Podcast appearances and mentions of Richard Holmes

It was an incredible honour to interview an author I have been following for a long time, and itching to get on the show. Sue Prideaux is an acclaimed Anglo‑Norwegian biographer and novelist. Her works include I Am Dynamite!, a biography of Friedrich Nietzsche I read and reviewed last year, and more recently Wild Thing, a biography of French artist Paul Gauguin. I Am Dynamite! was named The Times Biography of the Year for 2018, and won the Hawthornden Prize for ‘imaginative literature', and Wild Thing was shortlisted for the Baillie Gifford Prize for non-fiction, longlisted for the Women's Prize for non-fiction, and won the Pol Roger Duff Cooper Prize for non-fiction. It's also fair to say that I absolutely loved them both, so I strongly recommend you go out and pick yourselves up copies. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading!Sue Prideaux's four books were:The Story of Babar The Little Elephant, Jean de Brunoff (1934)The Summer Book, Tove Jansson (1972)Cold Comfort Farm, Stella Gibbon (1932)Shelley: The Pursuit, Richard Holmes (1974)

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Jaume Segalés y su equipo hablan del Espacio Zafra Teatro, de la biblioteca eterna de recetas familiares y de la etimología de la palabra velatorio. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Biblioteca Eterna de Recetas Familiares La cultura humana se conforma acumulando, compartiendo y ampliando el conocimiento. Por eso resulta fundamental preservar todo lo útil a buen recaudo. Ese es el objetivo de la Biblioteca Eterna de Recetas Familiares, que busca recopilar los platos de toda la vida en un búnker ubicado en el Círculo Polar Ártico. Concretamente en el Arctic World Archive (AWA), un centro de conservación de datos situado en el archipiélago de Svalbard, en la isla de Spits-bergen (en Noruega), muy cerca de la célebre Bóveda Global de Semillas, en una antigua mina de carbón en la que se ha construido una gran cúpula de acero enterrada a gran profundidad. Los datos se guardan en películas fotosensibles con una durabilidad de más de 1000 años, sin necesidad de electricidad gracias a la Tecnología Piql film. Para participar sólo hay que rellenar un formulario (en la web www.foodture.world) con los nombres de la familia y del plato, y la receta, recibiendo tras ello un certificado digital. La Biblioteca Eterna de Recetas Familiares es una iniciativa de unos auténticos amantes de la cocina tradicional, el equipo del restaurante La Cuina del Port, ubicado en el Puerto de Mataró (Barcelona). Entrevistamos a su sumiller y director de sala, Sergio Fernández. Espacio Zafra Teatro Ubicada en el número 35 del madrileño Paseo del Marqués de Zafra, esta nueva sala escénica, dirigida por Juan Carlos Corazza, abrió sus puertas el 15 de febrero. Con un aforo de 120 butacas, estrena su andadura con "Cuento de invierno", una versión del texto de William Shakespeare dirigida por Corazza e interpretada por Alicia Borrachero, Laura Calvo, Rafa Castejón, Laura de la Isla, José di Ferri, Ana Gracia, Richard Holmes, Laura Ledesma, Eduardo Merelo, Pol Monen, Manuel Morón, Ben Temple y Octavio Vellón. Entrevistamos al impulsor de este ilusionante proyecto, Juan Carlos Corazza. Sección "Dicho queda": etimología de la palabra velatorio A diferencia de lo que estáis pensando, no viene de la palabra vela y su origen es distinto al significado que hoy tiene. Nos lo cuenta la divulgadora lingüística y traductora Carlota Izquierdo.

Welcome to The Bakery Bears Video Show featuring ‘My Perfect Socks'! Join us in this episode for: 1. (1 min 16 secs) “Welcome”   Talk a little bit about their end to 2024 and then get excited about the start of 2025! Watch the special edition of ‘Winter Walks' https://www.patreon.com/posts/winter-walks-1-117559658  Find the complete ‘My Favourite Blanket' series https://www.patreon.com/posts/my-favourite-1-76113593  Mention ‘War Walks' with Richard Holmes https://en.wikipedia.org/wiki/War_Walks  The 2025 cast off challenge! Comment below with your guess 2. (13 mins 24 secs) “Whats on YOUR needles” https://www.ravelry.com/discuss/the-bakery-bears/2955474/976-1000#1000  Kay was knitting :  Love Story Socks for Valenvent 2025 running 1st-14th February Kay showed a bag from https://folksy.com/shops/mooandmouse  Watch our 2024 Valenvent series https://www.patreon.com/posts/97037829  Find out how Kay identifies if a yarn will pool or not https://www.patreon.com/posts/choosing-perfect-59669261  Access the ‘Oakworth Socks' pattern and tutorials https://www.patreon.com/posts/dpn-socks-course-36772088  Kay's Crocheted Blanket  Learn to crochet with Kay https://bakerybears.com/crochet/  Watch Kays Perfectly Square, Square tutorial https://www.patreon.com/posts/tutorial-special-33005337  Watch Kays join as you go tutorial https://www.patreon.com/posts/crochet-tutorial-38779040  Skinny Scrappy Scarf  Learn to a knit a tubular scarf with Kay https://www.patreon.com/posts/tutorial-special-47991027  Dan was knitting : Albion https://www.ravelry.com/patterns/library/albion  Watch Dan's ‘Self Contained Knitter' show https://www.patreon.com/posts/happy-new-year-s-118296468  Sweetheart Cowl https://bakerybears.com/sweetheart-cowl/  Find out how Dan knits colourwork https://www.patreon.com/posts/how-dan-works-72685179  3. (47 min 13 secs) “My Perfect Socks” Episode 1 “Do You Have the Shoe Books?” Kay mentioned: Create your own scrappy sock tutorial https://www.patreon.com/posts/create-your-own-77628859  Long tail cast on tutorial https://www.patreon.com/posts/27696353  Find all Kays sock tutorials https://bakerybears.com/sock-tutorials/  We mentioned

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Episode Description In this first episode of Season 6, Some Stutter, Luh! welcomes Richard Holmes, a person who stutters and a speech-language pathologist. In this episode, Richard talks about his journey from his childhood speech therapy, to becoming a speech-language pathologist (SLP) himself. Richard reflects on how stuttering affected his self-perception, interactions, professional development, support groups, and speech therapy programs. Richard and Greg also question the word “fluency” - as known as the "f" word. Are you ready to learn more about how to “dance with a tiger”? This is Part 1 of a 2-part interview. Part 2 will air on November 5, 2024. Notes Greg and Richard explore the complexities of stuttering, including the psychological and emotional challenges that come with it. Richard shares personal experiences in therapy and his thoughts on the relationship between stuttering and self-acceptance. He stresses that most of the challenges related to stuttering are not visible or audible, but emotional and psychological. Richard believes fluency doesn't necessarily mean the absence of stuttering, but rather a smoother, more comfortable way of communicating. He appreciates the role stuttering played in shaping who he is and encourages others to live harmoniously with it, using it as a tool for self-awareness. As an SLP, Richard believes speech therapists should focus on the entire person rather than just the mechanics of speech. He advocates for a balanced approach that combines speech therapy with emotional acceptance and personal growth. - Check out Richard on YouTube: @walktalkforstutteringaware3080 - Check out Richard's TedxUW talk: Stuttering and the Art of Mountain Biking: https://youtu.be/CQrZgsPsiRA?si=IuqCgQf5q4zLBm2V - Our website: https://somestutterluh.ca/ - International Stuttering Awareness Day(ISAD) is October 22, 2024. For more information, check out their website: https://isad.live/ This video has been brought to you with help from Memorial University of Newfoundland, the Newfoundland and Labrador Stuttering Association, and a whole team of volunteers behind the scenes, without whom this video would not have been possible. We're always looking for exciting ideas and engaging guests, so if you or anyone you know has a great idea or would like to appear on the podcast, send us a message: info at somestutterluh.ca. As always, don't forget to hit the "Like" button, "Share" with people you know, and "Subscribe" so you don't miss any of our upcoming episodes. Interacting with the video in these ways helps YouTube know that you think our content is important and should be shared with people who stutter, the people who love them, and all the other allies to the stuttering community. Happy International Stuttering Awareness Day!

Let us talk recording setups with the talented Richard Holmes, creator of VOXBOX.Main TopicsThe origin story of the productWhat is the best way to use your recording spaceBad setupsAnd more…JOIN MY VO ACTORS CASTING LIST - https://forms.gle/33nc6pUoKYbUdfiS6Additional ResourcesYou can find me at www.jotroy.comMy E-BOOK https://www.jotroy.com/ebookJoin the community https://www.instagram.com/voaudioadventurepodcast/_____GUEST INFOVOXBOX - https://www.voxbox.studio/Rob Bee Review & Testimonials - https://www.voxbox.studio/testimonial--endorsements.html_____All music used in the episode by Phoenix and the Flower Girl can be found here shorturl.at/gipSZTRANSCRIPTS - https://www.jotroy.com/transcriptsListen, rate, and subscribe! Hosted on Acast. See acast.com/privacy for more information.

This week on The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Dr. Jocelyn Chadwick interview fellow of the Royal Society of Literature and the British Academy, Prof. Richard Holmes. Prof. Holmes delves into the life and literary legacy of Samuel Taylor Coleridge, one of the most significant poets of the Romantic era. Holmes offers a comprehensive overview of Coleridge’s early education, […]

This week on The Learning Curve, co-hosts U-Arkansas Prof. Albert Cheng and Dr. Jocelyn Chadwick interview fellow of the Royal Society of Literature and the British Academy, Prof. Richard Holmes. Prof. Holmes delves into the life and literary legacy of Samuel Taylor Coleridge, one of the most significant poets of the Romantic era. Holmes offers a comprehensive overview of Coleridge's early education, highlighting how classical learning deeply influenced his worldview and writings. He also touches on Coleridge's passionate anti-slavery views within the turbulent political landscape of late 18th-century Britain, providing context for his masterpiece, The Rime of the Ancient Mariner. Holmes further explores Coleridge's use of symbolism, particularly the iconic albatross and the haunting ghost ship, illustrating how these elements convey the poet's themes of guilt, nature, and human destructiveness. Prof. Holmes additionally covers Coleridge's struggles with opium addiction, reflecting on how it shaped his life and creative output. Holmes also underscores Coleridge's enduring influence on British Romantic poetry and its profound impact on the American Renaissance, encouraging educators and students to continue cherishing his timeless works. In closing, Prof. Holmes reads a passage from his two-volume biography of Samuel Taylor Coleridge.

I read a lot. It fuels my writing, gives me a better view of the world, and is a great way to travel through time and space. Every once in a while, I run across a book that really hits me as a must-read. Episode two was about Sam Kean's book, The Disappearing Spoon; Episode eleven was about The Age of Wonder, by Richard Holmes; and Episode 255 was about William Least Heat-Moon's Blue Highways. In this program, I'm going to talk about Lynda Rutledge's novel, West with Giraffes, which I finished last night. Sabine recommended this one to me; as I closed the back cover, I realized that there were tears on my face. This is one great book. But there's more to the story of this episode. The book made me think about current events in the context of past events and made me realize that we're far better off now than we were in 1938—or any year hence. Those who feel otherwise and who look to the past to find “the good old days” won't find them, because they don't exist: “The Good Old Days” is a dangerous and misleading myth. Better days only lie ahead, in our collective future, and it is our job to make them real. Please have a listen—this is an important message. Note: Image copyright San Diego Zoo Global.

In this powerful episode of the Afrocentric podcast, we sit down with Porsha B. to explore the experiences of Black first-generation college students and their navigation of predominantly white institutions (PWIs). Porsha begins by reflecting on the courageous actions of trailblazers like James Meredith, who integrated Ole Miss in 1962, and Richard Holmes, who peacefully integrated Mississippi State University in 1965. She discusses how their bravery paved the way for future generations of Black students in higher education. Drawing from her personal journey as a first-generation college student, Porsha shares the unique challenges and triumphs she faced at both private and public universities. She highlights the importance of support systems and resources that were crucial to her success, while also addressing the gaps that still exist for Black students in these spaces. Porsha then delves into the pros and cons of being a first-generation college student, emphasizing the weight of family expectations and the pressure to succeed. She offers valuable advice for future Black students preparing to embark on their college journeys, sharing strategies and mindsets that helped her overcome obstacles. The episode concludes with a powerful discussion on the legacy of slavery and its ongoing impact on Black education and advancement. Porsha reflects on how understanding this history has shaped her own educational experience and fueled her determination to succeed, carrying forward the hopes and dreams of her ancestors.

Pocos monarcas han marcado tanto una época como la reina Victoria. Esa es la razón por la que la segunda mitad del siglo XIX es conocida como era victoriana. Su reinado fue largo, de más de 60 años, y señaló el punto álgido del imperio británico, unos años que los historiadores denominan como los de la Pax Britannica, un periodo de aproximadamente un siglo, relativamente pacífico que fue de las guerras napoleónicas hasta el estallido de la primera guerra mundial. La reina Victoria contribuyó más que nadie a que esa paz fuese duradera y que viniese acompañada de prosperidad. El reinado de Alexandrina Victoria de Hanover (ese era su nombre completo) fue el de la gran industrialización en Gran Bretaña y el de la expansión sin tregua del imperio británico, que, gracias al control de todas las rutas comerciales, disfrutaba de un poder marítimo indiscutible. El Reino Unido llegó a imponer su ley sobre una cuarta parte de la superficie emergida del planeta y a influir de forma decisiva sobre las tres cuartas partes restantes. El imperio dirigido con discreción por Victoria y sus primeros ministros se las apañó para mantener cierto equilibrio en Europa y una relación más o menos pacífica con sus vecinos. En tiempos de la reina Victoria se consolidó el ferrocarril y surgió la navegación a vapor, el telégrafo, el teléfono, la fotografía y el cine. No siempre fueron los británicos los padres de esos inventos, pero se aprovecharon más que nadie de ellos y los promocionaron y mejoraron formando en sus universidades a científicos e ingenieros. La Royal Society y universidades como Oxford o Cambridge pasaron a convertirse en los centros neurálgicos de la innovación. Fueron esos avances los que impidieron que el Reino Unido cayese en la trampa maltusiana, ya que la población de Gran Bretaña aumentó de forma sostenida durante todo el siglo. Pasó de unos 13 millones de habitantes en 1830 a 32 millones al comenzar el siglo XX. En el siglo XIX no hubo epidemias ni hambrunas catastróficas lo que permitió contar con una masa laboral creciente. Ese dinamismo demográfico, posible sólo gracias a la mejora continua de las condiciones de vida, fue uno de los pilares del imperio. Los británicos no sólo eran más, sino que estaban mejor formados que nunca. En la era victoriana por primera vez en la historia la práctica totalidad de los británicos estuvieron alfabetizados. Todo tuvo lugar en el curso de un solo reinado cuyo simbolismo aún resuena más de un siglo después de haber concluido. El término victoriano ha pasado a ser sinónimo de estricto y recatado, pero también sirve para referirse a un estilo arquitectónico, a una moda y hasta a un modo de hacer las cosas determinado por altos criterios morales. Cuando Victoria murió en 1901 a los 81 años era ya conocida como la abuela de Europa porque casi todas las casas reales estaban emparentadas con ella. Su país se encontraba en la cima, pero el mundo ya era diferente. En Europa el ascenso del imperio alemán desafiaba el poderío británico mientras en la orilla opuesta del Atlántico los jóvenes Estados Unidos de América pedían paso para tomar el relevo. En El ContraSello: 0:00 Introducción 3:26 El esplendor victoriano 1:13:37 Vlad el empalador 1:17:19 La conquista musulmana de Hispania 1:24:11 La Corte portuguesa en Brasil Bibliografía: - "La reina Victoria" de Lytton Strachey - https://amzn.to/3SCSn3N - "Victoria" de Julia Baird de https://amzn.to/4drHABs - "Queen Victoria" de Richard Holmes - https://amzn.to/4dCZCkq · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #victoria #imperiobritanico Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

CONTENTThe guest today is Patrick Crowley author of "Rose Castle and Crown - Hampshire and the Isle of Wight Citizen Soldiers". On this podcast we will cover the history of the British Army's citizen soldiers going back to the raising of militias in the 16th century up to the Army Reserves of the present day. We discuss the challenge and sacrifice that all military volunteers, throughout history, have had to make balancing the needs of service with family demands and their main civilian employment. It also demonstrates that reservists continue to significantly contribute to the United Kingdom's military capabilities.Patrick is currently the chief executive of the South East Reserve Forces' and Cadets' Association, which involves promoting reserves and cadets, tri-service, in the nine counties of the South East of England, as well as helping to connect Defence with society. He has been in this appointment since retiring from the British Army in 2014. Commissioned into 1st Battalion the Queen's Regiment in 1980, he was a Major when the Princess of Wales's Royal Regiment (PWRR) was founded in 1992. He served as a rifle platoon commander, mortar officer, adjutant, company commander, second-in- command and commanding officer within the regiment, commanding the regiment's 3rd (Volunteer) Battalion. Service included many tours of Northern Ireland, a period in Baghdad and numerous staff appointments, mainly related to infantry and staff training, as well as the Territorial Army and Army Reserves. Overseas roles included postings to Gibraltar and Zimbabwe. In addition, he has run many battlefield tours, is a committee member of the Military Historical Society and a trustee on a number of military-related charities. A deputy colonel of the PWRR since 2008, Patrick lives in Hampshire.Patrick's book choice on Desert Islands Dits is anything by the historian Richard Holmes. My choice is Patrick's book "Rose Castle and Crown - Hampshire and the Isle of Wight Citizen Soldiers". Profits from the sale of Patricks book will go to the Connaught Trust which has commissioned the book. The trust is a charity that aims to promote the military efficiency of all ranks in Hampshire and the Isle Of Wight seving in the Reserves of the Army, Royal Navy, Royal Marines and their associated cadet units. WHERE TO GET OUR DESERT ISLAND DITS BOOK CHOICESMost of our book recommendations can be bought via the Unconventional Soldier Bookshop. 10% of each purchase supports the pod and helps independent book stores on line sales. "BUY ME A COFFEE"If you want to support the podcast you can buy me a coffee here.SOCIAL MEDIAInstagram @the_unconventional_soldier_pod.Facebook @lateo82. Twitter @TheUCS473.Download these and other platforms via Link Tree.Email us: unconventionalsoldier@gmail.com. This episode brought to you in association with ISARR a veteran owned company. Hosted on Acast. See acast.com/privacy for more information.

Il BEF di John French subisce una pesantissima sconfitta nel corso dello scontro di retroguardia a Le Cateau. Nel frattempo, Joffre chiede a Lanzerac e alla sua 5a armata un sacrificio enorme: attaccare frontalmente i Tedeschi fra St. Quentin e Guise per rallentarli e dare il tempo all'esercito francese di riorganizzarsi.ERRATA CORRIGE:A 3:37 ovviamente volevo dire "ingiustamente", non "giustamente".Seguimi su Instagram: @laguerragrande_podcastSe vuoi contribuire con una donazione sul conto PayPal: podcastlaguerragrande@gmail.comScritto e condotto da Andrea BassoMontaggio e audio: Andrea BassoCon la partecipazione di Valerio Bioglio e Matteo RibolliFonti dell'episodio:Battle of Landrecies, britishbattles.com Ian Beckett, Steven Corvi, Haig's Generals, 2006 Anthony Bird, Gentlemen, We Will Stand and Fight: Le Cateau 1914, The Crowood Press, 2008 J. S. Corbett, Naval Operations. History of the Great War based on Official Documents, Longmans 2009 R. A. Doughty, Pyrrhic victory: French Strategy and Operations in the Great War. Belknap Press, 2005 Richard Holmes, The Little Field Marshal: A Life of Sir John French, Weidenfeld & Nicolson, 2004 Didier Lodier, Les grandes battailes de la grand guerre. La bataille et le siège de Maubeuge: 27 août - 8 septembre 1914, Historiques de Régiments 14/18, 2004 Dan Snow, Mark Pottle, The Confusion of Command, The War Memoirs of Lieutenant General Sir Thomas D'Oyly Snow, 1914–1915, Frontline Books, 2011 John Terraine, Mons, The Retreat to Victory, Wordsworth Military Library, 1960 Barbara Tuchman, The Guns of August, 1962 Terence Zuber, The Mons Myth, The History Press. 2010In copertina: "Goodbye, Old Man" (Addio, vecchio mio), illustrazione di Fortunino Matania, 1916. L'illustrazione rappresenta un artigliere britannico che da un ultimo saluto al suo cavallo morente, sotto il fuoco nemico, durante la ritirata seguita alla battaglia di Le Cateau. Un compagno sullo sfondo lo richiama, mentre il treno d'artiglieria è pronto a partire. Si tratta di una delle illustrazioni più note di Matania, artista napoletano, famoso per moltissime scene ambientate durante la Grande Guerra.

Welcome to the 'Bakery Bears Radio Show' Episode 108 We are back with a brand new episode of our Radio Show. In the last few weeks we have seen a number of comparative programs about D-Day. Unexpectedly these shows have had a profound impact on us both. In today's show we talk about how all this came about. Join Kay & Dan as they: Welcome you to a warm spring walk & discuss Dan's new collared polo shirt Talk about how Kay became interested in WW2 history. Kay mentioned the book https://www.goodreads.com/book/show/60471.Coming_Home Discuss how they engaged with the recent D-Day anniversary programs broadcast on the BBC Talk about watching some of the footage taken on D-Day and how it made them feel Discuss how history is taught and how things need to change Dan mentioned ‘We Have Ways of Making you Talk' podcast https://www.goalhangerpodcasts.com/we-have-ways-of-making-you-talk Talk about the ‘Band of Brothers' TV show https://en.wikipedia.org/wiki/Band_of_Brothers_(miniseries) Dan mentioned War Walks with Richard Holmes https://en.wikipedia.org/wiki/War_Walks We'll see you soon with our next Radio Show! You can find past episodes of the Radio Show here: On Podbean : https://bakerybearsradioshow.podbean.com On Apple Podcasts : https://podcasts.apple.com/gb/podcast/the-bakery-bears-radio-show/id1474815454 Follow the Bakery Bears on Facebook https://www.facebook.com/bakerybears/

Richard Holmes, the founder of Global Anthem, shares his journey of creating a new communication system for people where language is a barrier to understanding. He describes the challenges, experiences, and impact of his work with refugees and the development of a non-verbal communication system. Richard, Toni, and Lesley discuss the importance of human connection and the need for support in Richard's mission to make a difference.   KEY TAKEAWAYS Global Anthem aims to create a universal communication system using body gestures and hand movements to help refugees and asylum seekers overcome language barriers. This system facilitates basic communication and understanding in crisis situations, allowing individuals to express their needs and interact effectively, regardless of language differences. Richard plans to spread his new communication system via initiatives and partnerships. He developed a teaching pack and playing cards with gestures and phrases in multiple languages, distributed through charities, aid agencies, and directly to refugees. Partnering with UNICEF and UNHCR, he aims to reach those fleeing conflict zones. Richard Holmes faced challenges working with refugees, including language barriers, limited education, and diverse cultural backgrounds. He struggled with bureaucratic obstacles, lack of support networks, and harsh treatment by some organisations. He has also dealt with his own mental health issues, including PTSD, while remaining committed to advocating for refugees' rights and well-being.   BEST MOMENTS "I've decided to create a completely new communication system for people where language is a barrier to understanding." "What a privilege it is to be able to read, write, understand English, to have had an education, to have the ability to be treated with equality and not prejudged." "I'm not a businessman. I'm not an accountant. I'm in your face, front lines. I will sit in the mud with people. And that's my skill."   EPISODE RESOURCES Global-Anthem Instagram Richard Holmes - Mentor - Ingenuity Impact | LinkedIn   ABOUT THE GUEST Richard Holmes, a film industry model maker turned refugee advocate, founded Global Anthem after aiding Ukrainian refugees. His journey, fueled by a desire to help, led him to realise the need for a universal communication system. Motivated by dignity and integration, he empowers refugees through communication.   HOST BIOS Toni C. Eastwood OBE, MBA, (Business Transformation Coach and Facilitator) Award-winning entrepreneur, who knows exactly what it's like to start and scale NFP Business, raising multi-millions in funding. She has served as a non-executive board member and Chair of several charities and NFP organisations. With 30 years'   experience in SME, Business startup and growth, as Director of a FTSE 30 Company, starting and growing two businesses over the last 12yrs. Toni knows what it's like to leave the familiar behind, to personally risk  everything to follow your passion for service and importantly to handle the inevitable obstacles along the way.   Lesley Craven MA – Programme Director – (Business Transformation Coach and Facilitator) Lesley has spent 30+ years leading public and social sector delivery, and as a CEO of numerous NFP organisations. She is an accomplished bid writer, facilitator, and business coach leading our delivery to 1000s of Small Business Owners and Leaders over the last 4 years.   ABOUT THE PODCAST   The Women On Purpose Podcast is where we keep it real, have fun, an authentic and entertaining platform for individuals seeking personal growth, purpose-driven living, and the full range of emotions that make life an adventure.  We share some laughter, and yes, there might even be a few tears along the way. We want the conversation to flow and will be chatting with our guests learning more about their successes, challenges, and how they have navigated these sharing the tools and techniques they may have used alongside us sharing our tips and techniques from our ASPIRE Model.

In the Mood di lunedì 5 febbraio 2024:Elsa Morante raccontata da Dacia Maraini, Aristotele secondo John Sellars, raccontato da Mario Bonazzi, dal Corriere della Sera e dalla Lettura, l'inserto settimanale del Corriere;Ugo Nespolo e Camillo Longoni sullo stato dell'arte (italiana), e il premio Eccellenti Pittori - Brazzale, sulla Domenica del Sole 24 oreGregorio Botta firma l'articolo su Felice Casorati l'antifuturista, sulla Domenica del Sole 24 Ore; le mostre su Casorati sono "Una pittura che nasce dall'interno", Aosta, Museo Archeologico Regionale, fino al 7 aprile e "Da Casorati a Sironi ai nuovi futuristi" a Torino, Museo Accorsi-Ometto, fino all'11 febbraio"Il favoloso romanzo della scienza", Viola Papetti su Alias Domenica- Il Manifesto, in presentazione del libro di Richard Holmes, L'età della meraviglia, Orville Press, 28,50 euro (Kindle su Amazon 12,99 euro)Fabio Isman dal Messaggero su Innocenzo VIII e la sconosciuta relazione con Cristoforo ColomboDa Macro, sezione del Messaggero, Marina Valensise su "Nudge, la spinta gentile" di Richard Thaler e Cass Sunsten, Feltrinelli, 13 euro - nudge e sludge per un'igiene della comunicazione.

On this week's episode we are captivated by one our personal favorite albums Groovin' With Jug by Richard "Groove" Holmes and Gene "Jug" Ammons. This live recording brings so much energy and is heavy-swingin'. Our overall combined rating for the album is 9.3/10, make sure to take a listen to our thoughts and how we came up with that score! Check out Max and Dwain playing the tune Morris The Minor from the album live: Morris The Minor YouTube Link Feel free to reach out to us with any listener questions or album recommendations at thejazzjampodcast@gmail.com  Website: Click here! Instagram: @thejazzjampodcast Spotify Playlist: Top 3 Playlist This episode may contain copyrighted material, the use of which may not have been authorized by the copyright owner. The material contained in this podcast is distributed without profit for research and educational purposes. This should constitute a 'fair use' of any copyrighted material (referenced and provided for in section 107 of the US Copyright Law).

At the police conference, officers appealed for information about the death of 21 year old Richard Holmes. They told how Richard was shot and killed in Greenham Crescent in the Chingford Hall estate as he defended a 16-year-old boy against a group of men. He was found dead in the early hours of the morning. Three witnesses came forward with information, and all pointed to a rising star in the UK grime music scene being responsible - Carl Dobson, better know as Crazy Titch.... Please support my sponsor: AG1 Try AG1 and get a FREE 1-year supply of Vitamin D AND 5 Free AG1 Travel Packs with your first purchase.  Go to: drinkAG1.com/uktruecrime Find out more about the UK True Crime Podcast: https://uktruecrime.com Join me at Patreon: https://www.patreon.com/UKTrueCrime Buy my book 'Gone Fishing' about serial killer Angus Sinclair: https://www.amazon.co.uk/Gone-Fishing-Unsolved-Crimes-Sinclair/dp/1914277201 Sources https://www.casemine.com/judgement/uk/5b46f21c2c94e0775e7f266b https://www.guardian-series.co.uk/news/649778.senseless-waste-young-life/ https://www.guardian-series.co.uk/news/3628043.chingford-guns-used-kill-rapper-converted-factory/ https://www.vice.com/en/article/yvn9g7/london-crazy-titch https://en.wikipedia.org/wiki/Chingford https://www.nme.com/news/music/crazy-titch-1317072 www.justice4titch.com   https://www.theguardian.com/uk/2006/nov/03/ukguns.musicnews https://dmy.co/news/a-new-interview-with-crazy-titch-has-emerged

Hiya! Have you ever been bullied and wished for your tormentors to be captured by a swampy man-monster who wants nothing but to end their lives for you? If so then you're in luck because in this episode we discuss a movie called Piggy that is about just that!  It stars Laura Galán as Sara who is too cool for words, Richard Holmes, Carmen Machi, and Irene Ferreiro. Wanna know what we think of this movie? Listen to the end to find out! Follow us on Instagram @meangirlsinterrupted for info on upcoming shows Watch Us: Mean Girls, Interrupted on Youtube Email Us: meangirlsinterrupted@gmail.com Visit: meangirlsinterrupted.com for all this stuff in one place!  

Follow Vox Box: https://www.voxbox.studio/Follow LOVE AND LATTES PODCAST: https://www.loveandlattespodcast.comhttps://www.amazon.com/shop/loveandlattespodcasthttps://www.facebook.com/loveandlattespodcast https://twitter.com/loveandlatteshttps://www.instagram.com/loveandlattespodcast https://www.youtube.com/@loveandlattespodcast 

Screenwriter Stuart Wright talks to RICHARD HOLMES, film producer (EDEN LAKE, WAKING NED) and inventor about his latest creation: VOX BOX sound booth - Foldable, Portable, Storable, Durable, Affordable and "3 Films That Have Impacted Everything In Your Adult Life"THE LAST WALTZ (1978)ACE VENTURA: PET DETECTIVE (1994)THE PRODUCERS (1967)For more information www.voxbox.studio Social media handles = @voxboxportableKickstarter = https://bit.ly/voxboxkickstarter "3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."3 FILMS THAT IMPACTED EVERYTHING IN YOUR ADULT LIFE is about those films that made you fall in love with film. The guest selects their trio of movies and we talk for 5 minutes, against the clock. When the ALARM goes off for five minutes we move onto the next film.Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/Podcast for www.britflicks.com https://www.britflicks.com/britflicks-podcast/Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It wouldn't be the first time a whistleblower has stunned the US Congress with an extraordinary revelation, but last week's hearings were truly stranger than fiction.Not one but three military witnesses testified about their experiences of UFOs, otherwise known as UAPs (unidentified aerial phenomena).In this week's episode of The i Podcast we're joined by science writer, Stuart Ritchie, and senior reporter, Richard Holmes, as we explore the line between fact and fiction in these extraordinary testimonies.Former intelligence official David Grusch told Republican Representative Nancy Mace the federal government held the "non-human" biological remains of the pilots of a crashed craft and the allegations didn't end there.Mr Grusch said he is now in fear for his life for speaking openly about the discoveries, claiming the Pentagon has a secretive multi-decade programme to collect and piece together crashed UAPs.The Pentagon, meanwhile, disputes claims of a cover-up, having released footage of US Navy pilots chasing disc-like objects whizzing through the sky for the public to see in 2020.But Congress members from both sides of the aisle are now demanding more transparency to answer a long-standing question – are UFOs real? Listen back to the Covid Lab leak episode here: https://pod.link/1655186150/episode/da7369c27224520df0408adde7d63170Music featured is by Michael Kobrin and Lexin Music - licensed via Pixabay.Check out their music here:https://pixabay.com/music/modern-classical-the-introvert-michael-kobrin-10959/https://pixabay.com/users/lexin_music-28841948/ Hosted on Acast. See acast.com/privacy for more information.

Funky session bass player talks about grooving with Richard Holmes and Ramon Morris.

A new MP3 sermon from Christ Reformed Presbyterian Church-PCA is now available on SermonAudio with the following details: Title: Jesus on the Future Subtitle: Book of Mark Speaker: Richard Holmes Broadcaster: Christ Reformed Presbyterian Church-PCA Event: Sunday - AM Date: 7/23/2023 Bible: Mark 13 Length: 31 min.

Biologist and author Merlin Sheldrake (of 'Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures') is joined by the science journalist Jo Marchant (of 'Human Cosmos' and 'Cure') and presenter Harriett Gilbert. Merlin picks 'The Age of Wonder' by Richard Holmes, a biographical portrait of scientific innovators in the late 18th century. In this historical book. Holmes explores the scientific ferment that swept across Britain, and how it became an age of great discovery. Jo's choice, 'You Are Not a Gadget: A Manifesto', is by computer scientist and virtual reality pioneer Jaron Lanier. In this prescient book from 2010, Jaron delves into the digital world, examining what went wrong in its development, and how we might fix these problems. And Harriett recommends the classic, magical children's novel, 'The Sword In The Stone' by T. H. White, which she argues merits re-reading as an adult. Produced by Eliza Lomas for BBC Audio, Bristol. Comment on Instagram @agoodreadbbc

For many, spying conjures images of anoraked men, secret meetings and briefcases furtively exchanged on park benches. But how does the reality in 21st century Britain compare?In this week's episode of The i Podcast, host Molly Blackall is joined by senior reporter Richard Holmes to take a look at the threats the UK's faces from hostile intelligence services - and why one looms large in the mind of many senior spooks. Russia's invasion of Ukraine has seen it cast of out the structures of global co-operation. It's now depending ever more on intelligence to get what it wants.To help us uncover how this takes place, we are joined by Christopher Steele, former MI6 officer, who authored the controversial Steele Dossier about Donald Trump's alleged links to the Russian state. He helps us uncover what actions Russia is undertaking and why - and how the Chinese threat stacks up.Read more i reporting on the new frontier of spying here: https://inews.co.uk/topic/spyingIf you'd like to read more of Richard's reporting you can find that here: https://inews.co.uk/author/richard-holmesProduced by Julia Webster. The executive producer is Albert Evans and the assistant producer is Phoebe Fleming.Music featured is by Michael Kobrin and Lexin Music - licensed via Pixabay.Check out their music here:https://pixabay.com/music/modern-classical-the-introvert-michael-kobrin-10959/https://pixabay.com/users/lexin_music-28841948/ Hosted on Acast. See acast.com/privacy for more information.

Written & Directed by Carlota PeredaStars Laura Galan, Richard Holmes, and Carmen MachiRated NRRuntime: 1hr 39mins Released October 7, 2022RT: 92% critics, 57% audience Available on Hulu and AMC+ Synopsis An overweight bullied teen girl finds sympathy from an unexpected source and soon finds herself at the center of a town mystery. Join us next time when we'll be watching and reviewing Scream 6, currently in theaters.Theme music: "Secret of Tiki Island" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

The Grue-Crew review PIGGY (2022, HULU) on Gruesome Magazine episode 407. Jeff Mohr from Decades of Horror: The Classic Era, Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s, award-winning filmmaker Christopher G. Moore, lead news writer Dave Dreher, and Doc Rotten share their thoughts about this week's frightening addition to streaming horror films. Warning: possible spoilers after the initial impressions! PIGGY (2022, HULU) An overweight teen is bullied by a clique of cool girls poolside while holidaying in her village. The long walk home will change the rest of her life. Available Streaming on HULU Beginning February 9, 2023 Directed by: Carlota Pereda Written by: Carlota Pereda Stars: Laura Galán, Richard Holmes, Carmen Machi FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors

Damien Gear and Richard Holmes from The Trussell Trust and St Paul's Centre Food Bank talk to PJ about how they managed Christmas 2022 Over the busy Christmas period at the end of 2022, the unprecedented pressure on families and individuals was eased by hundreds of donations from the community and local supermarkets.

Para Sara, el verano solo significa tener que soportar las continuas burlas de las otras chicas. Pero todo terminará cuando un desconocido llegue al pueblo y secuestre a sus acosadoras. Sara sabe más de lo que dice y tendrá que decidir entre hablar y salvar a las chicas o no decir nada para proteger al extraño hombre que la ha salvado. CERDITA es la expansión del cortometraje del mismo nombre dirigido y escrito por Carlota Pereda. Fue una de las sensaciones del pasado Festival de Sundance y el Festival de Sitges 2022. El título se encuentra protagonizado por Laura Galán, Richard Holmes, Carmen Machi y Claudia Salas. PLANETA TERROR es un podcast semanal en español dedicado al cine de horror/slasher/gore. Reseñas, noticias, rankings y discusión general desde el punto de vista de alguien cuyo “goal” en la vida es mudarse a Woodsboro, vivir en Elm Street y asistir al Campamento Crystal Lake. Apple Podcast https://podcasts.apple.com/ca/podcast/planeta-terror-podcast/id1539867451 Instagram https://www.instagram.com/planetaterrorpod/ Twitter https://mobile.twitter.com/planetaterrorpd

A new MP3 sermon from Christ Reformed Presbyterian Church-PCA is now available on SermonAudio with the following details: Title: A Life Well Lived in Hardship and Adversity Subtitle: Acts Speaker: Richard Holmes Broadcaster: Christ Reformed Presbyterian Church-PCA Event: Sunday - AM Date: 7/21/2022 Bible: Acts 22:30 Length: 33 min.

Westpac's BT is modernising its Panorama financial planning platform by migrating it to run in the cloud, which should also make the platform easier to separate from the group if it is divested as planned.In this week's episode of the iTnews podcast, Richard Holmes, CIO of Westpac's specialist business division - the division set up to divest non-core banking assets - discusses the challenges of ring-fencing large IT assets and unwinding tight system integrations to prepare those assets for life outside of the Westpac Group.

In Episode 25, Stevie Bailey, Professional Boxing Coach, talks about his upcoming fight coaching Josh Wagner (10-0-0) vs. Richard Holmes (18-12-0) Saturday, May 28 at the CAA Centre in Brampton, Ontario. We talk about the first time he met Ryan Rozicki, the controversy surrounding his recent WBC World Title Eliminator bout against Yamil Alberto Peralta and the immediate rematch that has been ordered, the connections between Cape Breton and Ireland, how Stevie has studied the Irish Language and Geography in Post Secondary and we try to make connections between the history of Ireland and it's great fighters. Stevie Bailey INSTAGRAM: https://instagram.com/steviebailey89?igshid=NDBlY2NjN2I= TNT Boxing and Fitness Acadaemy INSTAGRAM: https://instagram.com/tntboxingacademy?igshid=NDBlY2NjN2I= WEBSITE: http://tntboxingacademy.com/ #boxing #podcast #boxingpodcast --- Send in a voice message: https://anchor.fm/goodpeoplebadintentions/message

HMS PINAFORE; OR, THE LASS WHO LOVED A SAILOR COMPOSER: Arthur Sullivan LYRICIST: W.S. Gilbert BOOK: W.S. Gilbert DIRECTOR: W.S. Gilbert CHOREOGRAPHER: John D'Auban PRINCIPLE CAST: Blanche Roosevelt (Josephine), J.H. Ryley (Sir Joseph), Hugh Talbert (Ralph Rackstraw) OPENING DATE: December 1st, 1879 CLOSING DATE: December 27th, 1879 PERFORMANCES: 28 SYNOPSIS: Josephine, the daughter of a British Naval Captain, has become the object of two men's desires: Ralph, a lowly Sailor, and Sir Joseph, the First Lord of Admiralty. Trapped between society's expectations and her own heart's desires, Josephine must make a decision on whom to marry. Rupert and Richard Holmes detail the unparalleled significance on musical theatre history by Gilbert and Sullivan's second major collaboration, H.M.S. Pinafore, which established the popularity of witty patter songs and laid a framework for love stories told through operetta. The simplicity of the narrative and clarity of the stock characters has made the show a success which has delighted audiences through the ages. Upon its American premiere, H.M.S. Pinafore was an immediate success, launching a new standard for musical entertainment which would redefine what musical theatre could accomplish. Gilbert and Sullivan's joint and individual oeuvres are detailed through an analysis of their longstanding global popularity. Richard Holmes- A fixture of the New York Gilbert and Sullivan Players for forty years, he recently performed H.M.S. Pinafore's Captain Corcoran for the 215th time, and has earned kudos in 31 principal roles in all 13 Savoy operas across the United States and England. He made his stage debut in the Metropolitan Opera Childrens' Chorus and his extraordinary half-century career at the Met was recently highlighted in the acclaimed film The Opera House. He has additionally played 160 major roles at such venues as Glimmerglass Opera, Chicago Opera Theater, Virginia Opera, countless others, and soloed at major festivals across Europe and Russia. Rupert Holmes- the first person in Broadway history to solely win Tony® awards as author, composer and lyricist of a musical—The Mystery of Edwin Drood—which also won the Tony® for Best Musical. Add identical Drama Desk awards plus their additional category of Best Orchestration. He received the Best Book Drama Desk award for Curtains and Tony® noms for Book and Add'l Lyrics. For Say Goodnight, Gracie he received a Tony® Best Play nom and won LORT's National Broadway Theatre award. Twice a recipient of MWA's “Edgar” Award, his novels are Where the Truth Lies, Swing and The McMaster's Guide to Homicide. TV: Creator-writer of AMC's Remember WENN. SOURCES HMS Pinafore by WS Gilbert and Arthur Sullivan, published by Dover Publications (2002) HMS Pinafore, The D'Oyle Carte Company & Isidore Godfrey, Decca Records (1959) Ayre, Leslie. The Gilbert & Sullivan Companion. London: Papermac, 1985. Gilbert and Sullivan: HMS Pinafore starring Frankie Howerd and Peter Marshall, directed by Rodney Greenberg. Acord Media (1982)   The Topsy Turvy World of Gilbert and Sullivan by Keith Dockray and Alan Sutton, published by Fonthell Media (2020) Learn more about your ad choices. Visit megaphone.fm/adchoices

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Viña and Ben Charles Producer: Ben Charles Guest: Shannon Wood https://www.malletshop.com Watch here  Listen below  0:00 Introduction and welcome 1:17 Today in history: Birthday of Billie Holiday, Mongo Santamaria, Spencer Dryden; Beethoven's Third Symphony premieres 3:59 Beethoven or Nay-toven game 8:25 Welcome Shannon Wood! 9:01 The start of malletshop.com 12:21 Why vintage instruments over new instruments? 15:25 The Gigster 25:24 Unusual instruments that have come through Mallet Shop 32:41 Pricing of vintage instruments 36:09 Richard Holmes's legacy as the St. Louis Symphony Orchestra timpanist 40:03 Timpani concerti: Michael Daugherty's Raise the Roof and William Kraft's Timpani Concerto No. 2 49:45 Dealing with the Florida Philharmonic dissolving 58:40 Lessons learned via musical stepping stones

País España Dirección Daniel Calparsoro Guion Jorge Guerricaechevarría Fotografía Josu Inchaustegui Reparto Miguel Herrán, Carolina Yuste, Luis Tosar, Asia Ortega, Patricia Vico, Fernando Cayo, Richard Holmes, César Mateo, Marina Campos, Dollar Selmouni, Lucio Romero, Jaime García Machín Sinopsis El día que Ángel habló con Estrella en aquella discoteca, su vida cambió para siempre. Tras una pelea con Poli, el posesivo novio de la chica, éste le anima a unirse a su banda de atracadores de Madrid. Ángel comienza a escalar rápidamente en una pirámide de atracos, dinero negro, negocios turbios y abogados corruptos que le llevarán a ser acorralado por Duque, un incansable detective. Desoyendo los consejos de su gente, Ángel se convierte en el protegido de Rogelio, uno de los tipos que controla el mercado negro de la ciudad. Con éste y Sole, hija del capo, Ángel descubrirá que el precio del poder es alto y que pronto tendrá que decidir entre su futuro como atracador y el amor de su vida, Estrella. Un viaje que empezó en el más sucio de los suburbios y que tiene como principal objetivo lo más alto: el cielo.

Cathy Bramley explores the regenerative power of friendship and laughter in her new novel 'The Summer that Changed Us'. RNIB Publishing Relationships Manager Richard Holmes opens his Library to share some of the books that he has been enjoying. The Former Director of the British Museum reveals the inspiration behind A History of the World in 100 Objects. And we return to Cathy Bramley for the Books of Your Life.

Hermione Lee was President of Wolfson College from 2008 to 2017 and is Emeritus Professor of English Literature in the English Faculty at Oxford University. She is a biographer and critic whose work includes biographies of Virginia Woolf (1996), Edith Wharton (2006) and Penelope Fitzgerald (2013, winner of the 2014 James Tait Black Prize for Biography and one of the New York Times best 10 books of 2014). She has also written books on Elizabeth Bowen, Philip Roth and Willa Cather, and a collection of essays on life-writing, Body Parts. In 2003 she was made a CBE and in 2013 she was made a Dame for services to literary scholarship.   We met via Zoom to talk about the what, how and why of biography, and the role of the biographer. During our conversation I reference a book that Hermione wrote in 2009 called Biography: A Very Short Introduction. Topics covered include the practice of autopsy and portraiture; truth and fiction; empathy; conversation; selection and shaping; gossip, privacy and intrusion; the multiplicity of selves and identities; 'definitive' lives; vivid details; anecdotes; obsessional commitment, and detachment; Freud and psychoanalysis; unknowns and gaps; objectivity; Richard Holmes's memoir Footsteps; and Virginia Woolf. 

Michele Grieshaber is a CMO Advisor to various groups as an independent business and marketing consultant. She has an impressive background working with IBM in executive marketing roles for almost 20 years and later on transitioning to smaller organizations where she held the CMO role for companies like Silicon Labs. In this episode, Michele talks about how to create culture and community in an organization, as well as the harmony between customer-centricity and being product-led.   Key Takeaways: [3:45] Getting into consulting, Michele shares how she learned to manage her time and set her boundaries so she would not overcommit herself. [7:50] How does Michele determine the time to dedicate across the diversity of interests and commitments she has? [9:25] Michele also shares her journey from having a Ph.D. in Mechanical Engineering to becoming a CMO. [11:45] Working with huge organizations, Michele shares that company culture determines whether a company can thrive just as much as the service or technology that it offers. [13:55] There are two things that companies have that create the best cultures. Michele shares her own experience with these. [15:00] A sense of community is all about trust and shared purpose. [16:25] What made Michele shift from being a consultant to in-house? [19:50] Michele shares some of her experiences being a consultant and the different strategies she advised the companies she has worked with. [23:20] With an organizational culture issue, do you change your strategy to match the people or do you change the people to match your strategy? [25:40] Being a guest lecturer at the McCombs School of Business at the University of Texas, Michele shares what schools are now doing to prepare students for a career in B2B marketing. [27:25] Besides understanding how to set up and analyze campaigns, students need to also understand more about the technology that is being used today. [29:30] Can these types of skills be taught or will they only learn along the way? Michele shares her insights on this. [30:55] Michele also shares her experience with IBM traveling to Vietnam, as part of their corporate service corps. What did she learn through this experience? [33:15] Everyone has a different set of skills and tools but that diversity also brings a different level of excellence when your team comes together. [34:55] How can smaller organizations also apply corporate social responsibility and create an impact? Michele shares an example with one of the companies she worked with in Texas. [39:15] How do marketers take a stand in the brands they represent? [42:00] Michele shares her insights on the following topics: artificial intelligence in marketing, talent mobility, and product-led. [49:15] Being a science geek, Michele recommends reading The Age of Wonder, by Richard Holmes and Where Good Ideas Come From, by Steven Johnson and shares why she finds them fascinating. [51:40] Michele also talks about green building, sharing her experience in renovating their house in Austin, making it more sustainable. [55:20] Michele and “This or That” with her range of interests and diversity, which would she pick one over the other?   Mentioned in This Episode: The Age of Wonder: The Romantic Generation and the Discovery of the Beauty and Terror of Science, by Richard Holmes Where Good Ideas Come From: The Natural History of Innovation, by Steven Johnson Michele on LinkedIn  

Portland garbage and recycling haulers have been dealing with a shortage of drivers, even before the pandemic. Now, a new program aims to recruit and train women and people of color for these jobs, with the hopes of both filling vacancies and diversifying the workforce. We hear from Richard Holmes, a newly hired Portland Disposal and Recycling, who was in the first cohort to complete the program, and Patrick Gihring, chief program officer at Worksystems, who helped design the curriculum.

Well that's a wrap on the NHL season, but don't worry the off-season is going to be a good one! Brandon Piller and Ross Levitan open up the offseason with some talk about buy out options around the league. We have a very special SensCentral Citizen today, all the way from across the pond! It's Richard Holmes (@uksenator1971), he has been to over 60 Ottawa Senators games and has visited every single NHL city! Hear about how he got his passion for the game and about some of his travels! Our Draft Rankings continue with #39: William Strogrem, #38: Scott Morrow, #37: Daniil Chayka and #36: Ayrton Martino. Support us by supporting our sponsors.Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our guest on Pod #010 is Chris Lincoln-Jones.  Chris was the Battery Commander of the then 73 (Sphinx) Special OP Battery when it deployed on Operation GRANBY, better known as the first Gulf war.  He describes the deployment of the unit, the training in theatre and its role as part of Divisional recce attached to 16/5 Lancers during the 100 hour ground war.  Chris also covers his time in 3 Commando Brigade in 148 (Meiktila) Battery, a specialist Naval Gunfire Support Forward Observation unit within 29 Commando Regiment Royal Artillery. We finish with Chris's book choice on Desert Island dits Firing Line by Richard Holmes.  His film choice is Eye In The Sky.  The teams book choices this episode are If I Die In A Combat Zone  by Tim OBrien and Memoirs Of An Infantry Officer by Siegfried Sassoon. Find out about the current serving unit at STA Patrols Special Observer. Follow us on Instagram "the_unconventional_soldier_pod" and Facebook "The Unconventional Soldier Pod" (search for @lateo82). We are also available to download on iTunes, Spotify, Youtube and Google podcasts. Email us: unconventionalsoldier@gmail.com This episode brought to you in association with ISARR a veteran owned company.

  Before the airplane was invented, ballooning was all the rage, and many people thought this was the future of air travel. Cultural historian Richard Holmes describes the remarkable history of the hot air balloon.

Rana Mitter talks to Susannah Clapp with the first review of the National Theatre's production of 'Othello', starring Adrian Lester as the Moor. According to David Boyle's new book, 'Broke', something is killing off the middle classes and to discuss this are Selina Todd and Mark Littlewood. The literary biographer Richard Holmes has taken to the air in his latest book - a history of ballooning and its pioneers. And, as "Who's the Pest?" brings a season of insect inspired events to the Wellcome Collection in London, Rana is joined by Mark Moffett, and Erica McAlister to discuss the hidden virtues of insects.

Anne McElvoy asks Director David Cronenberg if he sees himself as a political commentator, or are his films all about the spectacle? Lord Robert Winston criticised the Cultural Olympiad for the lack of science in the four-year celebration. Anne McElvoy is joined by Lord Winston and the historian of science Richard Holmes to discuss the relationship between science and the arts. This week marks the 30th anniversary of the end of the Falklands war, and Anne McElvoy talks to authors Carlos Gamerro. His novel “The Islandsâ€*, recently translated in English, gives a surreal account of the war and explores its impact on the Argentinian psyche. And artist Rachel Whiteread's first permanent public commission in this country - a new façade for the Whitechapel Gallery in London. Anne is joined by the art critic for The Times, Rachel Campbell-Johnston.