusticeLee HerrickEp 172: Less Human Than Human, Pt. 1 & Pt. 2Matthew's poem Spontaneous LossLying by Sam Harris(and these things are mentioned in the secret show)Philip Larkin, the Poet Laureate who never wasGwen HarwoodJames McAuleyThat Mitchell and Webb Look: The Doctor and the Ice Cream TasterSuch Great Heights by The Postal ServiceWinning Ugly by Brad GilbertKen BoltonPoetry Says Ep. 290 Australian GothicFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith
Read by Christopher Kendrick Production and Sound Design by Kevin Seaman
Our societies, our norms, our values are all shaped by stories from the past. Devdutt Pattanaik joins Amit Varma in episode 404 of The Seen and the Unseen to discuss his life, our society and why we should take mythology seriously. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out 1. Devdutt Pattanaik on Instagram, Twitter, LinkedIn, Wikipedia, YouTube, Amazon and his own website. 2. Myth = Mithya: Decoding Hindu Mythology -- Devdutt Pattanaik. 3. The Girl Who Chose -- Devdutt Pattanaik. 4. The Boys Who Fought -- Devdutt Pattanaik. 5. Ramayana Versus Mahabharata -- Devdutt Pattanaik. 6. My Gita -- Devdutt Pattanaik. 7. Bahubali: 63 Insights into Jainism -- Devdutt Pattanaik. 8. Sati Savitri -- Devdutt Pattanaik. 9. Business Sutra -- Devdutt Pattanaik. 10. Ahimsa: 100 Reflections on the Harappan Civilization -- Devdutt Pattanaik. 11. Olympus -- Devdutt Pattanaik. 12. Eden -- Devdutt Pattanaik. 13. East vs West -- The Myths That Mystify -- Devdutt Pattanaik's 2009 TED Talk. 14. Today My Mother Came Home -- Devdutt Pattanaik. 15. The Incredible Curiosities of Mukulika Banerjee — Episode 276 of The Seen and the Unseen. 16. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 17. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 18. The Life and Times of Shanta Gokhale — Episode 311 of The Seen and the Unseen. 19. Yuganta -- Irawati Karve. 20. Women in Indian History — Episode 144 of The Seen and the Unseen (w Ira Mukhoty). 21. The Jewel in the Crown -- BBC TV series. 22. Heat and Dust -- James Ivory. 23. The Sexual Outlaw -- John Rechy. 24. Bombay Dost and Gay Bombay. 25. The Double ‘Thank You' Moment — John Stossel. 26. The Kama Sutra. 27. Liberty -- Isaiah Berlin. 28. Thought and Choice in Chess -- Adriaan de Groot. 29. The Seven Basic Plots -- Christopher Booker. 30. The Seven Basic Plots -- Episode 69 of Everything is Everything. 31. The Hero with a Thousand Faces -- Joseph Campbell. 32. The Big Questions -- Steven Landsburg. 33. 300 Ramayanas — AK Ramanujan. 33. The egg came before the chicken. 34. The Evolution of Cooperation — Robert Axelrod. 35. The Trees -- Philip Larkin. 36. Who We Are and How We Got Here — David Reich. 37. Early Indians — Tony Joseph. 38. Tony Joseph's episode on The Seen and the Unseen. 39. A Life in Indian Politics — Episode 149 of The Seen and the Unseen (w Jayaprakash Narayan). 40. The BJP Before Modi — Episode 202 of The Seen and the Unseen (w Vinay Sitapati). 41. Jugalbandi -- Vinay Sitapati. 42. Perfect Days -- Wim Wenders. 43. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 44. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 45. Mary Wollstonecraft and bell hooks. 46. If India Was Five Days Old -- Devdutt Pattanaik. 47. The Road to Freedom — Arthur C Brooks. 48. The Master and His Emissary -- Iain McGilchrist. 49. This Be The Verse — Philip Larkin. 50. Human -- Michael Gazzaniga. 51. The Elephant in the Brain — Kevin Simler and Robin Hanson. 52. The Blank Slate -- Steven Pinker. 53. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 54. Wanderers, Kings, Merchants — Peggy Mohan. 55. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 56. The Reformers -- Episode 28 of Everything is Everything. 57. The Golden Bough -- James Frazer. 58. Myth And Reality: Studies In The Formation Of Indian Culture -- DD Kosambi. 59. Srimad Bhagavatam -- Kamala Subramaniam. 60. Boris Vallejo on Instagram, Wikipedia and his own website. 61. The Last Temptation Of Christ -- Nikos Kazantzakis. 62. The Last Temptation Of Christ -- Martin Scorcese. 63. Jeff Bezos on The Lex Fridman Podcast. 64. The Poem of the Killing of Meghnad -- Michael Madhusudan Dutt. 65. Eichmann in Jerusalem: A Report on the Banality of Evil — Hannah Arendt. 66. The Crown -- Created by Peter Morgan. 67. Profit = Philanthropy — Amit Varma. 68. Imaginary Number — Vijay Seshadri. 69. The Buddha's Footprint -- Johan Elverskog. 70. A Prehistory of Hinduism -- Manu Devadevan. 71. The ‘Early Medieval' Origins of India -- Manu Devadevan. 72. Unmasking Buddhism -- Bernard Faure. 73. The Red Thread -- Bernard Faure. 74. The Power of Denial -- Bernard Faure. 75. The Thousand and One Lives of the Buddha -- Bernard Faure. 76. A Modern Look At Ancient Chinese Theory Of Language -- Chad Hansen. 77. Hermann Kulke, Umakant Mishra and Ganesh Devy on Amazon. 78. The Hours -- Michael Cunningham. 79. The Hours -- Stephen Daldry. 79. Ancestral Dravidian languages in Indus Civilization -- Bahata Ansumali Mukhopadhyay. 80. Myth -- Laurence Coupe. This episode is sponsored by Rang De, a platform that enables individuals to invest in farmers, rural entrepreneurs and artisans. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Story' by Simahina.
Read by Christopher Kendrick Production and Sound Design by Kevin Seaman
“I wake up cold, I who Prospered through dreams of heat Wake to their residue, Sweat, and a clinging sheet.” (The Man with Night Sweats, Thom Gunn, 1992) Never heard of Thom Gunn? Me neither! That's because straight people want to destroy us. Thom was one of the great poets of the 20th century, up there with Philip Larkin and Ted Hughes. But he's scarcely remembered in the 21st century, because he was: gay. (end of list) Join us as we explore Thom's leather-harnessed and LSD-fueled life as a poet of sexual revolution, formal precision, and gay liberation. In particular, Thom deserves to be remembered for the memorializing poetry he wrote about the AIDS epidemic and his many friends who lost their lives to the disease. My guest this week is Michael Nott, who has recently published a magnificent biography, Thom Gunn: A Cool Queer Life. Grab yourself a copy after the episode, and make sure to let us know what you think about Thom's poetry! If you want more from Historical Homos, you can join our cult at www.historicalhomos.com and follow us on Instagram and TikTok. Like what you hear? Please leave us a five star rating on Apple or Spotify. Do it. Yeahhhhhh just like that. Written and hosted by Bash. Edited by Alex Toskas. Guest host: Michael Nott.
Bloody hell. The world has changed, society looks different, and men and women have to find new ways of relating to each other. We're not equipped for this. Sanjana Ramachandran and Samarth Bansal join Amit Varma in episode 401 of The Seen and the Unseen to discuss how meeting and mating are both easier and, well, harder. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Sanjana Ramachandran on Twitter, Instagram, Substack, LinkedIn , FiftyTwo and her own website. 2. Samarth Bansal on Twitter, LinkedIn, Instagram and his own website. 3. The Reflections of Samarth Bansal -- Episode 299 of The Seen and the Unseen. 4. The Romantic Idiot -- Samarth Bansal. 5. Thirty and Thriving -- Samarth Bansal. 6. The Namesakes -- Sanjana Ramachandran. 7. The 'Woman-Math' Of A 31-Year-Old, Unmarried, Bengaluru Woman -- Sanjana Ramachandran. 8. Society of the Snow -- JA Bayona. 9. Eichmann in Jerusalem: A Report on the Banality of Evil — Hannah Arendt. 10. This Be The Verse — Philip Larkin. 11. Quarterlife: The Search for Self in Early Adulthood -- Satya Doyle Byock. 12. A Godless Congregation — Amit Varma. 13. What's Consolation For An Atheist? -- Amit Varma. 14. Molecules Of Emotion -- Candace B Pert. 15. Howard Gardner's theory of multiple intelligences. 15. Womaning in India With Mahima Vashisht — Episode 293 of The Seen and the Unseen. 16. Scenes From a Marriage -- Ingmar Bergman. 17. Behave -- Robert Sapolsky. 18. Don't think too much of yourself. You're an accident — Amit Varma's column on Chris Cornell's death. 19. Determined -- Robert Sapolsky. 20. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 21. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 22. Reinventing Love -- Mona Chollet. 23. Sex Is Not a Spectrum -- Colin Wright. 24. Understanding the Sex Binary -- Colin Wright. 25. The Naturalistic Fallacy. 26. The Double ‘Thank You' Moment — John Stossel. 27. Bad Faith in Existentialism. 28. Rational Emotive Behavior Therapy. 29. Whiplash -- Damien Chazelle. 30. Narendra Modi takes a Great Leap Backwards — Amit Varma on Demonetisation. 31. Immanuel Kant's Categorical Imperative. 32. The Gulag Archipelago — Aleksandr Solzhenitsyn. 33. I Am The Best -- The Shah Rukh Khan song from Phir Bhi Dil Hai Hindustani. 34. The Madonna–Whore Complex. 35. Ranbir Kapoor on Nikhil Kamath's show. 36. Tamasha -- Imtiaz Ali. 37. Manic Pixie Dream Girl. 38. The Art of Podcasting -- Episode 49 of Everything Everything. 39. Anatomy of a Fall — Justine Triet. 40. Anatomy of a Folly — Amit Varma. 41. Marriage Story -- Noah Baumbach. 42. The Abyss and Other Stories — Leonid Andreyev. 43. Amit Varma's BTS reel as Gitanjali. 44. Peter Cat Recording Co. on Spotify, YouTube, Instagram and their own website. 45. The Life and Times of the Indian Economy -- Episode 387 of The Seen and the Unseen (w Rajeswari Sengupta). 46. Lant Pritchett Is on Team Prosperity — Episode 379 of The Seen and the Unseen. 47. How to Do Development -- Episode 57 of Everything is Everything. 48. The Pleasures and Pains of Coffee — Honoré de Balzac. 49. Sasha's 'Newsletter' -- Sasha Chapin. 50. The Evolution of Desire -- David Buss. 51. Modern Family and Friends. 52. Eve Fairbanks Examines a Fractured Society -- Episode 398 of The Seen and the Unseen. 53. The Flirting Trap — Eve Fairbanks. (Scroll down on that page for this piece). 54. Eternal Sunshine of the Spotless Mind -- Michel Gondry. 55. The Bookshop Romeo -- Amit Varma. 56. The Stranger -- Albert Camus. 57. When Harry Met Sally... -- Rob Reiner. 58. Annie Hall -- Woody Allen. 59. Late Admissions: Confessions of a Black Conservative -- Glenn Loury. 60. Rob Henderson's tweet on Glenn Loury's book. 61. The Game -- Neil Strauss. 62. On Flirting -- Rega Jha. 63. Notting Hill -- Roger Michell. 64. Postcards From Utsav Mamoria -- Episode 376 of The Seen and the Unseen. 65. Malini Goyal is the Curious One — Episode 377 of The Seen and the Unseen. 66. Unboxing Bengaluru — Malini Goyal and Prashanth Prakash. 67. Indian Matchmaking -- Created by Smriti Mundhra. 68. High Fidelity -- Nick Hornby. 69. Third Place. 70. The Pineapple Game. 71. The Razor's Edge -- W Somerset Maugham. 72. Anna Karenina -- Leo Tolstoy. 73. Mating in Captivity -- Esther Perel. 74. The State Of Affairs -- Esther Perel. 75. The Poly Couple of YouTube and Instagram. 75. The School of Life. 76. Early Indians — Tony Joseph. 77. Tony Joseph's episode on The Seen and the Unseen. 78. Who We Are and How We Got Here — David Reich. 79. Eden Project: In Search of the Magical Other -- James Hollis. 80. Fallen Leaves -- Aki Kaurismäki. 81. I hired a Contract Killer -- Aki Kaurismäki. 82. Manhattan, Husbands and Wives, Crimes and Misdemeanors & Bullets Over Broadway -- Woody Allen. 83. New York Stories -- Woody Allen, Francis Ford Coppola and Martin Scorcese. 84. Running with Scissors -- Augusten Burroughs. 85. Aftersun -- Charlotte Wells. 86. Elena Ferrante on Amazon. 87. Bloodline -- Todd Kessler, Glenn Kessler & Daniel Zelman. 88. Sex and the City -- Darren Star, based on Candace Bushnell's columns and book. 89. She's Gotta Have It -- Spike Lee. 90. She Said -- Maria Schrader. 91. The Take on YouTube. 92. Succession's Shiv - The Real “Woman Problem" in Business -- The Take. 93. We Are All Amits From Africa — Episode 343 of The Seen and the Unseen (w Krish Ashok and Naren Shenoy). 92. You're Ugly and You're Hairy and You're Covered in Shit but You're Mine and I Love You -- Episode 362 of The Seen and the Unseen (w Krish Ashok and Naren Shenoy). 93. Dance Dance For the Halva Waala — Episode 294 of The Seen and the Unseen (w Jai Arjun Singh and Subrat Mohanty). 94. The Adda at the End of the Universe — Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). This episode is sponsored by The 6% Club, which will get you from idea to launch in 45 days! Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Meetings and Matings' by Simahina.
THE TEN MINUTE FORTNIGHT: Andy donates his Cricketers to a good cause, and Toby ponders the Shakib al Hasan scandal. "There's a bandaged batsman sitting in hospital leafing through my old magazines." FROM THE ARCHIVES (08'54): Cricket in the poetry of Philip Larkin "'...an Odeon went past, a cooling tower, and someone running up to bowl...'" THE REVIEW (19'00): The Great Cricket Con (BBC Radio 4 / BBC Sounds), 2024 "When you step back, you're talking about organised crime, people smuggling..." Recorded 6 September 2024
Ralston College Humanities MA Dr Paul Epstein is a distinguished classicist and Professor Emeritus of Classics at Oklahoma State University, renowned for his extensive knowledge of Greek and Latin literature. In this lecture and discussion—delivered in Savannah during the x term of the inaugural year of Ralston College's MA in the Humanities program—classicist Dr Paul Epstein considers how Sophocles's tragedy Women of Trachis and Aristophanes's comedy Frogs arise from—and reflect upon—the polis-centered polytheism of ancient Greece as it appeared during the Athenian flourishing of the fifth century BC. Professor Epstein explores how these Greek dramas articulate the relationship between human beings, the gods, and the community. Tragedy, in Professor Epstein's account, is about the overall structure of the community, while comedy starts with the individual's exploration of that community. Yet both forms ultimately reveal an understanding of the individual that is inseparable from the polis in which he or she lives. Professor Epstein argues that our contemporary notion of the self as an entity fundamentally separate from context would be entirely alien to the ancient Greeks. Grasping this ancient understanding of the individual is vitally necessary if we are to correctly interpret the literary and philosophical texts of Hellenic antiquity. *In this lecture and discussion, classicist Dr. Paul Epstein considers how Sophocles's tragedy Women of Trachis and Aristophanes's comedy Frogs arise from—and reflect upon—the polis-centered polytheism of ancient Greece during the Athenian flourishing of the fifth century BC. Professor Epstein explores how these Greek dramas articulate the relationship between human beings, the gods, and the community. Tragedy, in Professor Epstein's account, is about the overall structure of the community, while comedy starts with the individual's exploration of that community. Yet both forms ultimately reveal an understanding of the individual that is inseparable from the polis in which he or she lives. Professor Epstein argues that our contemporary notion of the self as an entity fundamentally separate from context would be entirely alien to the ancient Greeks. Grasping this ancient understanding of the individual is vitally necessary if we are to correctly interpret the literary and philosophical texts of Hellenic antiquity. — 0:00 Introduction of Professor Epstein by President Blackwood 6:25 The Polytheistic World of the Polis 01:09:35 Dialogue with Students on Polytheism and the Polis 01:22:40 Sophocles's Women of Trachis 01:44:10 Dialogue with Students About Women of Trachis 01:56:10 Introduction to Aristophanes' Frogs 02:24:40 Dialogue with Students About Frogs 02:49:45 Closing Remarks for Professor Epstein's Lecture — Authors, Ideas, and Works Mentioned in This Episode: Athenian flourishing of the fifth century BC Sophocles, Women of Trachis Aristophanes, Frogs William Shakespeare Plato, Symposium Aristophanes, Lysistrata Homer, Odyssey Aristotle, Poetics Peloponnesian War Plato, Apology nomizó (νομίζω)—translated in the talk as “acknowledge” nous (νοῦς) binein (Βινέω) Johann Joachim Winkelman Nicene Creed Titanic v. Olympian gods Hesiod Jane Austen, Sense and Sensibility Sigmund Freud Existentialism techne (τέχνη) logos (λόγος) eros (Ἔρως) hubris (ὕβρις) Philip Larkin, “Annus Mirabilis” Athansian Creed psuche (ψυχή)—translated in the talk as “soul” thelo (θέλω)—translated in the talk as “wishes” Aristophanes, Clouds mimesis (μίμησις) — Additional Resources Dr Stephen Blackwood Ralston College (including newsletter) Support a New Beginning — Thank you for listening!
Matías Rivas, Arturo Fontaine y Sofia García-Huidobro recomendaron libros, películas y series.
Daily QuoteWhen the sun is shining I can do anything; no mountain is too high, no trouble too difficult to overcome. (Wilma Rudolph)Poem of the DayLove Songs in AgePhilip LarkinBeauty of Words“今”李大钊
Read by Christopher Kendrick Production and Sound Design by Kevin Seaman
Breathe Pictures Photography Podcast: Documentaries and Interviews
Photographer Tatiana Hopper is a YouTuber and writer becoming well-known for her wonderfully accessible thought-provoking documentaries on master photographers, filmmakers and stories about personal creative photography endeavours. She challenges you to think about your why, your legacy, and introduces you to ideas and artists you may not otherwise have discovered. Also on the show, finding solace in making photos of family, a strange gift arrives at the office, Poetry along the Path is inspired by Philip Larkin, some thoughts about making portraits of strangers and it being the first Friday of the month, it's assignment week; a new challenge for a picture that photojournalist John Angerson would like you to make over the next month. Links to all guests and features will be on the showpage, my sincere thanks to MPB.com who sponsor this show and the Extra Milers without whom we wouldn't be walking each week. WHY: A Sketchbook of Life is available here.
Daily QuoteGreat things are not done by impulse, but by a series of small things brought together. (Vincent van Gogh)Poem of the DayLove Songs in AgePhilip LarkinBeauty of WordsJulyAlice Meynell
The great Welsh poet Dylan Thomas had a passion for detective stories. John Goodby is Professor of Arts and Culture at Sheffield Hallam University, and an expert on Dylan Thomas. He edited The Collected Poems of Dylan Thomas and has co-authored a biography of Thomas. He is also a poet, translator and arts organiser. Members of the Shedunnit Book Club can hear more of Guy and John's conversation as they cover 1930s poets beyond Dylan Thomas in this bonus episode. Spoiler for The Murder of Roger Ackroyd by Agatha Christie at 21:17. Mentioned in this episode: — Murder's A Swine by Nap Lombard — The Collected Poems of Dylan Thomas, edited by John Goodby — Dylan Thomas by John Goodby and Chris Wigginton — The Death of the King's Canary by Dylan Thomas and John Davenport — Ellery Queen's Poetic Justice, edited by Ellery Queen — The Three Weird Sisters (screenplay) — The Beach of Falesá, novella by Robert Louis Stevenson, adapted by Thomas — The Doctor and the Devils by Dylan Thomas — “The Waste Land” by T. S. Eliot, collected in The Waste Land — Crime Fiction: A Reader's Guide by Barry Foreshaw — "The Pleasure Principle” by Philip Larkin, collected in Philip Larkin: The Complete Poems — “Fern Hill” by Dylan Thomas — "Altawise by Owl Light" by Dylan Thomas — The Oxford Book of English Verse — After the Funeral by Agatha Christie — Under Milk Wood by Dylan Thomas — "Deaths and Entrances" by Dylan Thomas — “Do Not Go Gentle Into That Good Night” by Dylan Thomas — "And Death Shall Have No Dominion” by Dylan Thomas — “A Refusal to Mourn the Death, by Fire, of a Child in London” by Dylan Thomas — “Among those Killed in the Dawn Raid was a Man Aged a Hundred” by Dylan Thomas — "Return Journey," radio broadcast by Dylan Thomas More Shedunnit episodes: — The Death of the Country House — Dorothy L Sayers Solves Her Mystery — A Mysterious Glossary NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge. To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. The podcast is on Twitter, Facebook, and Instagram as @ShedunnitShow, and you can find it in all major podcast apps. Make sure you're subscribed so you don't miss the next episode. Click here to do that now in your app of choice. Find a full transcript of this episode at shedunnitshow.com/dylanswhodunnitstranscript. Music by Audioblocks and Blue Dot Sessions. See shedunnitshow.com/musiccredits for more details. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the medieval tradition of courtly love, the aubade inverts the serenade. Where one heralds an evening arrival, the other laments a morning departure. In John Dunne's famous poetic contribution to the genre, he chastises the sun for waking and so separating lovers, but consoles us with the notion that the power of the sun is ultimately subordinate to the imperatives of love. More bleak, Philip Larkin's poem “Aubade" seems to abandon this indictment on behalf of love for one on behalf of self-love, perhaps even on behalf of life itself. Morning awakens us to both workaday drudgery and an awareness of our own mortality. As a consequence, life is harder to live by the light of day, the consolations of philosophy and religion notwithstanding, and vitality is confined to the sorts of evening revelry that make waking all the harder. Wes & Erin discuss whether life (and love) can be reconciled with human self-consciousness and all that it entails.
In the medieval tradition of courtly love, the aubade inverts the serenade. Where one heralds an evening arrival, the other laments a morning departure. In John Dunne's famous poetic contribution to the genre, he chastises the sun for waking and so separating lovers, but consoles us with the notion that the power of the sun is ultimately subordinate to the imperatives of love. More bleak, Philip Larkin's poem “Aubade" seems to abandon this indictment on behalf of love for one on behalf of self-love, perhaps even on behalf of life itself. Morning awakens us to both workaday drudgery and an awareness of our own mortality. As a consequence, life is harder to live by the light of day, the consolations of philosophy and religion notwithstanding, and vitality is confined to the sorts of evening revelry that make waking all the harder. Wes & Erin discuss whether life (and love) can be reconciled with human self-consciousness and all that it entails.
Elizabeth Jennings (1926-2001) was born in Boston, Lincolnshire but moved to Oxford at the age of six where she lived for the rest of her life. She studied at St. Anne's College, Oxford and worked in advertising, at the City Library and briefly in publishing before becoming a full-time writer. Her consistent devotion to poetry yielded over twenty books during her life, a New Collected Poems appearing in 2002. Although initially linked to the group of poets including Kingsley Amis, Philip Larkin and Thom Gunn known as ‘The Movement', Jennings' work doesn't share their irony or academic wit. However, the unassuming technical craft of her poetry and its emotional restraint are qualities that were praised by the poets and critics of the period and continued to be abiding characteristics of her work. An important theme is her Catholicism and many of her poems have a devotional aspect. Her intense musing on spirituality encouraged a sensitivity towards others, evident in the pained tenderness of some of her poems. Jennings' sincere and scrupulous work gradually built both critical acclaim that weathered changes in poetic fashion, and a genuine popularity. Amongst the many honours awarded her work are the W.H. Smith Literary Award, the Somerset Maugham Award and a CBE. Although consistent in its tone and concerns, her poetry continued to develop and mature – later work demonstrating a more flexible approach to form whilst retaining her clarity.-bio via Poetry Archive (where you can also hear Jennings reading her own poem) Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
* The point of a dagger * The Messenger of death* The billionaire model * WE NEED SOME QUICK BITES* The murder of James O'Keefe* Horrible people, horrible ideas, great writing* Requisite 2024 talk* In (soft of) defense of Jon Stewart* Cori Bush is the Whitney Houston of Congress* LD on Simmons pod* Jamaal Bowmen is the Philip Larkin of 9/11 (hmmmmmm)* Yay for Aaron!* And so much more! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit wethefifth.substack.com/subscribe
Thomas Hardy (born June 2, 1840 - died January 11, 1928) was born in Dorset, England. The son of a stone mason, he trained as an architect and worked in London and Dorset for ten years.Hardy began his writing career as a novelist, publishing Desperate Remedies (Tinsley Brothers) in 1871, and was soon successful enough to leave the field of architecture for writing. His novels Tess of the D'Urbervilles (Osgood McIlvaine & Co., 1891) and Jude the Obscure (Osgood McIlvaine & Co., 1895), which are considered literary classics today, received negative reviews upon publication. He left fiction writing for poetry and published eight collections, including Poems of the Past and the Present (Harper & Bros., 1902) and Satires of Circumstance (Macmillan, 1914).Hardy's poetry explores a fatalist outlook against the dark, rugged landscape of his native Dorset. He rejected the Victorian belief in a benevolent God, and much of his poetry reads as a sardonic lament on the bleakness of the human condition. A traditionalist in technique, he nevertheless forged a highly original style, combining rough-hewn rhythms and colloquial diction with a variety of meters and stanzaic forms. A significant influence on later poets (including Robert Frost, Wystan Hugh Auden, Dylan Thomas, and Philip Larkin), his influence has increased over the course of the twentieth century, offering a more down-to-earth, less rhetorical alternative to the more mystical and aristocratic precedent of William Butler Yeats. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Poet and critic Robert B. Shaw earned a BA from Harvard University, where he studied with Robert Lowell, and a PhD from Yale University. Influenced by Elizabeth Bishop and Philip Larkin, Shaw's wry and plainspoken formal verse is often grounded in, or sprung from, the debris of daily life. He is the author of several collections of poetry, including Solving For X (2002), which won the Hollis Summers Poetry Prize; Below the Surface (1999); and The Wonder of Seeing Double (1988). His criticism appears widely in such places as the New York Times Book Review, and he has also published a critical study of poets John Donne and George Herbert, The Call of God: The Theme of Vocation in the Poetry of Donne and Herbert (1981). Shaw has received Shenandoah's James Boatwright III Prize for Poetry as well as fellowships from the National Endowment for the Arts and the Ingram Merrill Foundation. Since 1983, Shaw has taught at Mount Holyoke College as the Emily Dickinson Professor of English.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
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