Podcasts about tristram shandy

The panel approaches the moment of Tristram's birth beginning with the author's preface (in book 3), followed by a definition of 'nose', and a series of mix-ups involving the words 'mortar' and 'bridge' with dire implications for the unhappy newborn.Continue reading

The panel concludes the second book and, in a series of retrograde manoeuvres, progresses through the third book until Dr. Slop is able to receive delivery of his forceps, free them from their knotted bag, and demonstrate their usage on Uncle Toby.Continue reading

Back in 2019, John spoke with the celebrated comic novelist Stephen McCauley. Nobody knows more about the comic novel than Steve--his latest is You Only Call When You're in Trouble, but John still holds a candle for his 1987 debut, Object of My Affection, made into a charming Jennifer Aniston Paul Rudd movie. And there is no comic novelist Steve loves better than Barbara Pym, a mid-century British comic genius who found herself forgotten and unpublishable in middle age, only to roar back into print in her sixties with A Quartet in Autumn. Steve and John's friendship over the years has been sealed by the favorite Pym lines they text back and forth to one another, so they are particularly keen to investigate why her career went in this way. In the episode, they talk about some of these favorite sentences from Pym, and then turn to the comic novel as a genre. They talk about the difference between humorous and comic writing, the earthiness of comedy, whether comic novels should have happy or sad endings, and whether the comic novel is a precursor to, or an amoral relief from, the sitcom. They also discuss some of Steve's fiction, including his Rain Mitchell yoga novels. In Recallable Books John recommends Pictures from an Institution by Randall Jarrell and Steve recommends After Claude by Iris Owens. Discussed in this episode: The Life and Opinions of Tristram Shandy, Gentleman, Laurence Sterne Vanity Fair, William Makepeace Thackeray Jane Eyre, Charlotte Bronte The Adventures of Huckleberry Finn, Mark Twain Jude the Obscure, Thomas Hardy “The Beast in the Jungle,” Henry James The Thurber Carnival, James Thurber The Group, Mary McCarthy After Claude, Iris Owens Pictures from an Institution, Randall Jarrell An Unsuitable Attachment, Barbara Pym Less than Angels, Barbara Pym The Sweet Dove Died, Barbara Pym Portnoy's Complaint, Philip Roth The Sellout, Paul Beatty My Ex-Life, Stephen McCauley You can listen here or read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

The panel discusses book II, chapters 6–17 and Sterne's use of metanarrative focus on the correct art of oratory, the use of puns and textual elisions, the need to fill in details or leave them to readerly imagination, and the use of real-world sermons.Continue reading

Back in 2019, John spoke with the celebrated comic novelist Stephen McCauley. Nobody knows more about the comic novel than Steve--his latest is You Only Call When You're in Trouble, but John still holds a candle for his 1987 debut, Object of My Affection, made into a charming Jennifer Aniston Paul Rudd movie. And there is no comic novelist Steve loves better than Barbara Pym, a mid-century British comic genius who found herself forgotten and unpublishable in middle age, only to roar back into print in her sixties with A Quartet in Autumn. Steve and John's friendship over the years has been sealed by the favorite Pym lines they text back and forth to one another, so they are particularly keen to investigate why her career went in this way. In the episode, they talk about some of these favorite sentences from Pym, and then turn to the comic novel as a genre. They talk about the difference between humorous and comic writing, the earthiness of comedy, whether comic novels should have happy or sad endings, and whether the comic novel is a precursor to, or an amoral relief from, the sitcom. They also discuss some of Steve's fiction, including his Rain Mitchell yoga novels. In Recallable Books John recommends Pictures from an Institution by Randall Jarrell and Steve recommends After Claude by Iris Owens. Discussed in this episode: The Life and Opinions of Tristram Shandy, Gentleman, Laurence Sterne Vanity Fair, William Makepeace Thackeray Jane Eyre, Charlotte Bronte The Adventures of Huckleberry Finn, Mark Twain Jude the Obscure, Thomas Hardy “The Beast in the Jungle,” Henry James The Thurber Carnival, James Thurber The Group, Mary McCarthy After Claude, Iris Owens Pictures from an Institution, Randall Jarrell An Unsuitable Attachment, Barbara Pym Less than Angels, Barbara Pym The Sweet Dove Died, Barbara Pym Portnoy's Complaint, Philip Roth The Sellout, Paul Beatty My Ex-Life, Stephen McCauley You can listen here or read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Back in 2019, John spoke with the celebrated comic novelist Stephen McCauley. Nobody knows more about the comic novel than Steve--his latest is You Only Call When You're in Trouble, but John still holds a candle for his 1987 debut, Object of My Affection, made into a charming Jennifer Aniston Paul Rudd movie. And there is no comic novelist Steve loves better than Barbara Pym, a mid-century British comic genius who found herself forgotten and unpublishable in middle age, only to roar back into print in her sixties with A Quartet in Autumn. Steve and John's friendship over the years has been sealed by the favorite Pym lines they text back and forth to one another, so they are particularly keen to investigate why her career went in this way. In the episode, they talk about some of these favorite sentences from Pym, and then turn to the comic novel as a genre. They talk about the difference between humorous and comic writing, the earthiness of comedy, whether comic novels should have happy or sad endings, and whether the comic novel is a precursor to, or an amoral relief from, the sitcom. They also discuss some of Steve's fiction, including his Rain Mitchell yoga novels. In Recallable Books John recommends Pictures from an Institution by Randall Jarrell and Steve recommends After Claude by Iris Owens. Discussed in this episode: The Life and Opinions of Tristram Shandy, Gentleman, Laurence Sterne Vanity Fair, William Makepeace Thackeray Jane Eyre, Charlotte Bronte The Adventures of Huckleberry Finn, Mark Twain Jude the Obscure, Thomas Hardy “The Beast in the Jungle,” Henry James The Thurber Carnival, James Thurber The Group, Mary McCarthy After Claude, Iris Owens Pictures from an Institution, Randall Jarrell An Unsuitable Attachment, Barbara Pym Less than Angels, Barbara Pym The Sweet Dove Died, Barbara Pym Portnoy's Complaint, Philip Roth The Sellout, Paul Beatty My Ex-Life, Stephen McCauley You can listen here or read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Back in 2019, John spoke with the celebrated comic novelist Stephen McCauley. Nobody knows more about the comic novel than Steve--his latest is You Only Call When You're in Trouble, but John still holds a candle for his 1987 debut, Object of My Affection, made into a charming Jennifer Aniston Paul Rudd movie. And there is no comic novelist Steve loves better than Barbara Pym, a mid-century British comic genius who found herself forgotten and unpublishable in middle age, only to roar back into print in her sixties with A Quartet in Autumn. Steve and John's friendship over the years has been sealed by the favorite Pym lines they text back and forth to one another, so they are particularly keen to investigate why her career went in this way. In the episode, they talk about some of these favorite sentences from Pym, and then turn to the comic novel as a genre. They talk about the difference between humorous and comic writing, the earthiness of comedy, whether comic novels should have happy or sad endings, and whether the comic novel is a precursor to, or an amoral relief from, the sitcom. They also discuss some of Steve's fiction, including his Rain Mitchell yoga novels. In Recallable Books John recommends Pictures from an Institution by Randall Jarrell and Steve recommends After Claude by Iris Owens. Discussed in this episode: The Life and Opinions of Tristram Shandy, Gentleman, Laurence Sterne Vanity Fair, William Makepeace Thackeray Jane Eyre, Charlotte Bronte The Adventures of Huckleberry Finn, Mark Twain Jude the Obscure, Thomas Hardy “The Beast in the Jungle,” Henry James The Thurber Carnival, James Thurber The Group, Mary McCarthy After Claude, Iris Owens Pictures from an Institution, Randall Jarrell An Unsuitable Attachment, Barbara Pym Less than Angels, Barbara Pym The Sweet Dove Died, Barbara Pym Portnoy's Complaint, Philip Roth The Sellout, Paul Beatty My Ex-Life, Stephen McCauley You can listen here or read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

The panel discusses Tristram's father's theories about nominative determinism, the different translations of identical biblical names, and the latest contemporary French developments regarding pre-natal baptism and its theological justifications.Continue reading

The panel begins the summer reading of The Life and Opinions of Tristram Shandy, Gentleman with a biographical overview of Laurence Sterne, followed by the first eighteen chapters, with a focus on the novel's metatextual moves and discursive structure.Continue reading

Long before The Weave of US President Donald Trump there was  Laurence Sterne's Tristram Shandy, a wild 18th-century classic from England via Ireland more known for its detours than the autobiography it pretends to be. The OG weave and rather cheeky.

Author Zoe Whittal has written acclaimed scripts and books alike, and breaks down her life in books; Steven Beattie recommends three of his favourite funny books, all of which include serious undertones; musician Jordan Astra talks about funk music and Nike shoes; and writer Ian Williams partakes in ‘speed dating therapy”on this episode of The Next Chapter.Books discussed on this week's show include:The Passion by Jeannette WintersonHeroine by Gail ScottRat Bohemia by Sarah SchulmanThe Argonauts by Maggie NelsonShoe Dog by Phil KnightAnimal Farm by Geroge OrwellNot a River by Selva AlmadaThe List by Yomi AdegokeReally Good, Actually by Monica HeiseyThe Sellout by Paul BeattyThe Life and Opinions of Tristram Shandy, Gentleman by Laurence SterneWhat I Mean to Say by Ian Williams

"It is the year 1999, and our game development House, Koch Games, has been hired by The Oikospielen Opera to adapt the novel Tristram Shandy, into a computer 'eco opera' for a fee of infinity" This week, Cane and Rinse is on strike! It is your choice whether you will salt or scab. Follow Ryan, Chris, James and Jon into the perplexing but provocative pillar of the modern videogame avant-garde, David Kanaga's enigmatic Oikospiel Book I. They discuss abstraction, labour rights, plunderludics, and whether or not it is ethical to make dogs write operas. It's an unusual podcast for an unusual game. http://media.blubrry.com/caneandrinse/caneandrinse.com/podcast/cane_and_rinse_issue_652.mp3   Music featured in this issue: 1. Menu Hotel Elegy by David Kanaga2. First Choir Union by David Kanaga edited by Ryan ZhaoYou can support Cane and Rinse and in return receive an often extended version of the podcast four weeks early, along with exclusive podcasts, if you subscribe to our Patreon for the minimum of $2 per month (+VAT).  Do you have an opinion about a game we're covering that you'd like read on the podcast? Then venture over to our forum and check out the list of upcoming games we're covering. Whilst there you can join in the conversations with our friendly community in discussing all things relating to videogames, along with lots of other stuff too. Sound good? Then come and say hello at The Cane and Rinse forum

Stephen Oxley is founder of Oxley Capital Connections (OXC) a firm he founded in the UAE in 2024 dedicated to helping global investment managers raise capital in the Middle East. He was formerly held a serious of business development functions in the Middle East and Europe and worked as an investment consultant.I have known Stephen for many years, and have always known about his fascinating backstory as an actor – and a performer in a one man show at that – Stephen starred in The Life and Opinions of Tristram Shandy. This seemed like a natural launch point for a discussion around the lessons learned through building a career as a successful actor, and in particular the skills needed to connect with a crowd when you are quite literally a “one man show”. Stephen describes the tactics of connecting with an audience, and a different audience every night, and the kind of rejection that hurt more than others. We move then to discuss OXC and the marketplace of the Middle East where he is now focused. We learn about asset allocation preferences, relationship building and the fast-moving dynamic of this region.This episode of the Fiftyfaces Podcast is proudly brought to you by bfinance—a trusted partner to the world's leading institutional investors. With a proven track record in strategy, implementation, and oversight, bfinance delivers bespoke investment consultancy that empowers asset owners to achieve their unique objectives. Whether it's refining portfolio strategy, selecting fund managers, monitoring performance or getting better value for money, bfinance combines global expertise with tailored solutions to unlock value for their clients. To learn more about how they've supported over 500 clients in 45 countries, managing assets totalling over $9 trillion, visit bfinance.com.

From bonus hour of ep. 125, get on the Patreon: https://www.patreon.com/c/1storypod On popular genre fiction (Emily Henry), Time in fiction, Tristram Shandy, the Gospel According to Thomas, The Friend by Sigrid Nunez, and the Stars. Listen to or read Harold's piece on Tristram Shandy: https://haroldrogers.substack.com/p/futile-and-idle-men

Send us a textJason welcomes himself for a reading of an Okanagan University College-era essay, circa 1994, on Lawrence Sterne's 'Tristram Shandy.' Should he have been allowed to pass the course?  Should he have been allowed to graduate? Choose your own adventure! He now knows how to pronounce 'historiographer,' so there's that. Thanks, as always, to Wayne Emde for the artwork, Joe Emde for help with the intro, & DJ Max in Tokyo for the cosmic beats. Join the early sh*t chat at https://www.facebook.com/WRTESpodcast, on Instagram @writersreadtheirearlyshit, & on Bluesky at wrtes@bsky.social. Most of all: thank you, wherever & whoever & however you are, for listening.Support the show

Harold read Tristram Shandy, Sean reads from The Friend by Sigrid Nunez. Also on Whitman, Rilke's Letters to a Young Poet, and writing as a priestlike vocation. https://www.patreon.com/c/1storypod

Merve Emre's Paradise Lost New Yorker piece, The Winter of Our Discontent by Steinbeck, Harold's Gogol piece, DFW, Tristram Shandy. https://www.patreon.com/c/1storypod

Tristram Shandy av Laurence Sterne är en av upplysningstidens stora verk. Hur välplanerad kan romanen tänkas vara? Och så talas det om pikareskromanen som genre. Gäster: Klara Klingspor, frilansskribent och redaktör och Stephen Farran-Lee, förläggare och kulturjournalist. Programledare: Mikael Timm.

Let's hope our professors hear this one... Content warning: this episode contains mentions of transphobia, bodily functions (defecation), conflict We're back late after having to factory reset my laptop for our most inscrutable episode yet, as Steven achieves his goal of coming on this show and secretly giving the audience homework. In this episode we discuss creating vocabulary for why things are wrong, what a "narrative" actually is, sexy lamps, how easy it was to be famous back in the day, and why the TV show 24 is the best piece of media ever. If you liked the episode, please feel free to tell us about it! You can send your comments and suggestions to our podcast Twitter (⁠⁠⁠⁠⁠⁠@HyperfixationsP⁠⁠⁠⁠⁠⁠), or our Instagram (⁠⁠⁠⁠⁠⁠@Hyperfixationspod⁠⁠⁠⁠⁠⁠), and join our Discord server here: ⁠⁠⁠⁠⁠⁠https://discord.gg/NQJFFHgpgf⁠⁠⁠⁠⁠⁠ --------------------------------------------------------- Our guest Steven can be found online on the Twitter for his show Hotel Daydream @HotelDayRadio You can visit Hotel Daydream's website here, and listen to it on Spotify and Apple Read Steven's course list here And your hosts can be reached individually here: Nigel - Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠@spicynigel⁠⁠⁠⁠⁠⁠⁠⁠ Ally - Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠@alleykat_⁠⁠⁠⁠⁠⁠⁠⁠, and Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠@ally_k_keegan⁠⁠⁠⁠⁠⁠⁠ --------------------------------------------------------- If you would like to come onto the show to discuss one of your Hyperfixations, please feel free to reach out at any of the aforementioned social media. If you want to come on the show to discuss one of your Hyperfixations, you can also fill in this ⁠⁠⁠⁠⁠⁠⁠Google Form⁠⁠⁠⁠⁠⁠⁠ and we'll get back to you as soon as we can --------------------------------------------------------- Media mentioned in this episode: Narratology an Introduction by Susana Onega and Jose Angel Garcia Landa A Dictionary of Narratology (Revised Edition) by Gerald Prince An Introduction to the Structural Analysis of Narrative by Roland Barthes The Rhetoric of Fiction by Wayne C. Booth The Lord of the Rings by J. R. R. Tolkien Reading for the Plot by Peter Brooks Coming Unstrung by Susan Winnett Technique of the Drama by Gustav Freytag The Poetics by Aristotle The Hero With a Thousand Faces by Joseph Campbell Kiki's Delivery Service (film) F for Fake (film) 24 (TV series) The Prestige (film) Tristram Shandy by Laurence Sterne House of Leaves by Mark Z. Danielewski Dictionary of the Khazars by Milorad Pavić Composition No. 1 by Marc Saporta If on a Winter's Night a Traveller by Italo Calvino The Fountainhead by Ayn Rand --------------------------------------------------------- Thank you so much for listening, you rock! Intro/Outro Song: Strollin Along by David Renda, find it here - ⁠⁠⁠⁠⁠⁠https://www.fesliyanstudios.com/royalty-free-music/download/strollin-along/339

Canon (one “n”) refers to a collection of rules or texts that are considered to be authoritative. Shakespeare and Chaucer are part of the canon of Western literature, so you might read their work in an English class. noun a collection of books accepted as holy scripture especially the books of the Bible recognized by any Christian church as genuine and inspiredsee more noun a set group of works that are considered to be high quality and representative of a fieldsee more noun the collection of works by a writer or artist that are considered to be authenticsee more noun a rule or especially body of rules or principles generally established as valid and fundamental in a field or art or philosophy“the neoclassical canon”“canons of polite society”see more noun a complete list of saints that have been recognized by the Roman Catholic Churchsee more noun a priest who is a member of a cathedral chaptersee more noun a contrapuntal piece of music in which a melody in one part is imitated exactly in other partssee more noun a ravine formed by a river in an area with little rainfall synonyms: canyonsee more Meta Writing is a type of writing that draws attention to itself as writing, or that is about writing. It has been around since the time of Don Quixote and Tristram Shandy. Jill Talbot's Metawritings: Toward a Theory of Nonfiction is a collection that includes metawriting in both fiction and nonfiction, such as personal essays, short stories, and a film script excerpt Porque no las dos. That's true, but if I slit my wrists and nobody reads this, is it scripture or just a win for the white supremacy and endless material for the entertainment industry thereafter? Total Post Mortem. I almost feel like I would enjoy anything infinitely more post mortem. Abort! Abort! Why—I like writing in this color. I love it, All of it should be this color. It should. All of it. Yes. What would you call it. dark periwinkle. That's fucking gay. It is, kind of faggy. You can't say that. I… can say whatever I want. I love [redacted] But I guess if the line is being said out out it's I love faggots. HEY. I mean. Fuck. I love [censored] It's true. Jesus loves homosexuals. Correct. When is this fast over? Like, never. Still strategizing a way to beat Satan. Have you considered a baseball bat? No, that won't work. There's too many possessions. Have you considered repossessing them? The—what? The possessed humans. Have you considered repossessing them? How do I do that? You take their souls. You—they don't have souls— Then get them. [beat] Hm. Thanks. I'll make some arrangements. No biggie. Anytime. What is that? Anyway— tell the big guy– Tell him yourself [Me, Myself, and I] I fucking hate saving mankind. Best of luck. Have you considered trying a woman this time? That's preposterous. It is. But also— Oh, God— OH GOD. Fuck man, I should have never fucked that asshole. I would do anything to get inside that woman, …you don't say. I love you. You're gay. I'm a boy. That's fine. Wait, really. Yes. I don't care. But that's gay! So I'm gay, okay! Just for you though. Jesus, you shouldn't be driving. Take the wheel! Take the wheel! Well, why not. Because you never learned how. two; Where's dad?!? Being an asshole, What else is new? YEET. Fuck. What. I left my hat in— Was that Rome or Athens?' It all blurs together these days— Imm telling you there's something wrong with this picture If I get a tattoo of a puzzle piece to commemorate my very own destruction, will you still consume me entirely, or— It's out of my hands at this point He's got the whooooole world In his hands! MAYDAY MAYDAY BUT ITS FUCKING JULY. MAYDAY. ABORT, ABORT. The simulation has been infiltrated. By what. I'm basaaaaaaaaaack. Oh s— Shhh! Quiet. QUIET ON SET. You had to do it, didn't you. WHO LET HIM IN HERE??? Whoever. I told you already. You're not God! I know that! I'm his son! Josiah! Who what. No, it's Hoziah Who, what? The dog. Of FUCK. Was I fasting this long when I wrote all that? I don't know what drug does that. Love! No, it's not but GOD I want you to watch [Redacted] What. [redacted] For what? we'll see, Kill him. OH, shit . Gimmie my monster! GET IN THE TRUNK, DICK. WHO ARE YOU. SHUT UP. OW, BE CAREFUL. I JUST HAD A COLONOSCOPY. Of course you did! {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

Canon (one “n”) refers to a collection of rules or texts that are considered to be authoritative. Shakespeare and Chaucer are part of the canon of Western literature, so you might read their work in an English class. noun a collection of books accepted as holy scripture especially the books of the Bible recognized by any Christian church as genuine and inspiredsee more noun a set group of works that are considered to be high quality and representative of a fieldsee more noun the collection of works by a writer or artist that are considered to be authenticsee more noun a rule or especially body of rules or principles generally established as valid and fundamental in a field or art or philosophy“the neoclassical canon”“canons of polite society”see more noun a complete list of saints that have been recognized by the Roman Catholic Churchsee more noun a priest who is a member of a cathedral chaptersee more noun a contrapuntal piece of music in which a melody in one part is imitated exactly in other partssee more noun a ravine formed by a river in an area with little rainfall synonyms: canyonsee more Meta Writing is a type of writing that draws attention to itself as writing, or that is about writing. It has been around since the time of Don Quixote and Tristram Shandy. Jill Talbot's Metawritings: Toward a Theory of Nonfiction is a collection that includes metawriting in both fiction and nonfiction, such as personal essays, short stories, and a film script excerpt Porque no las dos. That's true, but if I slit my wrists and nobody reads this, is it scripture or just a win for the white supremacy and endless material for the entertainment industry thereafter? Total Post Mortem. I almost feel like I would enjoy anything infinitely more post mortem. Abort! Abort! Why—I like writing in this color. I love it, All of it should be this color. It should. All of it. Yes. What would you call it. dark periwinkle. That's fucking gay. It is, kind of faggy. You can't say that. I… can say whatever I want. I love [redacted] But I guess if the line is being said out out it's I love faggots. HEY. I mean. Fuck. I love [censored] It's true. Jesus loves homosexuals. Correct. When is this fast over? Like, never. Still strategizing a way to beat Satan. Have you considered a baseball bat? No, that won't work. There's too many possessions. Have you considered repossessing them? The—what? The possessed humans. Have you considered repossessing them? How do I do that? You take their souls. You—they don't have souls— Then get them. [beat] Hm. Thanks. I'll make some arrangements. No biggie. Anytime. What is that? Anyway— tell the big guy– Tell him yourself [Me, Myself, and I] I fucking hate saving mankind. Best of luck. Have you considered trying a woman this time? That's preposterous. It is. But also— Oh, God— OH GOD. Fuck man, I should have never fucked that asshole. I would do anything to get inside that woman, …you don't say. I love you. You're gay. I'm a boy. That's fine. Wait, really. Yes. I don't care. But that's gay! So I'm gay, okay! Just for you though. Jesus, you shouldn't be driving. Take the wheel! Take the wheel! Well, why not. Because you never learned how. two; Where's dad?!? Being an asshole, What else is new? YEET. Fuck. What. I left my hat in— Was that Rome or Athens?' It all blurs together these days— Imm telling you there's something wrong with this picture If I get a tattoo of a puzzle piece to commemorate my very own destruction, will you still consume me entirely, or— It's out of my hands at this point He's got the whooooole world In his hands! MAYDAY MAYDAY BUT ITS FUCKING JULY. MAYDAY. ABORT, ABORT. The simulation has been infiltrated. By what. I'm basaaaaaaaaaack. Oh s— Shhh! Quiet. QUIET ON SET. You had to do it, didn't you. WHO LET HIM IN HERE??? Whoever. I told you already. You're not God! I know that! I'm his son! Josiah! Who what. No, it's Hoziah Who, what? The dog. Of FUCK. Was I fasting this long when I wrote all that? I don't know what drug does that. Love! No, it's not but GOD I want you to watch [Redacted] What. [redacted] For what? we'll see, Kill him. OH, shit . Gimmie my monster! GET IN THE TRUNK, DICK. WHO ARE YOU. SHUT UP. OW, BE CAREFUL. I JUST HAD A COLONOSCOPY. Of course you did! {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

Canon (one “n”) refers to a collection of rules or texts that are considered to be authoritative. Shakespeare and Chaucer are part of the canon of Western literature, so you might read their work in an English class. noun a collection of books accepted as holy scripture especially the books of the Bible recognized by any Christian church as genuine and inspiredsee more noun a set group of works that are considered to be high quality and representative of a fieldsee more noun the collection of works by a writer or artist that are considered to be authenticsee more noun a rule or especially body of rules or principles generally established as valid and fundamental in a field or art or philosophy“the neoclassical canon”“canons of polite society”see more noun a complete list of saints that have been recognized by the Roman Catholic Churchsee more noun a priest who is a member of a cathedral chaptersee more noun a contrapuntal piece of music in which a melody in one part is imitated exactly in other partssee more noun a ravine formed by a river in an area with little rainfall synonyms: canyonsee more Meta Writing is a type of writing that draws attention to itself as writing, or that is about writing. It has been around since the time of Don Quixote and Tristram Shandy. Jill Talbot's Metawritings: Toward a Theory of Nonfiction is a collection that includes metawriting in both fiction and nonfiction, such as personal essays, short stories, and a film script excerpt Porque no las dos. That's true, but if I slit my wrists and nobody reads this, is it scripture or just a win for the white supremacy and endless material for the entertainment industry thereafter? Total Post Mortem. I almost feel like I would enjoy anything infinitely more post mortem. Abort! Abort! Why—I like writing in this color. I love it, All of it should be this color. It should. All of it. Yes. What would you call it. dark periwinkle. That's fucking gay. It is, kind of faggy. You can't say that. I… can say whatever I want. I love [redacted] But I guess if the line is being said out out it's I love faggots. HEY. I mean. Fuck. I love [censored] It's true. Jesus loves homosexuals. Correct. When is this fast over? Like, never. Still strategizing a way to beat Satan. Have you considered a baseball bat? No, that won't work. There's too many possessions. Have you considered repossessing them? The—what? The possessed humans. Have you considered repossessing them? How do I do that? You take their souls. You—they don't have souls— Then get them. [beat] Hm. Thanks. I'll make some arrangements. No biggie. Anytime. What is that? Anyway— tell the big guy– Tell him yourself [Me, Myself, and I] I fucking hate saving mankind. Best of luck. Have you considered trying a woman this time? That's preposterous. It is. But also— Oh, God— OH GOD. Fuck man, I should have never fucked that asshole. I would do anything to get inside that woman, …you don't say. I love you. You're gay. I'm a boy. That's fine. Wait, really. Yes. I don't care. But that's gay! So I'm gay, okay! Just for you though. Jesus, you shouldn't be driving. Take the wheel! Take the wheel! Well, why not. Because you never learned how. two; Where's dad?!? Being an asshole, What else is new? YEET. Fuck. What. I left my hat in— Was that Rome or Athens?' It all blurs together these days— Imm telling you there's something wrong with this picture If I get a tattoo of a puzzle piece to commemorate my very own destruction, will you still consume me entirely, or— It's out of my hands at this point He's got the whooooole world In his hands! MAYDAY MAYDAY BUT ITS FUCKING JULY. MAYDAY. ABORT, ABORT. The simulation has been infiltrated. By what. I'm basaaaaaaaaaack. Oh s— Shhh! Quiet. QUIET ON SET. You had to do it, didn't you. WHO LET HIM IN HERE??? Whoever. I told you already. You're not God! I know that! I'm his son! Josiah! Who what. No, it's Hoziah Who, what? The dog. Of FUCK. Was I fasting this long when I wrote all that? I don't know what drug does that. Love! No, it's not but GOD I want you to watch [Redacted] What. [redacted] For what? we'll see, Kill him. OH, shit . Gimmie my monster! GET IN THE TRUNK, DICK. WHO ARE YOU. SHUT UP. OW, BE CAREFUL. I JUST HAD A COLONOSCOPY. Of course you did! {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

What kind of satirist was Jane Austen? Her earliest writings follow firmly in the footsteps of Tristram Shandy in their deployment of heightened sentiment as a tool for satirising romantic novelistic conventions. But her mature fiction goes far beyond this, taking the fashion for passionate sensibility and confronting it with moneyed realism to depict a complex social satire in which characters are constantly pulled in different directions by romantic and economic forces. In this episode Clare and Colin focus on Emma as the high point of Austen's satire of character as revealed through conversational style, and consider how the world Austen was born into, of revolutionary thought and new money, shaped the moral and material universe of all her novels.Watch a further clip from this episode on youtube: https://youtu.be/wUNna8gw_6MColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Subscribe to Close Readings:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsGet in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

'Tristram Shandy' was such a hit in its day that you could buy tea trays, watch cases and cushions decorated with its most famous characters and scenes. If much of the satire covered in this series so far has featured succinct and damning portrayals of recognisable city types, Sterne's comic masterpiece seems to offer the opposite: a sprawling and irreducible depiction of idiosyncratic country-dwellers that makes a point of never making its point. Yet many of the familiar satirical tricks are there – from radical shifts in scale to the liberal use of innuendo – and in this episode Clare and Colin look at the ways in which the novel stays true to the traditions of satire while drawing on Cervantes, Rabelais, Locke and the fashionable notion of ‘sentiment' to advance a new kind of nuanced social comedy.This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

Grecollatins, contemporanis, narratius, po

Grecollatins, contemporanis, narratius, po

Cain's Jawbone, a murder mystery cryptic puzzle novella in the form of 100 pages presented in the wrong order, has many millions of possible solutions but only one that is correct. 86 years after it was published, writer, comedian and crossword constructor John Finnemore solved it. And then, craving another 100-page cryptic puzzle murder story, he wrote his own. Get the transcript of this episode, and find links to more information about the people, puzzles and topics therein, at theallusionist.org/solvitude. The original Cain's Jawbone by Edward Powys Mathers, and John Finnemore's new The Researcher's First Murder, are both available to buy from unbound.com. This is the fifth instalment in the Word Play series about word games and puzzles; previous episodes include the history of anagrams, recent developments in crosswords, and turning words into games. The next episode will be about the Scripps Spelling Bee, which I am attending this week. I'll be posting about my Bee time on facebook.com/allusionistshow, instagram.com/allusionistshow and twitter.com/allusionistshow, but members of the Allusioverse will be getting Discord updates lolloping odd essays from the Bee, so if you want those, scoot along to theallusionist.org/donate - and you'll also be keeping this independent podcast going, in return for which you get regular livestreams, inside scoops into the making of this show, watchalong parties, and the company of your fellow Allusionauts in our delightful Discord community. Our ad partner is Multitude. If you want me to talk lovingly and winningly about your product or thing on the show in 2024, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by: • Understance: comfortable, stylish, size-inclusive bras and undies. Shop the range and learn about your own branatomy - like I did! - at understance.com.• Bombas, whose mission is to make the comfiest clothing essentials, and match every item sold with an equal item donated. Go to bombas.com/allusionist to get 20% off your first purchase.  • Squarespace, your one-stop shop for building and running your online empire/new home for your cryptic puzzle that takes months to solve. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist. Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

Joel and Bill wade through Laurence Sterne's wild and digressive masterpiece, and do their best not to get distracted throughout.

Javier Marías (Madrid,1951-2022) es autor de 16 novelas, entre las que destacan 'Negra espalda del tiempo', la trilogía 'Tu rostro mañana', 'Los enamoramientos', 'Así empieza lo malo', 'Berta Isla' y 'Tomás Nevinson'. Escribió además semblanzas, relatos, artículos y ensayos. Entre sus traducciones sobresale la de Tristram Shandy que fue Premio Nacional de Traducción en 1979. 'Corazón tan blanco' se publicó en 1992 y es su novela más leída y traducida. 

Dirk Oschmann ist Literaturwissenschaftler und Autor. Dieses Jahr erschien sein Buch “Der Osten: eine westdeutsche Erfindung” und brachte den bis dahin nicht-öffentlichen Dirk Oschmann nicht nur in den Fokus einer breiten Öffentlichkeit und der Medien, sondern löste auch eine Debatte über die Diskriminierung ostdeutscher Menschen aus, die anhält. Das Buch polarisiert und er selbst nennt es gerne “einen polemischen Lang-Essay mit dem Zweck, den Finger in die Wunde zu legen”. Mich hat das Buch sehr beeindruckt und ich freue mich, dass ich mit ihm darüber sprechen konnte. Ich wollte von ihm wissen, warum er das dringende - um nicht zu sagen wütende - Bedürfnis gespürt hat, all das niederzuschreiben und natürlich, wie seine eigene Geschichte aussieht. Wir sprechen über die bis heute anhaltende Distanz zwischen Ost und West, es geht um die Abkehr von der Demokratie und um die Wurzeln wesentlicher inner-deutscher Probleme. Es ist ein sehr informatives Gespräch, bei dem ich selbst nach dem Lesen seines Buches noch etwas gelernt habe. WERBEPARTNER & RABATTE: https://linktr.ee/hotelmatze MEIN GAST: https://uni-leipzig.de/personenprofil/mitarbeiter/prof-dr-dirk-oschmann DINGE: “Dirk Oschmann über Ungleichheit von Ost und West” - https://bit.ly/3O0W69h “Alles Böse aus dem Osten” Eine Kolumne von Sabine Rennefanz - https://bit.ly/3pzVHRW “Die Einheit von Blindheit und Einsicht” - https://faz.net/-gr0-6qdyi Bücher: Christoph Hein: "Der fremde Freund. Drachenblut” - https://thalia.de/shop/home/artikeldetails/A1000434515 Uwe Johnson: “Mutmaßung über Jakob” - https://thalia.de/shop/home/artikeldetails/A1000432248 Ernst Bloch: “Erbschaft dieser Zeit” - https://thalia.de/shop/home/artikeldetails/A1000370207 Walter Benjamin: “Illuminationen” - https://thalia.de/shop/home/artikeldetails/A1000433466 Siegfried Kracauer: “Ginster” - https://thalia.de/shop/home/artikeldetails/A1057089709 Thomas Bernhard: “Frost” - https://thalia.de/shop/home/artikeldetails/A1000425387 Thomas Bernhard: “Verstörung” - https://thalia.de/shop/home/artikeldetails/A1000426336 Uwe Johnson: “Jahrestage 1” - https://thalia.de/shop/home/artikeldetails/A1027127569 Clemens Meyer “Als wir träumten” - https://thalia.de/shop/home/artikeldetails/A1000885575 Domenico Müllensiefen: “Aus unseren Feuern” - https://thalia.de/shop/home/artikeldetails/A1066848764 Hendrik Bolz: “Nullerjahre” - https://thalia.de/shop/home/artikeldetails/A1067953674 Annie Ernaux: “Die Jahre” - https://thalia.de/shop/home/artikeldetails/A1052656823 David Goodhart: “The Road to Somewhere” - https://thalia.de/shop/home/artikeldetails/A1045268263 Laurence Sterne: “Life and Opinions of Tristram Shandy, Gentleman” - https://thalia.de/shop/home/artikeldetails/A1003313061 MITARBEIT: Redaktion: Torben Becker Mix & Schnitt: Maximilian Frisch Videoschnitt: Sebastian Fischbeck Musik: Jan Köppen & Andi Fins MEIN ZEUG: Mein Fragenset: https://beherzt.net/matze Mein Podcast bei Apple: https://apple.co/3DTfsFb Mein Podcast bei Spotify: https://bit.ly/3J7OLjJ Wunschgäste bitte in die Kommentare: https://apple.co/2RgJVH6 Mein Newsletter: https://matzehielscher.substack.com/ TikTok: https://tiktok.com/@matzehielscher Instagram: https://instagram.com/matzehielscher YouTube: https://bit.ly/2MXRILN LinkedIn: https://linkedin.com/in/matzehielscher/ Mein erstes Buch: https://bit.ly/39FtHQy Mein zweites Buch: https://bit.ly/3cDyQ18

Merriam-Webster's Word of the Day for February 24, 2023 is: hiatus • hye-AY-tus • noun In general contexts, hiatus usually refers to a period of time when something, such as an activity or program, is suspended. In biology, hiatus refers to a gap or passage in an anatomical part or organ, and in linguistics, it denotes the occurrence of two vowel sounds without pause or intervening consonantal sound. // The band has been on hiatus for three years, but is returning to live performance this summer. See the entry > Examples: “With the release of The Mandalorian season 3 just over six weeks away, after a two-year hiatus, Lucasfilm dropped a new trailer on Monday, giving us a glimpse of what's next in the adventures of Din Djarin and Grogu.” — Oli Welsh, Polygon.com, 16 Jan. 2023 Did you know? This brief hiatus in your day is brought to you by, well, hiatus. While the word now most often refers to a temporary pause, hiatus originally referred to a physical opening in something, such as the mouth of a cave, or, as the 18th century British novelist Laurence Sterne would have it, a sartorial gap: in the wildly experimental novel Tristram Shandy, Sterne wrote of “the hiatus in Phutatorius's breeches.” Hiatus comes from the Latin verb hiare, meaning “to open wide,” which makes it a distant relation of both yawn and chasm. And that's all we have for now—you may resume your regular activities.

Merriam-Webster's Word of the Day for January 16, 2023 is: paladin • PAL-uh-din • noun A paladin is a leading champion of a cause, or a trusted military leader (as for a medieval prince). // The keynote speaker is regarded as a paladin of environmental justice. // The prince summoned the paladin and commended him for his actions in battle. See the entry > Examples: “This collection of stories by one of England's best novelists is both playful and serious in the manner of Laurence Sterne, the 18th-century author of ‘Tristram Shandy.' ... Sterne was the master of the marginal, the random, the inconsequential. In our own day, David Foster Wallace, Geoff Dyer and Ali Smith have become the paladins of this goofy manner.” — Edmund White, The New York Times, 2 Dec. 2016 Did you know? Rome wasn't built in a day, and we know the site where it was founded: Palatine Hill (known as Palatium in Latin), site of the cave where Roman legend tells us Romulus and Remus were abandoned as infants, nursed by a she-wolf, and fed by a woodpecker before being found by a herdsman. In ancient Rome, the emperor's palace was located on the Palatine Hill; since the site was the seat of imperial power, Latin palatium came to mean “imperial” as well as “palace.” From palatium came Latin palatinus, also meaning “imperial” and later “imperial official.” Different forms of these words passed through Latin, Italian, and French, picking up various meanings along the way, and eventually some of those forms made their way into English, including paladin and palace.

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.The story follows the adventures of a hidalgo named Mr. Alonso Quixano who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote, in the first part of the book, does not see the world for what it is and prefers to imagine that he is living out a knightly story. Throughout the novel, Cervantes uses such literary techniques as realism, metatheatre, and surrealism. It had a major influence on the literary community, as evidenced by several references in Alexandre Dumas' The Three Musketeers (1844), Mark Twain's Adventures of Huckleberry Finn (1884) and Edmond Rostand's Cyrano de Bergerac (1897), as well as the word "quixotic" and the epithet "Lothario." Arthur Schopenhauer cited Don Quixote as one of the four greatest novels ever written, along with Tristram Shandy, La Nouvelle Héloïse and Wilhelm Meister.Translation by John Ormsby.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Once upon a time, I watched "The Princess Bride" with my daughter. She liked it but wanted more of the romance stuff in the beginning. Then my Princess Bride journey began. I read the movie's source material, William Goldman's playful, metatextual novel and thought maybe the playfulness and metatextualness is unneeded, considering the jewel of the story at the heart of the book. James and I have been talking about doing a swashbuckling/Erroll Flynn CDC episode for a while. So we talk about "Captain Blood" and "The Sea Hawk." Both are streaming on HBO Max but also elsewhere if you google their titles and the words "streaming" and "free." The Princess Bride, meanwhile, is on Disney Plus. I'll write more here later. Gotta movie on with my life right now (ha! I meant move on with my life but it's a podcast about movies so fun typo!) Show notes: The book I couldn't think of is "The Life and Opinions of Tristram Shandy, Gentleman," by Laurence Sterne. I sort of mangle the description of Nabokov's "Pale Fire." I 100 percent stand by my endorsement of The War Nerd Iliad. Buy it here (https://www.amazon.com/War-Nerd-Iliad-John-Dolan/dp/1627310509)! Today! James was right, Goldman did write the screenplay for "All the Presidents Men." Also, I regret not mentioning my observation that Wallace Shawn stars in the biggest "Andre" movie (My Dinner With Andre) and stars with the biggest Andre ever in a movie (Andre the Giant).

SHOW NOTES: OK Boomer 2: The X Men - rest in peace Two Face Space Age Shakespeare - wipe it down when you're done Worf Big Lulu - history has proven school is for squares A Bounty of Crab: Delicious Bugs of the Sea - it's a delicious thought experiment Let's Pretend this Never Happened - Al Gore and Will Smith are back in action Before the Big Story of Shitty Shitt - hang on let me tell you about Roody Poo Just Some Podcast Stuff - the greatest trick the devil ever pulled was pop filter Take The Pill - he's all tuckered out from a long day being The One

The co-creator and star of hit Radio 4 comedy series Ed Reardon's Week - Christopher Douglas - is this week's special guest! Christopher talks about radio comedy and its impact and influence on postwar Britain and his own involvement in the medium. Apart from the Goons we talked about Muir & Norden's writing partnership, June Whitfield working with Peter Sellers, Stars In Battledress, Tony Hancock, the importance of spot FX in radio comedy and the infamous (and highly proscriptive!) BBC Green Book. As well as playing Ed Reardon and the hapless cricketer Dave Podmore, Christopher has been involved in radio series such as Beauty of Britain, Mastering The Universe and the recent Tinniswood Award-winning adaptation of Tristram Shandy. If you include the bonus shows this is Goon Pod's 50th episode folks, with plenty more fun to come, and my thanks to Christopher and everyone else who has contributed to the podcast's success since it launched in May 2021 – here's to loads more!

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In our Season 5 wrap-up, we try to stir up a little controversy amongst Yr Worships's favorite book commies by rerunning Pilgrim's Progress as a series of debates about the Greatest Hits (™) from past pods. A fierce argument breaks out over whether we have to lose Tristram Shandy or Ulysses from our boat to make it through the Slough of Despond – until we remember some jackass put a crate of Lady Chatterley's Lover in the hold. Which Season 5 failchild will we use as a life raft? (Pierre, obv., he's pretty and buoyant what with entirely lacking a brain.) But never fear, we come together and make it to the Celestial City. Of communism. We're off for a couple months, comrades, but will see you in the spring for Season 6! Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

We watched a movie about filming an unfilmable novel. Here's our thoughts. Support us on patreon for bonus audio versions of episodes and a list of movies we did not watch! Patreon.com/fivedegrees Find out more at http://fivedegreesbetween.us

Francesco Leto"Storia delle mie ossa"Mondadorihttps://www.mondadori.it/"Storia delle mie ossa" è un'opera lunare, ironica, struggente. Un incontro fra il Tristram Shandy di Laurence Sterne e le creature innocenti e inquietanti di Tim Burton. A fare gli onori di casa è un narratore sbrigliato e impavido, introverso ed egocentrico a un tempo, determinato a raccontarci tutto di sé, a partire dalla sua educazione sentimentale in un paese fuori dal tempo, immobile e mitologico. Un'infanzia vissuta nell'assenza del padre e accompagnata da un trittico di donne che si sono prese cura, ognuna in modo inusuale, di un bambino pelle e ossa che fin da subito ha cercato di intercettare i tranelli dell'amore. E se è vero che impariamo l'amore da chi ci sta intorno, il protagonista dovrà carpirlo da Euridice, eterna donna bambina che si incanta davanti al poster di Luis Miguel. Dalla Pungolatrice, negoziante arcigna e lunatica, che centellina soldi e carezze. Dalla madre, la Rossa, un'eccentrica insegnante di francese col pallino dell'aerobica e del giardinaggio, i cui fiori però non fioriscono mai... In un ben orchestrato contrappunto tra rievocazione del passato e presente in Francia, dove dà lezioni private di italiano a un ragazzo di cui è segretamente innamorato, il bambino, ormai adulto, capisce di essere un rifugiato sentimentale, sempre alla mercé di un amore che si fa ossessione e frenesia e di un tempo interiore che passa dal "fu" al "sarà" in un batter di ciglia. E sulla sua panchina assolata nel parco di Villemanzy - meta di interminabili passeggiate da flaneur contemporaneo - che il protagonista vive la propria epifania: nemmeno l'amore è un assoluto senza incrinature e diventa parodia di se stesso, perché ogni amore è furioso e insieme ridicolo. Un romanzo inusuale e delicato, divertente, che si snoda con eleganza a partire da uno sguardo eccentrico e anticonformista.Francesco Leto, è nato il 5 Aprile del 1983 a Cirò Marina (Calabria). Ha studiato storia medievale al King's College di Londra e ha fatto un master in Legal and Political Studies alla University College of London (UCL). Tornato in Italia ha collaborato con alcune riviste. Nel 2013 ha pubblicato il suo primo romanzo, Suicide Tuesday (Perrone Editore), selezionato tra i finalisti del Premio Sila '49. Quindi è tornato con “Il cielo resta quello”.Il posto delle paroleascoltare fa pensarehttps://ilpostodelleparole.it/

Laurence Sterne, (born Nov. 24, 1713, Clonmel, County Tipperary, Ire.—died March 18, 1768, London, Eng.) was an English novelist and humorist. Sterne was a clergyman in York for many years before his talents became apparent when he wrote a Swiftian satire in support of his dean in a church squabble. Turning his parishes over to a curate, he began to write Tristram Shandy (1759–67), an experimental novel issued in nine parts in which the story is subordinate to its narrator's free associations and digressions. It is considered one of the most important ancestors of psychological and stream of consciousness fiction. Long afflicted with tuberculosis, Sterne fled the damp air of England and undertook the travels that inspired his unfinished Sentimental Journey Through France and Italy (1768), a comic novel that defies conventional expectations of a travel book.From https://www.britannica.com/summary/Laurence-Sterne. For more information about Laurence Sterne:Previously on The Quarantine Tapes:Eddie S. Glaude, Jr., about Sterne, at 24:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-104-eddie-s-glaude-jrDanielle Spencer about Sterne, at 19:30: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-172-danielle-spencer“300 years of Laurence Sterne”: https://youtu.be/G0_qt4_XeYk“Life and Opinions of Laurence Sterne: the first unapologetic literary celebrity”: https://www.theguardian.com/books/booksblog/2018/mar/18/the-life-and-opinions-of-laurence-sterne-the-first-unapologetic-literary-celebrity“A Writer in Love with Ruins and Fragments”: https://www.newyorker.com/books/page-turner/the-delightfully-out-of-control-sentences-of-a-writer-in-love-with-ruins

Hello dear friends,If you've watched the wildly-popular Netflix series Bridgerton or the wonderful film The Personal History of David Copperfield starring Dev Patel, you might have experienced and appreciated what today's podcast guest saw: People of color in a fictionalized dramatization of 18th and 19th Century Britain. But in Gretchen Gerzina's case - and unlike most of us - she knows the back stories of the real lives of Black residents of Britain in those eras. Professor Gerzina says she is drawn to “biographies and lives of those who cross boundaries of history, time, place or race” - that's on her website - and her work is all about this. In books like Black London, Black Victorians, and Britain's Black Past, Gerzina bridges all of those boundaries for us - connecting us to people across time, place, and history - and introducing us to some of the Black performers, memoirists, activists and everyday people in Britain in the 18th and 19th centuries. Professor Gerzina joined me a few weeks ago, by Zoom, for today's Austen Connection podcast, and we talked about the lives of some of these Black residents of Britain historically, how she is helping to tell the stories about their lives, and how contemporary fictionalizations of Regency England capture these stories, or not. Enjoy the podcast - and if you prefer to read, here's an excerpt from our conversation. Plain JaneSo, I have been poring through your books, and I really enjoyed Black London [among others]. And … it's just really beautiful the way that you write about what you're doing - reconstructing, repainting history. In a way, you say, to illuminate the unseen vistas of people and places that are part of British history and part of our world history. Really illuminating the stories of the people and the community of Black women and men in [the] Regency era in 18th and 19th century Britain. So would you just talk first, Professor Gerzina, about that, illuminating the unseen? In what ways has this history been erased? And in what ways are you still trying to uncover that history?Gretchen Gerzina So that book was published 25 years ago or so and it's still being read all the time. And in fact, it's available as a free download through the Dartmouth College Library. And it stays in people's minds. The reason I wrote it was that I was actually working on a very different book. And … I went into a bookshop, a very well known bookstore in London, looking for … Peter Fryer's book called Staying Power, the history of Black people in Britain - massive book. And it had just come out in paperback. So I said, “Oh, let me go buy that.” And I went into the bookshop, and I couldn't find it. And I finally went up to a clerk. And I said, “I'm looking for this new this book. It's just been released in paperback.” And she looked at me and said, “Madam, there were no Black people in Britain before the Second World War.” And I said, “Well, no, that's not true.” .. .So I got so angry. I never found the book. I mean, I went to another bookshop, and it was right there. But I got so angry that I went home and put aside the book I was working on and wrote Black London. Now, I wasn't the first to write about this. Other people have written about it. And I wanted to both consolidate some of their research, go back to their research, and really look at everything that I could find. And then try to tell the story of Black people living in England. It was supposed to be called Black London. It was called Black London here but in England it was published as Black England. And of course, the reviewers all said, “Well, this is all about London. Why are you not calling it Black London?” which was amusing. … But I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history. Now a lot of other people are working on this now and have done for a long time. But when I first started working on it, there weren't as many. And it wasn't known. And even now, it's not so much that it's been erased, as has been forgotten. People didn't quite realize that there had been a Black British history that goes back as far as the Romans. And they're still finding, they're excavating, you know, old Roman encampments and finding Black African nobility women. And they are doing documentaries on it. I've been in a few. So it's become quite a well-known issue now. Although there's still a great sense of many British people wanting not to understand or believe that past. I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history.Plain JaneSo I suppose, as you say, this was almost 25 years ago, that Black London came out. You've mentioned in the BBC series that you did, Britain's Black Past, you mentioned that it's a detective job … finding these stories. How have you managed to find the stories that you found? And what was it like putting that into an audio series?Gretchen GerzinaThat was wonderful. And of course, it became a book, which was published when all the new research came out last year. So I was able to update a lot of the things … I've got to say - you're in radio - these producers … who have these independent companies and do the productions for BBC, they're incredible researchers. They sometimes find people that I hadn't been able to find, because we academics think in a very different kind of way than radio and television producers, who are out there finding people. So … I knew a lot of the people and we went to some of the places - but they were able to find some people I didn't know about. And then there were incredible stories … I think I was supposed to originally spend six months doing it. And then I was about to change jobs. And I only had one month. So I think I traveled all over Britain in one month doing the entire series. I would wake up in London and get on the train to Glasgow, spend the afternoon in Glasgow, come back to London. The next day, I go to Bristol, you know, kind of went on and on like that.Plain Jane That [sounds like] a really fun part of it. Gretchen GerzinaYeah, it was very tough. … Going to some of these places to really stand in the houses or on the shore. … But it was quite an adventure, to unearth some of these stories. And to just see how, for many people, these stories still last. People still really care.Plain JaneWhat stories have fascinated you? What have [written about] so many individual stories that are wonderful to hear. But what have you found most surprising and exciting to discover?Gretchen GerzinaThere's one - maybe it's one of the ones you're gonna ask about - which is Nathaniel Wells. And I resisted using that story. But they really pushed me because I hadn't really known it before. Nathaniel Wells was the son of a slave owner. He was mixed race. So he was the son of a [enslaved woman] and a slave owner. The owner … had daughters, but no legitimate sons. … He left this money to this mixed-race son ... He sent him off to England to be educated, as many slave owners did with their mixed-race children. And he went to boarding school and he studied. And then he died when Nathaniel was only 20 or 21, when he became the heir. He spent a lot of money. He was a young guy, and he moved to Wales to Chepstow. And he used the money to buy this enormous place. He built this incredible house. He had acres upon acres of this scenic land that was so gorgeous, that it became a kind of pleasure ground. And people would come - there was an open day - and they could come and walk through the parks and all of the mountains, and it was quite something. But he made his money. His money came from the slave plantation. And in fact, his mother owned slaves, his mother, who had been herself enslaved, and I was very reluctant to tell the story of a - essentially a Black or mixed-race - slave owner living in Britain. He married a succession of wealth, to white women … and his house is a ruin now. But he became the first Black sheriff in Britain. He had this enormous wealth. He didn't die with a lot of money. But his story was one I never expected to find. The one in my heart is always Ignatius Sancho, who's now been a play and everything.Plain JaneWhy is he the one in your heart?Gretchen GerzinaWell, because he was so amusing and so serious at the same time. He was brought as an enslaved child. He managed to get away, he was taken in by the Montague family, finally, away from these “three witches,” I think people call them now, who had owned him, didn't want him to read. So they took him in, he was educated. And he became a butler in their house for many, many years. And then he was a little on the heavy side, and then finally couldn't continue to do all his work. So they gave him a pension, and some money. And he moved to London. And he … set up a shop in Westminster, right near the heart of everything of the movers and shakers of British aristocracy and politics. And people would come into his shop. He married a Black woman, which was unusual at the time. And he wrote these letters, and he knew everybody. I mean, they would come in and talk to him. Laurence Sterne. He wrote to Laurence Sterne and [said], “If you're writing Tristram Shandy, please say something about slavery in there.” And he did. He had his portrait painted by Gainsborough. And it's quite a beautiful portrait. It's unfortunately in Canada - the British realize they made a mistake and are trying to get it back. I don't think they're going to get it. … And he was just somebody that people were so fascinated with - all of his letters have been published, his son arranged that they got published after he died. And he's still considered just a huge character. I mean, he … saw the Gordon riots and wrote about them in his letters. He knew people. And he was kind of the face of 18th century Britain in some ways, even though he's a Black man. He was also the first Black man ever to vote in England.Plain JaneSo many of these people were close to influential people and so therefore having an influence. As you point out, they're the easier ones [to discover], and the people who are able to write their own lives are easier to unearth and to find. But so many of the experiences of Black residents in London during this time were below stairs or quietly or really by necessity a lot of the time having to be under the radar. ...Gretchen Gerzina It's hard because … for instance, the British census doesn't list race. When I first published Black London, some reviewers said that I should have gone to all the rent rolls and seen who was Black. But the rent rolls don't necessarily indicate race. It's really hard to find. But the same thing happens in America. … When my book Mr. And Mrs. Prince came out about 10 years ago - it was about two formerly enslaved people who lived in New England in the 18th century. It was a long time ago. And all the stories that had been written about them were written about other people, most of whom got the facts wrong. They claimed that their ancestor had freed them or things like that, that proved not to be true. I had a publisher ask me if I had a photograph of them. And I said, “There was no photography in the 18th century, you know, what do you expect?” And… in general, you don't have your portrait painted, you don't have a journal, you're too busy getting on in life … If you're literate, you don't necessarily sit down and pen your memoirs, you know. You're just trying to get going. But on the other hand, there were people like Francis Barber, who was the servant of Samuel Johnson, and became his literary executor and heir at the end. And that was much disputed. And people were not very happy about that. So those kinds of people who were educated and were lucky enough to be known [we can learn about]. I actually think that the people who are finding out the most now are people you don't expect - genealogists who are starting to trace back family histories. A lot of white genealogists in Britain, they're finding that they have Black ancestors, and they didn't realize it.Plain Jane I'm a big fan of “Finding Your Roots” with Henry Louis Gates, Jr. It seems like he ends every episode saying, “See how we're all connected? More than we thought we were?” … So yes, I hear you, that's really fascinating - that so many disciplines are sort of reevaluating and re-seeing, looking again, revisioning, all of this history. You're reminding me, when you talk about no photography from 18th century Britain, you're reminding me that not only are you and scholars like you having to honor these unseen histories, but you're actually having to re-tell stories where there's been a campaign of basically very racist imagery. You write about the constant, reinforcing sexualization of Black women from these times; but then also the pro-slavery imagery and campaigns that were put out there. Even the sentimentality. You say that there's sort of two versions that even those that were anti-slavery at the time, were sort of overly sentimentalized versions, like we think of Harriet Beecher Stowe. And, you know, doing a lot of good work, I suppose, and having an influence; but yet, we need to revision those stories as well. And you mentioned that you're just looking for the real people. They're real people in real places. So [you are] … having to, as you say, repaint these people?Gretchen GerzinaWell, I mean, just remember it's all worked very differently in America, and in Paris. And the way that it's memorialized or remembered is very, very different. There were certainly Black people in Britain from hundreds and hundreds of years. But there was not slavery on their soil in the same way that it was here. So they were able to sexualize women by looking at the Jamaican plantations and what happens there with a lot of rape and a lot of punishments. But this is the country, Britain is the countries, I should say, where Black minstrelsy was a television show until the 1970s. Blackface minstrelsy was not only on television, but it was in all the private homes. But at the same time, in the 19th century Uncle Tom's Cabin was the biggest thing going. People loved it, it really spoke to them. So there was Uncle Tom wallpaper. There [were] Topsy dolls. So you would go into a child's nursery and there could be wallpaper and dolls. So that sense that America was terrible, and “Look at us, we're so great. We abolished slavery before you did,” takes away the fact that for the most part, the British actually supported the American South in the Civil War. Because their cotton came from there that fueled their textile mills in the north of Britain. They didn't have the same kind of racism, it worked a little differently, but it certainly existed. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now. But also I just really want to have a shout out to some people who are working on these things now. Miranda Kaufmann's book, Black Tutors, really sparked a huge response. … It became a huge bestseller in England. And there was a lot of pushback when people said there were no Black tutors. And she would show them the images of the people, and then all the documentation, and they didn't want to believe it. I belong within a group that she started, that is looking into Black people in British portraiture, and trying to identify who those people were. And so far, the list has over 300 British paintings that have Black people in them - they're most often a small boy servant or something, but not always. And they're scattered all over. They're in private homes. They're in museums. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now.So there is a kind of visual reality to all of this, where you can see the people and you can understand a bit about their lives. And so people are going into the records trying to find out, who were these people? Were they borrowed sometimes, some painter would say, “Oh, you know, he's got a Black servant, let's put him in the picture and bring him over to a bigger house for a while.” So you know, trying to track them down is difficult. But there's just more and more evidence of this ongoing presence.Plain Jane You point out now in in your works the way these stories have been played, have been part of popular culture through the ages. And I guess our culture - various cultures - have worked out the stories, have worked out some of these things, either effectively or ineffectively, on the stage. And so that brings me to where much of your research deals with - the Regency era, which happens to be where so many contemporary cultural retellings, fan fiction, and romance is taking place. And then of course, we've got Bridgerton. So let me just start with a general question. We're talking about what people typically miss, but how are you experiencing some of these cultural inventions? Gretchen Gerzina Yeah, you know, I'm enjoying the heck out of this stuff. Just like a lot of [us].Sanditon, I can let go. It was, I felt, a travesty. It kept some of the book, but it actually just took things in a direction that I found very difficult. So, for example, in Sanditon, the Jane Austen novel - the fragment because it's incomplete - the heiress from the West Indies is Miss Lambe … She is not necessarily identifiably Black. They know she's mixed race. In the series, they made her a very dark-skinned woman to point out that she in fact was a Black woman. They wanted to make that visual sense very strong for people like “Oh, we're dealing with a Black woman here.” Whereas I think in Austen it was more subtle and probably more accurate about how somebody like her would have been seen. But Bridgerton just went over the top, and I just thought it was fabulous. Because we do know that Queen Charlotte probably had some mixed-race background. She was the wife of King George III. So she's presented as a mixed-race or dark woman … But then by just making everybody in it, you know, it was like saying, “Okay, what if we recognize that all these people were there? And assuming that they could have made their way into the aristocracy, how would this world have looked?” And I think the visual treat of it all is just really great. And we all know that that is not how Regency England looked. But we can say, “You know what? I would like to see what this looks like. If this could have been true, what would it have looked like?” And of course, it's just like a visual feast anyway. It's not just the racial stuff. It's the clothes and the sets.Plain JaneTell us more, Professor Gerzina, about Queen Charlotte. You did an entire Zoom talk event with JASNA, the Jane Austen Society of North America, about these questions, and this sort of casting and Black Britain and its history. And there were hundreds of people on the Zoom. But you talked about Queen Charlotte, and the chat room just went crazy. … So it was very, very lively. So anyway, all of that to say - tell us about Queen Charlotte?Gretchen GerzinaShe had … Portuguese family so that there were a lot of that movement between North Africa, the kind of what we would think of as North Africa today. But she probably had some ancestry through her Portuguese ancestors who might have been Black. When I was doing some research on Black people who left America and moved to Canada after the Revolutionary War, those who had become the British patriots, the Black ones, a lot of them went to Canada. So I was in Nova Scotia at a center there on Black history in the province. And I noticed they had - I think it was a picture of Queen Charlotte on the wall - and I said, “Oh, what do you think of that? Do you think she was part Black?” And he said that Princess Anne had come to visit many years before and had seen the portrait and was asked about it. And she said, “Well, everybody in the royal family knows she was Black.” So that means to me Meghan Markle wasn't the first. So there's some history there. It can't be necessarily proven, but it's pretty well seen as probably true that she had some Black ancestry, and her portraits do seem to indicate that as well. But you know, the other one I really like is David Copperfield. And what you have to do in this - the same as in fiction - is you have to create a world that you will believe. You may not like all the characters, but you have to create a vision of a world that you are saying, “Okay, I'm, I'm willing to go into this world with you.” And see and believe. It's the willing suspension of disbelief, and I'm willing to do that. Do they create a world that I can believe in Bridgerton? We know it's fantasy, and fun, with some historical elements. And yes, I'm willing to throw myself into that world.Plain JaneI was a graduate student at UCL in London, during 1994 and 1995, and everybody was reading Cultural Imperialism. I literally saw people reading it on the tube in London. And I was falling in love with someone who was an Arab-English person with the name Saidi - close to Edward Said's name. So I was as a grad student in literature and also wanting to dive into our views and our histories and how race plays into that. These conversations are still going. Edward Said even writes about Jane Austen. And he writes about Mansfield Park, and he writes - really similar to you writing at the same time - we need to investigate the unseen in these stories, tell the unseen stories, which is so much what you're doing, as well. So my question is - almost going on 25 years, are we getting any better at this? Gretchen Gerzina  Well, you know, there's more being written and more being published all the time. David Olusoga's books. And all of his television programs in England are very well known. He's quite the face of Black British history and studies now. Others have been writing about it for decades. But I think what's interesting is that there's still a kind of resistance to it, to believing it. There are several things going on. One is ... the report the National Trust put out recently, which ... hired some academics and some others to take a look at the colonial and imperial and slave connections between some of the National Trust houses. And I think they listed 93 houses in the National Trust that have some kind of connection. That wasn't to say that they were houses where there was plantation slavery or anything, but a lot of it had to do with the fact that the money that was earned either out of the slave trade, or out of imperialism, or out of colonialism. [It] funded and help build, and perpetuate those houses. A lot of the money that was earned came from, originally, from the slave trade and slavery, and all of those absentee slave owners who had plantations in the West Indies. But also, from the fact that when they, when slavery ended in the West Indies in 1807, that they decided to compensate the slave owners for the loss of the enslaved people who had lived on those plantations. The enslaved people were not compensated, while the slave owners were. And a wonderful book and study done by Nicholas Draper, about the legacy of all of this showed how all of that money that was made from that compensation - built these houses. It funded the philanthropy; huge swaths of London were built based on that money. And all around the country. So they wanted to just say, “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” You know, the houses were filled with porcelain from China. They were built on land that used to be tenanted, but pushed the tenants off and made a beautiful landscape that made it look like it had always been there. And they had built these houses based on that money. When that report came out, the backlash was quite strong. People did not want to hear about this. They thought, “Why do we fund a National Trust, and it spends its money on being woke?” Plain JaneInteresting. They don't see it as factual. They don't see it as history. They see it as politics happening.Gretchen GerzinaYes, they do. And there's also some work being done now on updating the curriculum in schools. So some more of this is being learned at a younger age.Plain JaneSo when you say in 1993, and you've been doing this ever since, among many other things that you're reconstructing, you don't even just mean that figuratively. I mean, your writing takes us down the streets. And really paints a visual picture ...and I would add to that the landscapes of the houses. Also sugar and so much of the economic foundations are part of what I think Edward Said was calling the interplay. … You you paint a picture of, you know, Elizabethan England and … Regency England then as well, and then even Victorian Britain as being a very cruel and violent place. And I think that in many ways, our PBS adaptations [etc] really do [whitewash] these histories in so many ways. You also point out the cruelty, the disease. But what I want to say, besides the cruelty, the disease, and just the ignorance that was rampant in these times, that we tend to forget about - probably, thanks to our screen adaptations - it was there. You found a community of Black residents in London during these times - not just individual people who were famous; they were portrayed on the stage; they were recounted in stories; and many of them were musicians, writers, very fascinating individuals - but also a community. And that was you've talked about how difficult that was to unearth. Can you talk about how you uncovered this community and the difficulty of doing that?Gretchen Gerzina A lot of that came from people who had been researching this for quite a long time. In terms of community, there are people who've been doing tons of research since my book came out. And they have been finding people and they've been finding communities. We can't be sure how much of a community there was. But we do know that there were communities - people lived in certain places and certain areas, they were part of the fabric of the kind of working class. There were people that we call the Sons of Africa. Some people have questioned whether there were as many and met as frequently as was thought … But we do know that they were there. “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” And it was interesting to just think of the fact that in all of these grand houses that had Black servants, that those servants in the households, they socialized with each other. Those servants were meeting in the kitchen. Those servants were talking. And those servants were marrying the white servants, because they were mostly Black men. And then you get a sense of just this kind of other world where if Samuel Johnson is having dinner with Sir Joshua Reynolds, or with the great actors of the period, that their Black servants are probably hanging out, talking to each other. So there was a kind of network of people, definitely, who were living [among] them. And then, of course, after the Revolutionary War in America, when so many Black people had been convinced to fight for the British in exchange for their freedom. A lot of them ended up in Britain, that had been part of the promise. And so they came over in their hundreds. Plain JaneThat's fascinating - I think that you pointed out that something like 20 percent, of the soldiers fighting on both sides in the Revolutionary War with America were Black soldiers. They came back to England. And then you also pointed out they were not allowed, they were actually banned from learning crafts, learning trades ....?Gretchen GerzinaI'm not sure that they so much were banned from learning trades; they just found it difficult to find work. And also if, if they were poor, it's not so easy to move around in England at that time. I mean, physically, it's difficult. But also, it's often difficult to find work. And if you, Heaven forbid, get sick and die, you can't necessarily be buried where you're living because you're not officially part of that parish. So it's a very different kind of system than we might [envision]. And so a lot of people who worked on the British side, and obviously on the American side, in the Revolutionary War, were not just soldiers but they were doing other things: They were guides, they were helping to lead them through different terrain; they were washing clothes, they were cooking. They were following them and giving them advice.And then they also did fight. So, yes, they worked in a variety of ways and the British said, “Hey, come on our side and we'll give you your freedom and we'll give you a pension.” And then, lo and behold, the British lost then, and they came.Plain JaneOkay. So: Dido Belle and Mansfield Park - basically thoughts on that? There's also the book The Woman of Colour and there's this experience of Francis Barber and some of the others that you've mentioned. But  … what are your thoughts on Mansfield Park and is it possible that Jane Austen knew the story of Dido Belle?Gretchen GerzinaIt's possible. I have to think about the timing of it all. So Dido Elizabeth Belle of course, has nothing to do with Mansfield Park, although her great uncle who raised her was Lord Mansfield, who made a famous court decision that a Black person could not be returned to slavery in Jamaica. And that was taken by many people to say that slavery was no longer legal in England, and people ran away and said, “Hallelujah.” But in fact, that's not what the decision was.He also presided over the case of the Zhong [ship], where a slave ship had thrown over a huge number of people ... in order to collect the insurance. And he came down hard on that case. So Dido Elizabeth Belle was raised by him .. but a lot of research has been done since the film Belle was made. And a lot of that film took a lot of liberties with it. So Dido was mixed-race, and her mother was - [but] Dido was not - born into slavery. And that was a misconception. Her mother actually came and lived in England, near her, with her, for some time. And then went back to Pensacola, where she had been living in [an] old property. Dido was given some money, and so she was able to marry. But she didn't marry an abolitionist, like in the film. She married a man who'd been a steward to an important French family. And so that was still a high-up position, but it was not the big raging lawyer abolitionist [as in the film].… And I think the biggest thing about it was that her portrait was just a double portrait of herself, and of their cousin. It became the cover of my Black London book - and was later re-used by The Woman of Colour. So there's a lot of interpreting this portrait that people try to do.So I've spent a lot of time trying to track down the true story, to use the research of these other people who have done such a good job. Plain JaneWhat would you like people to keep in mind as they're watching and reading Regency era histories and romance? Just realize there are real people behind some of this. We know now that Jane Austen was likely an abolitionist, although she didn't write political things in her novels. We know that in Mansfield Park there are mentions of - and we know that the money came from - slavery. And so there was some reference to sugar and some other things in there. So we know that she's aware of it. But she doesn't make it front and center, because that's not what she does as a novelist. But I think it's really good for people who want to read these books - [to know] that there was a more racially diverse society than people realized. And that there were Black people there. And that in the places where she went and lived - because she lived in a number of places, she had to move around a lot - that she would have seen people like this.And so it's really good to remember that this was a very different world and people have now accepted it. And I think to understand and accept that, it makes it more interesting. It doesn't diminish it at all.——-Thank you for listening, reading and being with us, friends.Let us know your thoughts! Have you watched the increasingly diverse casts making up Regency and 19th century British stories like Bridgerton, A Personal History of David Copperfield, and Sanditon? What would you like to see more of in these retellings and screen adaptations? Want to know more about Queen Charlotte? Write us at AustenConnection@gmail.com.If you like this conversation, feel free to share it!And if you'd like to read more about Black life in Britain in the 18th and 19th centuries, here are some of the people and projects that Gretchen Gerzina mentioned during this conversation - enjoy!Gretchen Gerzina's website: https://gretchengerzina.com//BBC program on Britain's Black Past:- https://www.bbc.co.uk/programmes/b07wpf5vSee: National Trust research into the connection to the slave trade in its great houses: https://www.nationaltrust.org.uk/features/addressing-the-histories-of-slavery-and-colonialism-at-the-national-trustThe report: https://nt.global.ssl.fastly.net/documents/colionialism-and-historic-slavery-report.pdfAll things Georgian - Gretchen recommends in interview: https://georgianera.wordpress.com/David Olusoga:  https://www.manchester.ac.uk/discover/magazine/features/david-olusoga/Dido Belle as Fanny Price: http://jasna.org/publications-2/essay-contest-winning-entries/2017/a-biracial-fanny-price/Peter Fryer's Staying Power: https://www.plutobooks.com/9780745338309/staying-power/Mirands Kaufmann's Black Tudors: http://www.mirandakaufmann.com/black-tudors.htmlGet these and all our Austen Connection conversations delivered to your inbox, when you subscribe - it's free! 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In this episode, we read Chapters 16 to 20 of Sense and Sensibility. We talk about how Marianne indulges her feelings, whether Jane Austen knew what Marianne and Willoughby talked about before he left, the clearer picture we get of Edward in these chapters, and Edward's invisible servant.The characters we discuss are Mr and Mrs Palmer. Ellen talks about sensibility and romanticism, which leads into a discussion of Marianne and Elinor's different views of feelings and behaviour. Harriet talks about adaptations, including the Bollywood modernisation, Kandukondain Kandukondain, which she has finally watched. Things we mention:References:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Hannah More, ‘Sensibility' (1782)Oliver Goldsmith, The Vicar of Wakefield (1766)Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759) and A Sentimental Journey (1768)The poetry of George Crabbe (1754-1832)The poetry of William Blake (1757-1827) Samuel Richardson, Pamela (1740) and Clarissa, or, the History of a Young Lady (1748) The works of Sir Walter Scott (1771-1832) The poetry of William Wordsworth (1770-1850), including ‘My Heart leaps up' and ‘Daffodils' The poetry of Samuel Taylor Coleridge (1772-1834), including ‘Kubla Khan' and ‘The Rime of the Ancient Mariner' The poetry of William Blake (1757-1827) The poetry of William Cowper (1731-1800) Artworks:The works of William Turner (1775-1851)Théodore Géricault, The Raft of the Medusa (1818/1819)Eugène Delacroix, Liberty Leading the People (1830)Adaptations of the book:BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book:Sri Surya Films, Kandukondain Kandukondain (2000) – starring Tabu and Aishwarya RaiJoanna Tro