Podcasts about Trollope

Kitty Reads Holiday Lit for Peace: Anthony Trollope – Christmas at Thompson Hall plus The Next Peacelands This episode features a short reading from Anthony Trollope's 1876 holiday comedy Christmas at Thompson Hall—a story full of winter travel mishaps, sharp observation, and the small dramas that arise when families try to reach home in the busiest season of the year. Kitty reads just enough to reveal Trollope's signature blend of social insight and quiet humor. Kitty O'Compost continues warming up for The Peace Experiments (Season Zero), the forthcoming Peace Is Here series exploring peace, AI, and the cultural commons. For this special holiday edition of The Next Peacelands, Avis Kalfsbeek changes her focus from the factual grounding of warzones and arms suppliers to highlight the spiritual organizations and networks actively building peace around the world. Get the books: www.AvisKalfsbeek.com Contact Avis to say hello or share how to say “Peace is Here” in your language: Contact Me Here Music: “The Red Kite” by Javier “Peke” Rodriguez Bandcamp: https://javierpekerodriguez.bandcamp.com  Spotify: https://open.spotify.com/artist/3QuyqfXEKzrpUl6b12I3KW Intro Music: PulseBox on Pixabay Peace Is Here upcoming series: The Peace Experiments (Season Zero) Anthony Trollope – Christmas at Thompson Hall on Gutenberg: https://www.gutenberg.org/ebooks/58558 

Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Trollope enthusiasts Tom Crewe and Dinah Birch say they could have chosen any one of his 47 novels for this episode, so it's no wonder Elizabeth Bowen called him ‘the most sheerly able of the Victorian novelists'. They settled on The Last Chronicle of Barset: a model example of Anthony Trollope's gift for comedy, pathos, social commentary and masterful dialogue. At the heart of Last Chronicle is a mystery: how did the impoverished Reverend Crawley get his hands on a cheque for £20 that no one can account for, and is he capable of theft? The scandal has dire repercussions not only for Reverend Crawley, but the whole county: his ostracision raises broader questions about inequity in the church; it sparks rifts between his daughter, her would-be husband and his parents; and it gives his young relative Johnny Eames an excuse to flee the entanglements of London high society for the continent, in search of the only man who may be able to solve the puzzle. Although it's the final book in the Barchester series, Last Chronicle can be read as a standalone novel, and Tom and Dinah join Thomas Jones to explore its sensitivities, ambivalences and sheer readability. Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up: Directly in Apple Podcasts: ⁠⁠⁠⁠https://lrb.me/applecrna⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠https://lrb.me/closereadingsna⁠⁠ Further reading in the LRB: John Sutherland: Trollopiad ⁠⁠https://www.lrb.co.uk/the-paper/v14/n01/john-sutherland/trollopiad⁠⁠ Richard Altick: Trollope's Delight ⁠⁠https://www.lrb.co.uk/the-paper/v06/n08/richard-altick/trollope-s-delight⁠⁠ Next time on Novel Approaches: 'The Portrait of a Lady' by Henry James. LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksna

This week, Sara Lodge counts the ways that mathematics influenced writers from Byron to Trollope; and Russell Williams on the transformative power of rites and rituals.'The Number Sense of Nineteenth-Century British Literature', by Stefanie Markovits'The Moon and Serpent Bumper Book of Magic', by Alan Moore and Steve MooreProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Support Our Cause at https://libri-vox.org/donateBarchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. Support Our Cause at https://libri-vox.org/donate

Why did Charles Darwin, Virginia Woolf, and Henri Poincaré all follow the same four-hour rule? In this episode, bestselling author Oliver Burkeman returns to explain why three to four hours of focused work might be the secret to productivity and peace. Access the bonus episode: https://nudge.kit.com/d4e55ac69d You'll learn: The 3–4 hour rule: why it worked for Darwin, Trollope, and Dickens and still works today. How to tackle overwhelming tasks with a simple mental trick called “just go to the shed.” Why keeping a “done list” might be more motivating than a to-do list (feat. Marie Curie). How inboxes, perfectionism, and productivity guilt trap us in modern-day Sisyphus cycles. The two-part system Oliver uses to stay focused, without feeling overwhelmed by the chaos of life. ---  Access the bonus episode: https://nudge.kit.com/d4e55ac69d Sign up to my newsletter: https://www.nudgepodcast.com/mailing-list Connect on LinkedIn: https://www.linkedin.com/in/phill-agnew-22213187/ Watch Nudge on YouTube: https://www.youtube.com/@nudgepodcast/ Oliver's book Four Thousand Weeks: https://www.oliverburkeman.com/fourthousandweeks Oliver's book Meditation for Mortals: https://www.oliverburkeman.com/meditationsformortals ---  Sources:  Burkeman, O. (2021). Four Thousand Weeks: Time Management for Mortals. Farrar, Straus and Giroux. Burkeman, O. (2024). Meditations for Mortals: Four Weeks to Embrace Your Limitations and Make Time for What Counts. Farrar, Straus and Giroux.

It's the 250th episode of The Pulp Writer Show! To celebrate this occasion, this episode takes a look at the expectations people have of a full-time writer's life and contrasts them with the reality. This coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book #6 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: TALONS50 The coupon code is valid through May 27, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 250 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 2, 2025, and today we're looking at what it is really like to be a full-time writer. This is also the 250th episode of the podcast, so thank you all for listening to the podcast over these last six years. Before I started recording, I totaled up the total length of previous podcast episodes and came to about 78 hours, give or take. That's like three days of continuous talking, which sounds less impressive when you realize it was recorded over the last six years.   Thank you all for listening and here's hoping you can stick around with the next 250 episodes. Before we get to our main topic, which is the expectations versus reality of being a full-time writer, we are going to do Coupon of the Week, a progress update my current writing projects, and then Question of the Week. So let's kick off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book Six in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That code is TALONS50. As always, you can get that coupon code and the links to my Payhip store in the show notes. This coupon code is valid through May 27th, 2025. So if you need a new audiobook for spring, we have got you covered.   Now an update on my current writing projects. I am 60,000 words into Ghost in the Corruption, which puts me on chapter 13 of 21, so I'm about two thirds of the way through. I think the rough draft will be between 90-100,000 words long, so hopefully I can have that out before the end of May, if all goes well. I also just finished Chapter One of Shield of Power, which will be the final book of the Shield War series and that'll be my main project once Ghost in the Corruption is finished. I'm also 87,000 words into Stealth and Spells Online: The Final Quest, and that will be my main project once Shield of Power comes out. I expect Final Quest should come out pretty soon after Shield of Power just because I've been chipping away at it for so long and I'm getting close to the end.   In audiobook news, recording is almost done for Ghost in the Assembly and that'll be narrated by Hollis McCarthy. Recording is totally done for Shield of Deception (as narrated by Brad Wills) and that is working its way through processing at the various audiobook platforms, so hopefully we'll not be too much longer before we can get that to you.   00:02:26 Question of the Week So that is where I'm at with my current writing projects. And now let's move on to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite Jonathan Moeller book? The reason for this question is that this is the 250th podcast episode, so it seems like a good topic for that particular milestone. And as you might expect, we had an array of different opinions.   Joachim says: You are kidding us! By the end of the week? How long did you think about your own answer? Let me mirror you: for my own answer, the question is a bit difficult because I spent money on all your books, which meant I thought all of them a good buy. So let me split my answer into male and female protagonists. The best female book was Ghost Exile: Omnibus One because it prompted me to continue with Ghost Exile and fill in the Ghost series later. The Ghosts Omnibus One and Ghost Exile: Omnibus One were my first two books from you. The best male book was the one with Jack March where Thunderbolt said, “males are ogling breasts which never existed”, especially as such AI generated videos are now all over the place on YouTube.   I have to admit that I first came up with the character of Thunderbolt back in early 2021 when I was working on Silent Order: Rust Hand (that was before the AI boom really took off), so she turned out to be a very prescient character for the AI era in a number of ways.   Joe B. says: That is a tough question as there are many contenders. I'm going to go with one that is a little different, Sevenfold Sword Online: Creation, but now known as Stealth and Spells Online: Creation.   Justin says: I nominate Soul of Swords, an excellent end to an excellent series.   Perry says: There can only be one! Demonsouled. Paul says: For me, I think my favorite female protagonist  book is Cloak Games: Truth Chain. Such a dramatic change to Nadia, sets up the series in her struggles with self and enemies so well.   Brad Wills (who as you know narrated the Frostborn, Dragonskull, Malison, and Shield War series for me) says: Does a three book arc count?  Excalibur, The Dragon Knight, and The Shadow Prison made for a fantastic lead-up and finale of the Frostborn series.   Hollis McCarthy (who as you know, narrated the Ghosts and Cloak Mage audiobooks) says: Ghost in the Storm, when Caina and Kylon meet in the Battle for Marsis. Nonstop action, incredible chase scenes, and a great intro to their combative relationship.   Fred says: It's hard for me to say which book is my favorite. All your book series were all great.   Juana says: Frostborn: Excalibur with Ridmark. I happen to love stories about Excalibur, odd but true. Caina in Cloak and Ghost: Rebel Cell because Caina and Nadia are an incendiary team. So there! Randy says: Frostborn: The Dragon Knight. This whole series is great, but that is one of the high points.   Dennis says: I couldn't name my favorite as I enjoy everything you write. I probably enjoyed the Frostborn series best at the time, but having bought and read every one of your books it's now impossible.   Kevin says: There's no way on earth that I could put one book above another, so I would've to take the coward's way out and say Frostborn: The Gray Knight simply because it has a book that drew me to the worlds of Jonathan Moeller back in the spring of 2017, since which time I have bought 117 of his books, including a few omnibus editions, so a few more actual books, I suppose. I avidly read them all as they're published these days, except the Silent Order series (just doesn't grab me and pull me in like the others). Jesse says: Cloak Games: Sky Hammer. Damaged Nadia at her best, epic action the whole way. And yeah, the chapter The Last Death of Nadia Moran was viscerally cinematic and probably the biggest emotional payoff you've written in my opinion, tied her entire journey together. In my head, I cast Castle-era Stana Katic as Nadia, and it worked better than I expected it might.   Morgan says: I can't narrow it down to just one. So top three in no particular order, Sevenfold Swords: Swordbearer, Dragontiarna: Gates, and Stealth and Spells Online: Leveling. That being said, I think Niara might be my favorite character of all your books I have read.   Jonathan T says: I too am torn though only between two books, Frostborn: The Eightfold Knife and Frostborn: The Shadow Prison.   [Side note/addition from The Transcriptionist: My vote is for Half-Elven Thief!]   So thank you everyone for the kind words about all those books. For my own answer, the question is a bit difficult because I've written them all, which meant I thought all of them were good idea at the time. I suppose the glib answer would be the one that made me the most money, which was Frostborn: The Iron Tower, but it really depends on the category, like my favorite heist book, my favorite mystery book, my favorite dungeon crawl, my favorite first in series. So I think I'll go for the most basic level of categorization and split it up by male and female protagonists.   My favorite book of mine with a female protagonist would probably be Cloak Games: Rebel Fist, since it's such a turning point for Nadia and starts the trajectory of the rest of her character arc. It's the first time she really has to save the day instead of just trying to save herself and shows that her brother Russell can also handle himself, which as you know, comes up again later. My favorite book of mine with a male protagonist would probably be Dragontiarna: Defenders, since it has the Battle of Shadow Crown Hill, which was one of my favorite sequences to write. Four different characters have plans and they all crash into each other at the same time, which was a lot of fun to write and set up, which was a real highlight for me in 2020 because as we all know, 2020 was a fun year.   00:07:35 Main Topic of the Week: Writing Full Time: Expectations Versus Reality   So that is it for Question of the Week. Now let's move on to our main topic this week, writing full-time: expectations versus reality (admittedly from the perspective of a self-published author). If you spent any time around the writing community on the Internet at all, you know that many people dream of becoming a full-time writer, and sometimes people think that the only way to be successful as a writer is to write full-time. There are many expectations that people have about what it means to be a full-time writer. Now that I've been a full-time indie writer for nearly nine years at this point, I can provide some lived perspective. In this episode, I will talk about five of those expectations that people have about full-time writing and the way those expectations might be skewed.   So before we get to those, I should mention how I actually became a full-time writer. In 2016 (which seems like a really long time ago now), the Frostborn series was doing really well, and at the time I was also working full time and I realized that summer I was going to have to move for family reasons. I wasn't very enthusiastic about the idea of moving at first, but I decided to embrace the idea and try to make the best of it. This would involve moving a considerable distance to a different state and all the different problems that entails. So I thought about it and I thought I could look for a new job, but any job I would be qualified for in the area I was moving to would make less money than I was actually making from writing part-time. So I thought, why not try and make a go of full-time writing and see what happens?   Since that was nine years ago, I think I can safely say it's worked out pretty well. And I will say that it's been a pretty good experience and I am very fortunate and very grateful and very blessed to have been able to do this because not everyone has the opportunity to pursue a full-time creative job like I have been able to for these last nine years. That said, while it has been pretty great, it comes with a lot of flexibility and I've gotten to write a lot of great books that many people have enjoyed, it's not always all wine and roses, so to speak, which is part of the reason why I wanted to do this episode to let people more in what the reality of being a full-time writer for this long has been like. So with that introduction out of the way, let's move on to our five expectations versus reality.   Expectation #1: Full-time authors make a lot of money. The reality is that even full-time authors generally don't make that much money. A survey from The Author's Guild showed that the median amount that full-time authors make was just about $20,000, though full-time romance writers had a higher median income of about $37,000. Remember that this amount is before any health insurance costs, benefits, retirement contributions, and of course taxes that a traditional job might be able to provide or help with. In the United States, buying even fairly basic health insurance can easily be a thousand dollars per month for a family, and that doesn't include any costs related to deductibles, prescriptions, or additional dental or vision insurance. Authors are either on their own for healthcare in the US or have to rely on a spouse or partner's healthcare coverage. In other words, you either have to pony up a lot of money to buy your own health insurance or you have to rely on your spouse or partner's healthcare coverage.   And at least in the US, taxes are also much higher on the self-employed. Uncle Sam really does not like the self-employed. If you are self-employed, it is in your best interest to essentially form a small corporation and work for yourself (though for details on how to do that, you should consult with an accountant licensed to practice in your region). Now all these costs can add up pretty quickly, and they make the amount of money that you'll earn from writing much less than you think based on raw earnings before taxes and all the other expenses we were talking about. You also have business expenses like cover design, site hosting, editors, narrators, advertising, et cetera, that take even more pieces out of those earnings. You can duck some of those, but not all of them.   So it boils down to that you have to make a significant amount of money as an author to make an actual living after taxes, healthcare costs, and business expenses are taken out of your earnings, which is one of the reasons that writing part-time as you have a full-time job is not the worst idea in the world and can in fact be a very good idea.   Expectation #2: My next book will make as much or more than the last one did. The reality is that your next book or series might not make you as much money as the previous ones did. In fact, you can reliably predict that most book series will have a certain amount of reader drop off as a series goes on, which is why these days I tend to want to keep my series under nine to ten books or so. Budgeting based on your current income levels is not wise, especially with the current economic climate (which for a variety of reasons is very unpredictable) and with increased competition in the ebook market. Most authors have a peak at some point in their career. For example, Stephen King is still obviously making a great living as a writer putting out new books, but his new books don't sell nearly as well as the ones he put out in the ‘80s. J.K. Rowling's novels for adults (she writes as Robert Galbraith the Cormoran Strike series) don't sell anywhere near the number of copies as her Harry Potter series did at its peak.   For myself, my peak years in terms of writing income were 2016 and 2017, and I've never quite been able to recapture that level. In fact, in 2024, I only did about two thirds of what I did in 2017 (my peak year), which can be a little nerve wracking as you watch those numbers move up and down. That is why it is important for a writer (like many other creatives like actors) to anticipate that they might only have a limited window of peak success and to save aggressively rather than living large on the amount you're earning in that peak era. And I am pleased to report that I was fortunate enough and sensible enough to do that, so that even if my income has varied from year to year (2017 onward), it hasn't been a crippling loss and I haven't been out in the street or lost the house or anything like that.   Expectation #3: You will be happier if you write full-time. The reality is that is not true for everyone. Some people actually do better creatively and emotionally with the time restrictions placed on them by having a full-time job. Many famous writers, including Trollope and Kafka, kept their full-time jobs. Even Tolkien was never a full-time writer. He was a professor of philology until he retired. That was interesting to me because personally, I haven't had much in terms of emotional trouble being a full-time writer. I've always kind of had the ability to hyperfocus on a task, and I've been doing that for almost nine years now, and it's worked out well for me.   I've since realized that is not true for many people. One of the things that demonstrated it to me, believe it or not, was insurance actuarial tables. One thing that I tried to do after I became a full-time writer was try and get disability insurance in case I had an accident or severe illness and could not write anymore. I learned that it's extremely difficult for full-time writers to get disability insurance due to their high rates of substance abuse and mental illness. I was astonished by this because I've never had problems with substance abuse or mental illness myself, but given the number of writers and other creatives I've known who have had those issues, perhaps that's not that surprising, but I was still baffled to learn that.   For example, in my area there are a number of tree management companies (because it's a heavily wooded area) and it's a lot easier for an arborist who works with a chainsaw all day to get disability insurance than it is for a writer, which is somewhat crazy to think about because as a writer, I'm mostly sitting in a chair all day pressing buttons on a keyboard while an arborist is climbing a tree or in a crane with a chainsaw, which is a much more physically dangerous thing. But because of the rates of substance abuse and mental illness among full-time writers, apparently it is very difficult for full-time writers to get disability insurance. Some people struggle with the lack of structure and outward accountability that comes from being a full-time writer and find that actually decreases their productivity and leads them to fall into substance abuse or sink deeper into mental health problems. Very few people have the self-discipline and mental resilience required to be a full-time writer for years on end. And that's not me tooting my own horn so to speak, but apparently it is just the facts. Some writers even go back to full-time work just because they find it less stressful or better for their wellbeing. So I think this is an excellent example of having to know yourself and know what is best for you. For example, if you're a very extroverted person who enjoys talking to people at the office, becoming a full-time writer where you spend most of your time by yourself typing might not be the best for your long-term mental and physical health. Expectation #4: Writing full-time will make me more productive. The reality is having more time does not necessarily mean that you'll be more productive. Writers are notorious for falling prey to time wasters, such as social media scrolling, research spirals, and writing adjacent activities (of which there is a whole series about on this podcast already). It does take a lot of a self-discipline, focus, and determination to be a full-time writer. If you are a full-time writer, especially a full-time indie writer, you also have to balance writing time with various administrative tasks, marketing and ads, social media, fan correspondence, and the various tasks involved in the self-publishing process. Writing is not the only thing that writers actually do, and the other tasks often make finding time for writing more difficult than you might expect. Even traditionally published writers still have to carve out time for administrative work and assisting with marketing and social media work.   As your writing career scales up, so does the behind the scenes workload. This is true in my case. Up until 2023, I basically did everything myself, but I did have COVID pretty badly for a while in 2023 and it just knocked out my energy for a while and I realized that I can't keep trying to do everything by myself. I basically had a choice, either cut some tasks or get some help. So I have some people now, some contractors who help me with things like listening to audiobook proofs (I used to do that all myself), doing the podcast transcript, and Excel record keeping (which I used to do myself). While that is an expense, I don't regret it because it really has taken a lot off my plate and freed up more time for writing, which of course is the entire point.   Expectation #5: I admit this one made me laugh. I will have more free time as a full-time writer. I can attest firsthand that that is not true. What you have as a full-time writer is flexibility. The reality is, although there is flexibility on the job, the hours can be more than for a full-time job. There's a joke that full-time writers can work any 12 hours they want every day.   Most indie authors are putting out far more than one book a year in order to make a full-time income, and that requires a fairly demanding pace that most people don't have the self-discipline to maintain as a lifestyle for years and years on end. The majority of full-time writers right now are either romance or erotica writers who are putting out at least a book a month, sometimes even more. As I mentioned in an earlier point in the show, the administrative task can take far more time than most people would imagine. They could, depending on the circumstances, be easily 40 hours a week on their own before you have time to do a single word of writing on the page. I found you really have to guard your writing time well and find ways to keep administrative tasks, distractions, and necessary tasks such as home maintenance or childcare separate from writing.   Anyone who has ever worked from home is familiar with how difficult that can be because home comes with a wide set of distractions. Granted, that's often fewer distractions than the office, but home can have its own set of distractions. I've mentioned before that you need a bit of tunnel vision to produce the quantity of writing I do month after month. I do keep to a pretty rigid schedule. I have daily word count goals I always try to meet and I use the Pomodoro Method to make sure that I'm prioritizing my writing time.   If you are self-employed and working for yourself, that means there are no allocated vacation or sick days and no paid sick leave in the writing world. Taking a couple of weeks off usually means anticipating a loss in income, such as a month without a book being released. Sometimes, especially in the case of illness, family emergencies, and so forth, that just can't be helped. However, the long vacations people imagine writers being able to take mean either a loss of income or a couple of weeks beforehand of working extra hours to make up for it. For example, Brandon Sanderson, who is probably the most famous fantasy author right now, still works and writes on his vacations and does extra work before leaving for a vacation (such as pre-recording videos).   So as you can see, most of the expectations people have about what it's like to write full-time come from the hope that it will change their productivity or make it easier to write. In reality, if you manage your time well, you can often meet all your writing goals even while working another full-time job. Some people are even more productive under the time pressure of only having an hour or so available to write each day. You don't have to wait until you are a full-time writer for your writing career to start. I wrote for decades and published for years before I was a full-time writer.   Frankly, the idea that you need to be a full-time writer in order to be taken seriously or make money exists only in your own mind. Whether you are a full-time writer or not, what matters is having the discipline to shut out distractions and write with absolute consistency regardless of the circumstances. Even writing 250 to 300 words every single day can add up very quickly, even if you don't do it in 15 minute bursts like Anthony Trollope did.   Finally, I suppose this makes it sound like I'm painting a very bleak picture here, but I'm not. As I said before, I'm very fortunate to be able to do what I do, and I'm very grateful to all my readers that I'm able to write full-time and even hire on contractors for narration and behind the scenes work. I appreciate and am very grateful to all the readers who have supported me by continuing to buy my work and access it through subscription services like Kindle Unlimited or Kobo Plus or library options like Libby and Hoopla.   So that is it for this week. I hope it provided some insight into what it's like to be a full-time writer. Thanks for listening to The Pulp Writer Show and all 250 episodes. I hope you found the show and all 250 episodes useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

This week David and Ian talk nope-ortunity, bus fuss, pit fits, ant musings, girl power, island life, rocky roads, trucked up, Eagle mania, and a Dollop of Trollope.

The panel reads the first act of George Bernard Shaw's play Pygmalion, with an introduction to the author, and a consideration how the play reflects Shaw's interest in social welfare, especially in the context of the works of Dickens and Trollope.Continue reading

The panel reads the first two parts (or six chapters) of Trollope's fortieth novel, beginning with an introduction to the author and the text, followed by an examination of the titular character and the mystery surrounding Mr. and Mrs. Peacocke.Continue reading

The complete audiobook is available for purchase at Audible.com: https://n9.cl/i7ts0 The Last Chronicle of Barset By Anthony Trollope Narrated by Steve Gough In the last of the six novels in the Chronicles of Barsetshire series Trollope relates the story of the impecunious curate Josiah Crawley who is falsely accused of stealing a cheque. The community is divided between the supporters and the accusors of the curate, the latter group including one of Trollope's most memorable characters, the formidable Mrs Proudie. Despite being almost broken by the ordeal, Crawley eventually manages to prove his innocence. The plot was drawn partly from Trollope's real life - the character of Crawley was based on his own father. There are a number of subplots in which Trollope takes the opportunity to tie up a number of loose ends in the narrative. In his autobiography, Trollope said that he felt The Last Chronicle of Barset to be his best novel although not all commentators have agreed with his opinion.

Send us a textChapters:00:00 - 05:00 - Intro5:00 - 15:28 - Plymouth Boy15:28 - 25:50 - Swindon Town 25:50 - 30:04 - Sign For Reading30:04 - 33:50 - Digs & Long Distance Relationships33:50 - 40:42 - Huddersfield Promotion on Loan40:42 - 48:22 - Reading Captain in Premier League 48:22 - 54:32 - Signing For Cardiff 54:32 - 1:03:00 - State of Squad Under Ole Gunnar Soljskaer1:03:00 - 1:06:08 - Russel Slade 1:06:08 - 1:13:46 - Vincent Tan Antics 1:13:46 - 1:17:36 - Playing For Cardiff 1:17:36 - 1:19:42 - Sladey Exit, Trollope & Captaincy1:19:42 - 1:29:20 - Neil Warnock Era1:29:20 - 1:33:12 - Derby Leaked Video 1:33:12 - 1:43:08 - Race For Promotion1:43:08 - 1:47:24 - 2018 Premier League Season 1:47:24 - 1:49:24 - Emiliano Salah1:49:24 - 1:53:00 - Peter Whittingham1:53:00 - 1:56:37 - Harries & McCarthy1:56:37 - 2:09:32 - Steve Morrison & City Exit 2:09:32 - 2:11:30 - Sol Bamba2:11:30 - 2:17:42 - Cardiff Future2:17:42 - 2:19:37 - OutroWelcome to "The Bluebird Battle: Sean Morrison's Football Journey," where we dive deep into the life and career of former Cardiff City Captain Sean Morrison. Join us as we explore Sean's remarkable journey from his early days when he was dropped at home club Plymouth, joining League 2 Swindon to reaching the heights of the Premier League with first Reading & finally leading the Bluebirds on the pitch. Sean shares behind-the-scenes stories, personal insights, and the challenges he faced as a professional footballer. We'll discuss memorable matches, the camaraderie of the team, and what it truly means to wear the captain's armband. Whether you're a die-hard Cardiff City fan or a lover of the game, this podcast promises an engaging and inspiring look at the beautiful sport through the eyes of one of its passionate leaders.Support the showJoin this channel to get access to perks:https://www.youtube.com/channel/UCVjOe4UwNRZx89uBXojoPcw/joinYou can also listen on Spotify, Apple Podcasts & Google Podcasts!For more content head over to..Instagram: ThecentralclubpodcastFacebook Page: The Central ClubFacebook Profile: Central ClubTiktok: thecentralclubpodcastTiktok: thecentralclubclipsE-mail us at: Thecentralclubpodcast@gmail.comSTAY CENTRAL

Lee Klein's website https://www.litfunforever.com Buy the book here https://www.saggingmeniscus.com/catalog/like_it_matters Notes Recently read    Always Crashing in the Same Car: A Novel After David Bowie by Lance Olsen   36 Ways of Writing a Vietnamese Poem by Nam Le  The Third Realm by Karl Ove Knausgaard  Autoportrait by Eduoard Leve, Autoportrait by Jesse Ball, I Remember by Joe Brainard, Alphabetical Diaries by Sheila Heti The Material by Camille Bordas (Colorin' Colorado story on New Yorker podcast) Percival Everett bender (Telephone, Erasure, I Am Not Sidney Pointier, Dr. No).    Looking forward to    Backwardness by Garielle Lutz (currently reading) – also The Complete Gary Lutz  Jose Trigo by Fernando del Paso and Ute av Verden by Knausgaard The Red Handler by Johan Harstad (Max, Mischa & Tetoffensiven) Horse Latitudes by Morris Collins   Anxious Pleasures: A Novel After Kafka by Lance Olson White Mythology by W.D. Clarke Much Ado About Everything: Oration on the Dignity of the Novelist by Gary AmdahlAnnihilation by HouellebecqStill need to get to The Fraud and the new Enard Reread Dracula in October, finally read some Trollope

This second episode about George Eliot's masterpiece explores questions of politics and religion, reputation and deception, truth and public opinion. What is the relationship between personal power and faith in a higher power? Is it ever possible to escape from the gossip of your friends once it turns against you? Who can rescue the ambitious when their ambitions are their undoing?To get two bonus episodes from our recent Bad Ideas series – on Email and VAR – sign up now to PPF+ and enjoy ad-free listening as well www.ppfideas.comNext time: Trollope's Phineas Redux, the great novel of parliamentary ups and downs.Coming soon on the Great Political Fictions: Dr Jekyll and Mr Hyde, The Time Machine, Mother Courage and her Children, Atlas Shrugged, Midnight's Children, The Handmaid's Tale, and much more. Hosted on Acast. See acast.com/privacy for more information.

And so we come to the end of our conversations on Anthony Trollope's The Warden, focusing, as always, on your questions. Join us as we dig into Trollope's thoughts on the nature of the novel, whether he was doing theological commentary or social commentary, whether the novel works on all four levels of interpretation (and much more!). Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

Dan, James, Anna and Andy discuss Trollope, tantra, chameleon die-offs and Crimean send-offs.  Visit nosuchthingasafish.com for news about live shows, merchandise and more episodes.  Join Club Fish for ad-free episodes and exclusive bonus content at apple.co/nosuchthingasafish or nosuchthingasafish.com/patreon

Welcome to our conversation on the concluding chapters of The Warden, in which the Close Reads team discusses whether this books ends in anti-climax, whether Trollope is actually poking more fun at Harding himself than it seems at first, the anti-Dickensian nature of the story, the book's unique moral vision, and much more. Happy listening! Close Reads HQ is a community-supported publication. To ensure that we can keep making the content you value, please consider subscribing! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

Welcome to conversations on a new book, which is in a genre we seem to turn to at least once a year: a novel about (or from the perspective) of a clergyman. We've done books on Catholic priests, country ministers, Orthodox monks, and others. In Anthony Trollope's The Warden, we encounter a warden that is connected to the Church of England and who is thus caught between two sides in a war of Victorian Social Justice. So join in as we kick off this series by discussing it's representation of competing duties pitted against each other, what makes the warden a compelling protagonist, and Trollope's approach. Happy listening! Close Reads HQ is a community-supported endeavor. Please consider becoming a subscriber to make sure we can keep producing the content you value. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

The Life and Adventures of Jonathan Jefferson Whitlaw by Frances Milton Trollope audiobook. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Christmas Eve! The best day of the year. To help you celebrate, here is the final parts to our story this month, "Christmas at Thompson Hall" by Anthony Trollope. I rearranged my publication schedule a little bit and decided to combine the last two parts into one episode. I've had a lot of episodes come out this week, and didn't want to clog up your podcast feed TOO much. If you're interested in listening to the whole story, here are the links: Part 1: https://cozychristmas.libsyn.com/christmas-at-thompson-hall-a-christmas-story-by-anthony-trollope-part-1-of-4  Part 2: https://cozychristmas.libsyn.com/christmas-at-thompson-hall-a-christmas-story-by-anthony-trollope-part-2-of-4  Part 3:  I know it says there will be 4 parts, but it's just 3. Sorry for any confusion!  Alright, I will have one more Christmas episode out on December 27th. Yes it will be two days after Christmas, but that's ok. Christmas is a season, not just a day! I hope you enjoy our story today! Ways to support the show: Rate and review: https://podcasts.apple.com/us/podcast/a-cozy-christmas-podcast/id1523423375  Buy me a coffee? www.ko-fi.com/cozychristmas  Ornaments, Mugs, and Notebooks: https://www.etsy.com/shop/CozyChristmasPodcast  Logo shirt designs: http://tee.pub/lic/edygC_h4D1c    Contact Me: facebook: https://www.facebook.com/cozychristmaspodcast  instagram: https://www.instagram.com/cozychristmaspodcast/  twitter: https://twitter.com/CozyXmasPod  youtube: https://www.youtube.com/channel/UCCikiozEbu0h9pKeI1Ei5TQ email: cozychristmaspodcast@gmail.com     #podcast #christmas #christmaspodcast #anthonytrollope #christmasstory

Doctor Thorne by Anthony Trollope audiobook. Doctor Thorne is the third of Trollope's Barsetshire novels, and unlike some of the others, has little to do with the politics and personalities of the Church of England, or politics on the national level (though there is lots of politicking in the mythical county of Barsetshire itself). The plot revolves around the illegitimate Mary Thorne, who has been lovingly raised by her uncle, a country doctor, and who, as she comes of age, finds herself wondering whether she is a lady (in the county sense of the term). Frank Gresham, son of the squire of Greshamsbury, is in love with her (much against the wishes of his noble de Courcy relatives at the Castle), but she dismisses his affection at first as mere puppy love, thereby setting the scene for a series of entanglements, social, romantic, and of course, financial and propertied (never far from the action in Trollope's works). Their resolution, of course, makes up the meat of the novel. One critic has remarked that in Doctor Thorne Trollope succeeds in one of the most difficult tasks an author of fiction can face: how to make genuinely good people genuinely interesting, so that they engage not only the sympathies but also the interest of readers Learn more about your ad choices. Visit megaphone.fm/adchoices

An Eye for an Eye by Anthony Trollope audiobook. A short but typical Trollope romance in which a young nobleman is torn between love for an impoverished Irish girl and the expectations of his family that he will marry someone suitable for inheriting an Earldom Learn more about your ad choices. Visit megaphone.fm/adchoices

Book Title: The Golden Lion of Granpere Author: Anthony Trollope Episode: Number 61 | Part 4 _______________________________________________________________________________________________________ Throughout the narrative, Anthony Trollope skillfully weaves together the lives of various characters, showcasing the beauty of the Alpine landscape and the customs of the French villagers. As the story unfolds, readers are drawn into a world of emotional conflicts, heartaches, and the pursuit of happiness. "The Golden Lion of Granpere" is a compelling tale that highlights Trollope's literary talent and his keen observations of human nature, making it a timeless classic in the realm of Victorian literature. ________________________________________________________________________________________________________ About the author: Trollope's dedication to his craft was remarkable, and he maintained a disciplined writing routine, producing over 47 novels, numerous short stories, and various non-fiction works during his lifetime. Sadly, Anthony Trollope passed away on December 6, 1882, in London, leaving behind a rich literary legacy. His novels continue to be celebrated for their enduring insights into Victorian society and the timeless exploration of human emotions and relationships. His influence on the development of the English novel and his contribution to the literary world have solidified his position as one of the eminent authors of the 19th century. ________________________________________________________________________________________________________ Additional Resources: The Golden Lion of Granpere by Anthony Trollope http://www.loyalbooks.com/book/Golden-Lion-of-Granpere-by-Anthony-Trollope  

Book Title: The Golden Lion of Granpere Author: Anthony Trollope Episode: Numer 59 | Part 2 _______________________________________________________________________________________________________ At the heart of the narrative is the love story between George Voss, the innkeeper of the Golden Lion inn, and his beloved Marie Bromar. Their affection for each other seems boundless, but their path to happiness is obstructed by familial opposition. George's mother, Madame Voss, strongly disapproves of their relationship, believing that Marie's family lacks the proper social standing. Marie's father, the wealthy and proud Monsieur Bromar, wishes for his daughter to marry into a more aristocratic family, which leads him to arrange a marriage for her with a man of higher status. Marie finds herself torn between her love for George and her sense of duty to her family. _______________________________________________________________________________________________________ About the author: While working full-time, Trollope pursued his writing passion in his spare time. In 1847, he published his first novel, "The Macdermots of Ballycloran," but it wasn't until the release of "Barchester Towers" in 1857 that he gained significant recognition and success as an author. Trollope's writing style was characterized by its detailed and realistic portrayals of everyday life, encompassing the complexities of relationships, social customs, and political intrigues. His works often delved into the themes of love, ambition, and the struggles of the middle class in a rapidly changing society. ________________________________________________________________________________________________________ Additional Resources: The Golden Lion of Granpere by Anthony Trollope http://www.loyalbooks.com/book/Golden-Lion-of-Granpere-by-Anthony-Trollope  

Book Title: The Golden Lion of Granpere Author: Anthony Trollope Episode: Number 58 | Part 1 ________________________________________________________________________________________________________ "The Golden Lion of Granpere" is a novel written by Anthony Trollope, an esteemed Victorian-era English author, known for his insightful social commentary and engaging storytelling. The novel was first published in 1872. Set in the picturesque village of Granpere in the French Alps, the story revolves around the lives of its inhabitants and the complications that arise from love, family, and societal expectations. _________________________________________________________________________________________________________ About the author: Anthony Trollope (1815-1882) was a prominent English novelist of the Victorian era, renowned for his prolific output, insightful social commentary, and skillful portrayal of human nature. He was born on April 24, 1815, in London, England, to a family with literary connections; his father was a successful barrister and writer. Trollope's early life was marked by financial struggles, and at the age of 19, he secured a position as a junior clerk in the General Post Office. This employment influenced much of his writing, as he later drew on his experiences within the postal service for his acclaimed novel "The Warden," the first installment of the "Chronicles of Barsetshire" series. _________________________________________________________________________________________________________ Additional Resources: The Golden Lion of Granpere by Anthony Trollope http://www.loyalbooks.com/book/Golden-Lion-of-Granpere-by-Anthony-Trollope  

It is said that stories make us what we are. If that is true, then perhaps creating stories about ourselves may help us to see more clearly who we are and who we want to become. Fictional author of the Lindchester Chronicles, Catherine Fox (Wilcox) joins the podcast to talk about the power of story and the way characters can become real and help us embrace even the messiness of our lives with empathy and compassion. These are stories that make us laugh and cry, but, beyond that, offer the possibility for making peace as we see perspectives different from our own, and perhaps foreshadows the possibility of grace. The narrator of these tales from Lindford says it better than anyone; “Escapist Anglican nonsense? Perhaps, but like travellers on a train who see the sun bouncing off puddles and distant windscreens, readers may get a glancing reflection of some bright truth from the lies fiction tells.” The Lindchester Chronicles are often described as a twenty-first century answer to Trollope's Barchester, and are written in real time, sharing contemporary events through the lens of the characters who live and work in the Diocese of Lindchester. Catherine Fox is an established and popular author. She has a degree in literature and a PhD in Theology and lectures at Manchester Metropolitan University.  See omnystudio.com/listener for privacy information.

Host Darren Parkin is back with another episode of our Aussies Only Podcast, catching up with Melbourne based tennis journalist Matt Trollope who recounts his time in tennis from freelancing travelling the globe to now working full time at Tennis Australia contributing to ausopen.com. Australian Tennis Magazine, tennis.com.au etc. A great chat between two guys who love their tennis stats. Learn more about your ad choices. Visit megaphone.fm/adchoices

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Barchester Towers, published in 1857, is the 2nd novel in Anthony Trollope's series known as the "Chronicles of Barsetshire". It follows on from The Warden, set some years later, with some of the same characters. Among other things it satirises the then raging antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. He wrote constantly, and made himself a writing-desk so he could continue writing while travelling by train. "Pray know that when a man begins writing a book he never gives over," he wrote in a letter during this period. "The evil with which he is beset is as inveterate as drinking – as exciting as gambling." And, years later in his autobiography, he observed "In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope." But when he submitted his finished work, his publisher, William Longman, initially turned it down, finding much of it to be full of "vulgarity and exaggeration". More recent critics offer a more sanguine opinion. "Barchester Towers is many readers' favourite Trollope", wrote The Guardian, which included it in its list of "1000 novels everyone must read". Barchester Towers concerns the leading clergy of the cathedral city of Barchester. The much loved bishop having died, all expectations are that his son, Archdeacon Grantly, will succeed him. Instead, owing to the passage of the power of patronage to a new Prime Minister, a newcomer, the far more Evangelical Bishop Proudie, gains the see. His wife, Mrs Proudie, exercises an undue influence over the new bishop, making herself as well as the bishop unpopular with most of the clergy of the diocese. Her interference to veto the reappointment of the universally popular Mr. Septimus Harding (protagonist of Trollope's earlier novel, The Warden) as warden of Hiram's Hospital is not well received, even though she gives the position to a needy clergyman, Mr Quiverful, with 14 children to support. (From Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We have so many classics on our shelves we've been talking about reading for so long, but have not even cracked one book open. So, on this episode, we put ourselves on notice and share some of the classics that are on our list! Highlights:

Making an encouraging return in Rome following injury, defending champion Novak Djokovic gets a true test of his level – and a chance to avenge his 2022 Paris Masters final loss – against rising star Holger Rune in the quarters. Meanwhile, Iga Swiatek looks dominant as she targets a third straight title in Rome but next faces Elena Rybakina, who has beaten her twice already in 2023. Our panel of experts discusses these match-ups, and more of the storylines from Rome, as the build-up to Roland Garros continues.See omnystudio.com/listener for privacy information.

What I Remember, Volume 2

A cold has Toby feeling less than stellar this week, so he and James have an age old discussion about men - and old age. Vitamin regimens, detoxification and general bouts of hypochondria lead off the show before we really get down, as Texans would say, to brass tacks. Namely are the protests happening across Communist China just a blip on the radar or is this real trouble for Xi? And do we have a right to still feel superior about it? Then we tackle the distasteful Balenciaga "BDSM Teddy Bear" ads and the reactions that has provoked, former Health Secretary Matt Hancock's performance on I'm a Celebrity... and Jonathan Van-Tam's forthcoming role in Call The Midwife. In Culture Corner Toby reviews Tokyo Vice (HBO Max), James likes Graham Hancock's Ancient Apocalypse (Netflix) and off the bookshelf Toby is taking in Barry Lyndon and James is enjoying Trollope's The Way We Live Now.  Opening sound this week is SkyNews correspondent Helen-Ann Smith eyewitness account of protests in Shanghai via YouTube.

Barchester Towers by Anthony Trollope audiobook. This is the second in Trollope's ‘Barsetshire' series of novels. The later novels in the series move away from Barchester itself but 'Barchester Towers' is very much a sequel to the first book ‘The Warden', which is also available from Librivox. The old bishop dies, the archdeacon, Dr. Grantly fails to succeed him and a new bishop, Dr. Proudie is appointed. Dr. Grantly gains a worthy foe, not the new bishop but his wife, Mrs. Proudie, strict Sabbatarian and power behind the Episcopal throne together with the bishop's chaplain, Mr. Slope. John Bold is also dead and Eleanor, now a wealthy young widow sets clerical hearts fluttering. The new bishop must deal with the wardenship of Hiram's Hospital. Will it go to Mr. Harding? All is to play for. Then the old Dean dies and the stakes are raised.

He Knew He Was Right by Anthony Trollope audiobook. He Knew He Was Right is a 1869 novel written by Anthony Trollope which describes the failure of a marriage caused by the unreasonable jealousy of a husband exacerbated by the stubbornness of a willful wife. As is common with Trollope's works, there are also several substantial subplots. Trollope considered this work to be a failure; he viewed the main character as unsympathetic, and the secondary characters and plots much more lively and interesting.

The second episode of this new series of their podcast sees Andy and Martin visit sleepy Barsetshire and the quiet cathedral town of Barchester, where ecclesiastical and romantic intrigue is going to set tongues wagging and cassocks whirling. This 1982 adaptation of two of Anthony Trollope's beloved Barsetshire series, The Warden and Barchester Towers, entitled The Barchester Chronicles boasts memorable performances from Alan Rickman as the slimy Obadiah Slope, Geraldine McEwan as the controlling Mrs Proudie, and Nigel Hawthorne as the overbearing Archdeacon Grantly. The plot concerns a newspaper's crusade against the Church of England's practice of self-enrichment which targets the unassuming and harmless Mr Harding (Donald Pleasance). But this battle is as nothing to the threat that Is later posed when a new Bishop (Clive Swift) is appointed, a weak man who is in the merciless grip of his domineering wife, Mts Proudie, and his chaplain Obadiah Slope. Slope does not only have his eyes set on ecclesiastical grandeur but also the hand of Signorna Madeleine Neroni (Susan Hampshire) until, that is, he discovers that Harding's daughter Eleanor (Janet Maw) may be a better bet. The cast list also includes Barbara Flynn, Cyril Luckham, Denis Carey, Ursula Howells, John Ringham and Phyllidda Law and the series is adapted by Alan Plater whose Beiderbecke trilogy and Miss Marple: A Murder is Announced we celebrated during our first run. Neither Andy, nor Martin expect to enjoy the series that much, but they are to be pleasantly surprised by this adaptation which is regarded by Trollope fans to be a faithful and worthy version of two of his most celebrated novels.

In this episode of Making Markets, host Daniel Newman is joined by Five9 CEO Rowan Trollope to discuss the company's recent earnings results, the strong secular tailwinds that position the company to perform uniquely well even in an economic downturn, AND a dive into Trollope's takes on Crypto and whether the recent capitulation of Terra has created a dark moment for the future of cryptocurrency.

THIS IS A CASE UPDATE. PLEASE LISTEN TO ‘BONUS EPISODE 16' FOR MORE DETAILS. "Have you read Dickens? Austen? Start with Pride and Prejudice and Dickens' A Tale of Two Cities. Shakespeare's Twelfth Night. Think about Hardy. Think about Trollope. On January 4, you will tell me what you have read and I will test you on it. I will test you, and if I think you are lying to me, you will suffer. I will be watching you, Ben John, every step of the way. If you let me down you know what will happen" - Judge Timothy Spencer QC, Leicester Crown Court, August 2021.*** LISTENER CAUTION IS ADVISED *** Script editing, additional writing, illustrations and production direction by Rosanna FittonResearch, writing, narration, editing, and production direction by Benjamin FittonListen to our companion podcast ‘They Walk Among America' here: https://play.acast.com/s/they-walk-among-americaBecome a ‘Patreon Producer' and get exclusive access to Season 1, early ad-free access to episodes, and your name in the podcast credits. Find out more here: https://www.patreon.com/TheyWalkAmongUsMore information and episode references can be found on our website https://theywalkamonguspodcast.comMUSIC: Fleeting by Alice In Winter St. Mary by Chelsea McGough Into by Hill Stay With Me by Moments They Walk Among Us is part of the Acast Creator Network - https://www.acast.com/theywalkamongusSOCIAL MEDIA: Twitter - https://twitter.com/TWAU_PodcastFacebook - https://www.facebook.com/theywalkamonguspodcastInstagram - https://www.instagram.com/theywalkamonguspodcastSupport this show http://supporter.acast.com/theywalkamongus. See acast.com/privacy for privacy and opt-out information.

In this episode, we highlight feedback from our Book Fare community and share what we're currently reading. Books mentioned in this episode: The Chronicles of Narnia and The Great Divorce by CS Lewis Anne of Green Gables by LM Montgomery Speaker for the Dead by OS Card The Spirit Catches You and You Fall Down by A Fadiman Braiding Sweetgrass by RW Kimmerer Little Dorrit by C Dickens The Nightingale by K Hannah Thorn Jack by K Harbour With All Your Heart by C Troxel Just As Long As We're Together by J Blume Gone With the Wind by M Mitchell The Giving Tree by S Silverstein A Summer to Die by L Lowry Evenings at Five by G Godwin Rebecca by D du Maurier Mansfield Park by J Austen All Summer Long by DB Frank Barchester Towers by A Trollope 1984 by G Orwell Words of Delight by L Ryken The Rise and Triumph of the Modern Self by CR Trueman The Eye of the World by R Jordan The Golden Goblet by EJ McGraw Rabbit Hill by R Lawson The Father Hunt by R Stout Death on the Nile by A Christie Gold by C Cleave

Today, The Crexi Podcast covers how 2022 will change office acquisitions with David Wheeler and Anthony Trollope of Hartman Income REIT.The Crexi Podcast explores various aspects of commercial real estate in conversation with top industry professionals. In each episode, we feature different guests, tapping into their wealth of expertise and exploring the latest trends in the world of commercial real estate.  In this episode, Crexi's Ryan Schlesinger sits down with David and Anthony, deep-diving into how the pandemic has changed businesses' needs and how both investors and tenants are preparing for 2022's upcoming office trends. Their wide-ranging conversation covers: How different-sized tenants are approaching their office spacing needs in different Texas metros.What principles guide Hartman's investment strategies in the new year and beyond the pandemic.The influx of businesses to Texas and what the state/local governments are doing right to attract tenants.What makes offices attractive to different-sized tenants, including outdoor spaces, flexible space, and other amenities.What's most exciting ahead about the office sector.And much more! If you enjoyed this episode, please subscribe to our newsletter to receive the very next one delivered straight to your inbox. For show notes, past guests, and more CRE content, please check out Crexi Insights.Ready to find your next CRE property? Visit Crexi and immediately browse hundreds of thousands of available commercial properties.Follow Crexi:https://www.crexi.com/​ https://www.crexi.com/instagram​ https://www.crexi.com/facebook​ https://www.crexi.com/twitter​ https://www.crexi.com/linkedin​ https://www.youtube.com/crexi About David Wheeler:David Wheeler serves as Executive Vice President and Chief Investment Officer for Hartman Income REIT Management, Inc. (Hartman) and Hartman Advisors.David has over thirty years of experience in the sale, acquisition, disposition, financing, and leasing of commercial real estate investments. Of his many responsibilities, David sources investment opportunities and oversees ownership transition for shopping centers, office buildings, and industrial properties. He leads the company's capital markets activities, including acquisition, financing, and disposition programs totaling over $1 Billion in transaction activity. He sits on the company's finance committee and spent two years on the firm's leasing committee, during which he directed all DFW leasing activity. He joined Hartman Management in January 2003, following his 16-year tenure with CBRE. During his time at CBRE, David was Vice President in the Investment Services Division where he successfully completed the sale of over nine million square feet of commercial properties throughout the South Central US. David holds an MBA with a concentration in Real Estate from Southern Methodist University and a BS in Civil Engineering with an option in Construction Management from Texas A&M University. About Anthony Trollope:Anthony Trollope is Hartman's Director of Interactive Marketing and has more than 15 years of digital marketing experience.Before joining Hartman, Mr. Trollope was the Director of Digital Marketing and part of the senior leadership team at AMID, Inc., a Houston, Texas-based company specializing in medical devices. During his time at AMID, Inc., Mr. Trollope was responsible for a 7-figure digital ad budget, led the marketing team, and oversaw operations across web strategy, search marketing, social media, and content marketing.Previously, Mr. Trollope was the founder of Trade Intellect Limited, operator of the largest online B2B wholesale networking community and marketplace in Europe, serving over a quarter of a million members. Under his leadership, Mr. Trollope organically doubled the user base four years consecutively and led the business through to acquisition by private equity.Mr. Trollope is a graduate of the University of Portsmouth, England, where he received his Bachelor of Science degree in E-Commerce. 

This week on Recall this Book, another delightful crossover episode from our sister podcast Novel Dialogue, which puts scholars and writers together to discuss the making of novels and what to make of them. (If you want to hear more, RtB 53 featured Nobel Orhan Pamuk, RtB 54 brought in Helen Garner, and in RtB 72 we haveCaryl Phillips). Who better to chat with John and Jennifer Egan--prolific and prize-winning American novelist--than Ivan Kreilkamp? The distinguished Indiana Victorianist showed his Egan expertise last year in his witty book, A Visit from the Goon Squad Reread. Jennifer Egan © Pieter M. van Hattem Their conversation ranges widely over Egan's oeuvre–not to mention 18th and 19th century literature. Trollope, Richardson and Fielding are praised and compared to modern phenomena like TikTok and gamers streaming (including gamers streaming chess, a very special instance of getting inside someone else's thought process). The PowerPoint chapter in Goon Squad gets special treatment, and tantalizing details from Egan's forthcoming novel, The Candy House (April, 2022) make an appearance. Egan discusses her authorial impulse towards camouflage, her play with genre's relationship to specialized lingos and argots–and the way a genre's norms and structure can function like a “lifeline” and also a “portal.” Mentioned in the Episode Jennifer Egan: Visit from the Goon Squad; Look at Me; Manhattan Beach; The Keep Samuel Richardson: Clarissa; Pamela Henry Fielding, Shamela Herman Melville, Moby Dick Patrick O'Brian (e.g. Master and Commander) Alfred Hitchcock, Lifeboat Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Recall this Book, another delightful crossover episode from our sister podcast Novel Dialogue, which puts scholars and writers together to discuss the making of novels and what to make of them. (If you want to hear more, RtB 53 featured Nobel Orhan Pamuk, RtB 54 brought in Helen Garner, and in RtB 72 we haveCaryl Phillips). Who better to chat with John and Jennifer Egan--prolific and prize-winning American novelist--than Ivan Kreilkamp? The distinguished Indiana Victorianist showed his Egan expertise last year in his witty book, A Visit from the Goon Squad Reread. Jennifer Egan © Pieter M. van Hattem Their conversation ranges widely over Egan's oeuvre–not to mention 18th and 19th century literature. Trollope, Richardson and Fielding are praised and compared to modern phenomena like TikTok and gamers streaming (including gamers streaming chess, a very special instance of getting inside someone else's thought process). The PowerPoint chapter in Goon Squad gets special treatment, and tantalizing details from Egan's forthcoming novel, The Candy House (April, 2022) make an appearance. Egan discusses her authorial impulse towards camouflage, her play with genre's relationship to specialized lingos and argots–and the way a genre's norms and structure can function like a “lifeline” and also a “portal.” Mentioned in the Episode Jennifer Egan: Visit from the Goon Squad; Look at Me; Manhattan Beach; The Keep Samuel Richardson: Clarissa; Pamela Henry Fielding, Shamela Herman Melville, Moby Dick Patrick O'Brian (e.g. Master and Commander) Alfred Hitchcock, Lifeboat Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Árið 1878 var hinn frægi enski rithöfundur Anthony Trollope á ferð á Íslandi ásamt vinum sínum. Í þessum síðari þætti af tveim segir Trollope frá ferð hópsins á Þingvelli og Geysi, og upplifunum þeirra á leiðinni. Bráðskemmtilegar lýsingar á ferð og ferðafélögum. Teikningarnar eru úr kveri sem Trollope gaf út um ferðina. Umsjón: Illugi Jökulsson,

Árið 1878 var hinn frægi enski rithöfundur Anthony Trollope á ferð á Íslandi ásamt vinum sínum. Í þessum síðari þætti af tveim segir Trollope frá ferð hópsins á Þingvelli og Geysi, og upplifunum þeirra á leiðinni. Bráðskemmtilegar lýsingar á ferð og ferðafélögum. Teikningarnar eru úr kveri sem Trollope gaf út um ferðina. Umsjón: Illugi Jökulsson,