Podcasts about victorians

In 1853, a high-profile London dinner party was held inside a life-sized mold of an iguanodon. Research: Cain, Joe. “New Year’s Eve Dinner in the Iguanodon at Crystal Palace 31 December 1853.” https://profjoecain.net/dinner-iguanodon-crystal-palace-dinosaurs/ Cain, Joe. “Top Questions About New Year’s Eve Dinner in Iguanodon at Crystal Palace.” https://profjoecain.net/top-questions-about-new-years-eve-dinner-iguanodon-crystal-palace-mould-sculpture/ Carlson, Laura. “Episode 5: A Victorian Dinosaur Dinner.” The Feast. https://www.thefeastpodcast.org/episode-5-a-victorian-dinosaur-dinner Friends of the Crystal Palace Dinosaurs. “Dinner in the Iguanodon.” 7/21/2013. https://cpdinosaurs.org/blog/post/dinner-in-the-iguanodon Friends of the Crystal Palace Dinosaurs. “How were the Crystal Palace Dinosaurs made?” 5/13/2016. https://cpdinosaurs.org/blog/post/how-were-the-crystal-palace-dinosaurs-made Routledge & Co., publishers. “Routledge's guide to the Crystal Palace and park at Sydenham.” Crystal Palace. 1854. https://archive.org/details/routledgesguidet00grou/ Geological Society of London Blog. “The First Dinosaurs’ Dinner.” 4/15/2021. https://blog.geolsoc.org.uk/2021/04/15/the-first-dinosaurs-dinner/ Hawkins, B. Waterhouse. “On Visual Education, As Applied to Geology.” Journal of the Society of Arts. Vol. II No. 78. 5/19/1854. Illustrated London News. “The Crystal Palace, at Sydenham.” 1/7/1854. https://archive.org/details/sim_illustrated-london-news_1854-01-07_24_662/page/21/mode/1up McCarthy, Steve. “The Crystal Palace Dinosaurs: The Story of the World’s First Prehistoric Sculptures.” The Crystal Palace Foundation. 1994. McCarthy, Steve. "Hawkins, Benjamin Waterhouse (1807–1894), natural history artist and sculptor." Oxford Dictionary of National Biography. October 08, 2009. Oxford University Press. Date of access 5 Dec. 2025, https://www-oxforddnb-com.proxy.bostonathenaeum.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-54370 Osterloff, Emily. “The world's first dinosaur park: what the Victorians got right and wrong.” Natural History Museum. https://www.nhm.ac.uk/discover/crystal-palace-dinosaurs.html Owen, Richard. “Geology and inhabitants of the ancient world.” Crystal Palace Company. 1854. https://archive.org/details/geologyinhabitan00owen Peck, Robert McCracken. "The art of bones: British artist Benjamin Waterhouse Hawkins, who sparked dinosaur mania in the nineteenth century, still influences how natural history museums represent prehistoric life today." Natural History, vol. 117, no. 10, Dec. 2008, pp. 24+. Gale Academic OneFile, link.gale.com/apps/doc/A189832561/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=f6c80589. Accessed 5 Dec. 2025. Phillips, Samuel. “Guide to the Crystal Palace and Park.” Crystal Palace Library. 1854. https://archive.org/details/guidetocrystalpa00phil_0 Rack, Yannic. “How a Victorian Dinosaur Park Became a Time Capsule of Early Paleontology.” Smithsonian. 8/29/2023. https://www.smithsonianmag.com/travel/how-a-victorian-dinosaur-park-became-a-time-capsule-of-early-paleontology-180982799/ The History Press. “The Victorian dinner inside a dinosaur.” https://thehistorypress.co.uk/article/the-victorian-dinner-inside-a-dinosaur/ Witton, Mark and Ellinor Michel. “Crystal Palace dinosaurs: how we rediscovered five missing sculptures from the famous park.” The Conversation. 5/20/2022. https://theconversation.com/crystal-palace-dinosaurs-how-we-rediscovered-five-missing-sculptures-from-the-famous-park-182573 See omnystudio.com/listener for privacy information.

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom...

Each week for the rest of December we will publish some of our favourite audio long reads of 2025, in case you missed them, with an introduction from the editorial team to explain why we've chosen it. From July: the Victorians called it ‘pernicious vomiting of pregnancy', but modern medicine has offered no end to the torture of hyperemesis gravidarum – until now By Abi Stephenson. Read by Nicolette Chin. Help support our independent journalism at theguardian.com/longreadpod

A spooky story during the Christmas season has become traditional – and the modern ghost story was invented by the Victorians, who embraced the supernatural and tried to understand it. Ben Machell has investigated the history of ghost hunting and supernatural investigations since the mid-19th century for his new book, Chasing the Dark, and in this episode David Musgrove talks to Ben about the history of our passion for the paranormal. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Part Two! If you thought decades-long affairs were wild, wait until you hear what Palmerston did with actual power. In this episode of History's Greatest Idiots, we explore his most spectacular diplomatic overreactions: sending 14 warships to collect £150, fighting two wars over opium trafficking, allegedly assaulting Queen Victoria's lady-in-waiting in her own palace, becoming Prime Minister at 70, and literally dying in office at 80.This is the story of gunboat diplomacy, imperial arrogance, and refusing to retire.What You'll Discover:The Don Pacifico Affair (Most Spectacular Overreaction Ever): Portuguese Jewish merchant in Athens had his house ransacked in 1847. Claimed £26,000 damages (£30 million in relative purchasing power). Palmerston sent 14 warships, 731 guns, 8,000 sailors to blockade Greece for two months. Actual damages awarded: £150 (£13,500 today). His famous five-hour speech: "Civis Romanus sum" (I am a British citizen). Commons voted 310-264 in his favour, became "most popular man in the country."The Opium Wars (Britain's Least Defensible Policy): British merchants illegally smuggling opium into China for decades. China banned it (catastrophic health crisis). Britain's solution: get Chinese addicted, use drug money to buy tea. 1839: China destroyed 20,000 chests of British opium. Palmerston insisted war was about "free trade." Gladstone called it "a war more unjust in its origins, more calculated to cover this country with permanent disgrace." Vote: 271-262 for war (nine votes!). First Opium War (1839-1842): Britain destroyed Chinese forces, Treaty of Nanking forced China to pay indemnity, open treaty ports, cede Hong Kong. Second Opium War (1856-1860) fully legalised opium trade. China's "century of humiliation" began. All because Victorians really liked tea.The Windsor Castle Scandal: Late 1830s/early 1840s: Palmerston, staying at Windsor Castle, entered Lady Dacre's bedroom late at night (drunk and "enterprising"). She screamed, threw him out. Entire castle learned immediately. Claimed he mistakenly entered wrong room, but locked door behind him. Victoria furious, wanted him sacked. Only Lord Melbourne's intervention saved his career. Victoria wrote years later about "old offences which sunk deep into her mind." She explicitly said in 1853: "Nothing will induce Her Majesty to have Palmerston as Prime Minister." Had to accept him twice anyway. 1863: 78-year-old Palmerston accused of adultery with Mrs O'Kane. Public reaction: "Good for him!"Becoming Prime Minister (Finally): Crimean War going badly, Aberdeen's government fell. 1855: Palmerston became PM at 70 (oldest person ever to take job for first time). Brought Crimean War to reasonable conclusion. 1857: Called election campaigning on being "tough on China," won considerable majority ("Vote for me, I'll send more gunboats!"). 1858: Government fell over restricting refugees. 1859: Returned as PM at 75 with Russell and Gladstone. Final ministry until death in 1865.The Final Years: Navigated American Civil War carefully. Presented Italian Unification as British victory (Britain barely involved). Schleswig-Holstein Question: "Only three people understood it: Prince Consort (dead), German professor (mad), and I (forgotten)." Blocked electoral reform for working class. 1865 election slogan: "Leave it to Pam," won convincing majority at 80. Died 18 October 1865, two days before 81st birthday. Alleged last words: "Die, my dear doctor? That's the last thing I shall do."⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/HistorysGreatestIdiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://buymeacoffee.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠⁠⁠⁠Artist: Sarah Chey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.fiverr.com/sarahchey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This week on Reel Talk, Jonathan watches the latest in the Knives Out trilogy - Wake Up Dead Man: A Knives Out Mystery, Honey heads to the cinema to see the latest A24 offering, Eternity, and the two try and fail to get through Jay Kelly on Netflix.In other news, Honey has an interesting week in Whitby, witnessing the coming together of Victorians and Krampus, Jonathan is reunited with his Traitor teammate Nick Mohammad for Big Fat Quiz of the Year, and Jonathan shares his guilty pleasure of the week: the Netflix Christmas offering My Secret Santa.If you want to get involved in the show, email us at reeltalk@global.com and follow us on Instagram at @reeltalkross.Listen and subscribe to Reel Talk on Global Player or wherever you get your podcasts.

Throughout our celebration of season 10 we've put together a few "supercut" episodes looking back at some of our favourite moments and episodes. We revisited the series we put together about the history of the bridges of the Welland Canal, and we revisited the series about the Victorians called Victorian Tweets. On today's last episode of season 10, we bring you a supercut compilation of our favourite instances where we used primary sources on the podcast.

Welcome to Part Two! If you thought decades-long affairs were wild, wait until you hear what Palmerston did with actual power. In this episode of History's Greatest Idiots, we explore his most spectacular diplomatic overreactions: sending 14 warships to collect £150, fighting two wars over opium trafficking, allegedly assaulting Queen Victoria's lady-in-waiting in her own palace, becoming Prime Minister at 70, and literally dying in office at 80.This is the story of gunboat diplomacy, imperial arrogance, and refusing to retire.What You'll Discover:The Don Pacifico Affair (Most Spectacular Overreaction Ever): Portuguese Jewish merchant in Athens had his house ransacked in 1847. Claimed £26,000 damages (£30 million in relative purchasing power). Palmerston sent 14 warships, 731 guns, 8,000 sailors to blockade Greece for two months. Actual damages awarded: £150 (£13,500 today). His famous five-hour speech: "Civis Romanus sum" (I am a British citizen). Commons voted 310-264 in his favour, became "most popular man in the country."The Opium Wars (Britain's Least Defensible Policy): British merchants illegally smuggling opium into China for decades. China banned it (catastrophic health crisis). Britain's solution: get Chinese addicted, use drug money to buy tea. 1839: China destroyed 20,000 chests of British opium. Palmerston insisted war was about "free trade." Gladstone called it "a war more unjust in its origins, more calculated to cover this country with permanent disgrace." Vote: 271-262 for war (nine votes!). First Opium War (1839-1842): Britain destroyed Chinese forces, Treaty of Nanking forced China to pay indemnity, open treaty ports, cede Hong Kong. Second Opium War (1856-1860) fully legalised opium trade. China's "century of humiliation" began. All because Victorians really liked tea.The Windsor Castle Scandal: Late 1830s/early 1840s: Palmerston, staying at Windsor Castle, entered Lady Dacre's bedroom late at night (drunk and "enterprising"). She screamed, threw him out. Entire castle learned immediately. Claimed he mistakenly entered wrong room, but locked door behind him. Victoria furious, wanted him sacked. Only Lord Melbourne's intervention saved his career. Victoria wrote years later about "old offences which sunk deep into her mind." She explicitly said in 1853: "Nothing will induce Her Majesty to have Palmerston as Prime Minister." Had to accept him twice anyway. 1863: 78-year-old Palmerston accused of adultery with Mrs O'Kane. Public reaction: "Good for him!"Becoming Prime Minister (Finally): Crimean War going badly, Aberdeen's government fell. 1855: Palmerston became PM at 70 (oldest person ever to take job for first time). Brought Crimean War to reasonable conclusion. 1857: Called election campaigning on being "tough on China," won considerable majority ("Vote for me, I'll send more gunboats!"). 1858: Government fell over restricting refugees. 1859: Returned as PM at 75 with Russell and Gladstone. Final ministry until death in 1865.The Final Years: Navigated American Civil War carefully. Presented Italian Unification as British victory (Britain barely involved). Schleswig-Holstein Question: "Only three people understood it: Prince Consort (dead), German professor (mad), and I (forgotten)." Blocked electoral reform for working class. 1865 election slogan: "Leave it to Pam," won convincing majority at 80. Died 18 October 1865, two days before 81st birthday. Alleged last words: "Die, my dear doctor? That's the last thing I shall do."⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/HistorysGreatestIdiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://buymeacoffee.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠⁠⁠⁠Artist: Sarah Chey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.fiverr.com/sarahchey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Errol Parker and Clancy Overell wrap up all the biggest stories from the week - live from the Desert Rock FM studio in downtown Betoota thanks to our friends at Dan Murphy's! Subscribe to the Betoota Newsletter HERE Betoota on Instagram Betoota on TikTokSee omnystudio.com/listener for privacy information.

Shadow Industrial Relations spokesperson and Liberal MP for Goldstein, Tim Wilson, joined Heidi Murphy.See omnystudio.com/listener for privacy information.

Director of research at the Institute of Public Affairs, Morgan Begg, has reflected on the legacy of former Premier Daniel Andrews, after writing a book about him.See omnystudio.com/listener for privacy information.

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

What did the Ancient Egyptians think about sex? Is there any truth to a rumoured royal sex scandal? What did they think of same-sex relationships?In today's episode, Kate's joined by the fantastic historian and author Dr Campbell Price to go back thousands of years to the always-fascinating world of Ancient Egypt.Find out why the Victorians sexualised the Ancient Egyptians, what an Ancient Egyptian mummy smells of, and what the first recorded chat-up line in history is!*TW: This episode includes references to sexual assault*This episode was edited by Tim Arstall and produced by Stuart Beckwith. The senior producer was Freddy Chick.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast. Hosted on Acast. See acast.com/privacy for more information.

Rebecca Fraser, Workplace and Employment Expert, joined 3AW Afternoons.See omnystudio.com/listener for privacy information.

"The original soundtrack I used from Cities & Memory's archive was recorded on a street in Cairo at sunset, outside the Marriott Hotel and Omar Khayyam casino, on Saray El Gezira Street. The famous Gezirah Palace was completed in 1869 by Khedive Ismail, to host dignitaries for the opening of the Suez Canal that year. When I first listened to this piece I heard, among the sounds of car horns and the evening prayer call, the sound of footsteps running down the street and away, and a sharp gasp of breath. The whipping wind in the microphone sounded like a jinn or an Afreet, plural Afareet. It reminded me of my favourite song El Shawarea Hawadeet (the streets are tales) by El Masreyeen from 1977. Lonely streets echoing with memories, stories and Afareet.  "In the final piece, you can hear layers of sounds from different eras. The song Al Bulbul Gani (the nightingale came to me) recorded in Cairo in 1906, written by Abd al-hayy Hilmi; the sounds of drumming used in the Cairo Zar women's ritual by the group Mazaher – a ritual to try to find accommodation with demons that have taken over a woman's body. You can hear too, strange sounds of a furious female jinn screaming, shouting and banging at each outrageous sentence from British prime minister Anthony Eden, in his public address in 1956 during the Suez Crisis, where he attempts to justify Britain's bombing of Egypt. Oil is the justification for everything.  "As this Cairo tale unfolds, the Arabian riff, or “Melodia Arabe”, sinuously weaves between the Zar drumming. Composed in the 1800's, the Arabian riff, also known as The Streets of Cairo, was a little Orientalist ditty that supposedly evoked the exotic Arab. The quote I am reading is from the 1899 gothic novel, Pharos The Egyptian, by Guy Boothby. It was one of many gothic horror stories of revenge by an angry Egyptian mummy or demon, a fear that haunted the Victorians during this era." Credits:  The fragments of the Arabian riff in different versions are from here, with a Creative Commons licence:  https://commons.wikimedia.org/wiki/File:Arabian_melody.ogg https://commons.wikimedia.org/wiki/File:Arabian_song.ogg |  Cairo street sounds reimagined by Salma Ahmad Caller.

John has had enough of apologies. He wants action and results. Combine that with John being notified about every business expense, and you get a very scared Elis and Dave.But sometimes it's fear that instils results - or more importantly top quality content. This is how Sir Alex would want it.Meanwhile the more be-thighed of the two has had enough of clouds. He doesn't ever want to look down at them again - something which would undoubtedly baffle the forward thinking Victorians.And what oils have you got? Let us know via elisandjohn@bbc.co.uk and 07974 293 044 on WhatsApp.

This is the second special podcast with an arboriculture focus produced as part of ArbWeek, HortWeek's deep dive into all things arb held from 24 - 30 November.Listen to Jeremy Barrell on how 'Failing clients deserve failing trees', plus tree growing, procurement, planting and establishmentThis week's guests bring their distinct perspectives on the arb sector - but also bring a holistic perspective having worked together for many years on fascinating and crucial research projects.Kevin Martin, head of tree collections at RBG Kew and Adam Dunnett, production and amenity director for Hillier Nurseries are thought leaders in their fields and bring fascinating insights and forthright opinions to their discussion with Rachael Forsyth.They discuss tree planting and establishment, ground breaking research with "remarkable" results that is transforming tree selection and understanding of how to grow and in particular, water, trees.Skip to...00:00:49 How Kevin and Adam began their careers in horticulture00:05:45 Kevin Martin on his research into resiliant trees sourced from around the world00:09:53 Trees we should be planting to weather the future00:14:40 Hillier's 'Streetwise' range of trees for urban environments00:17.39 Peat-free growing and trees00:20:48 Groundbreaking research into irrigation for trees at Hillier00:30:13 The importance of grants, continuity in Government support and business certainty00:40:39 Adam Dunnett on seeing changes in the school curriculum making a difference to hort00:50:40 The latest on Resistor elms00:52:43 Kevin and Adam's 'dream' pieces of research topicsOn the topic of encouraging young people into horticulture, Adam Dunnett relates a "chink of light" following a visit to a secondary school where as part of their work on the "2050 project" they are looking at what trees will be thriving in 25 year's time. "That's just one school, but actually that could be really quite transformational if that's happening in other schools!"Kevin says: "Horticulture and growing plants is an applied science, and it's one fo the most important applied sciences we do and it's so overlooked...it's always been seen as suitable for someone who's not academic, and that's not the case."We need some of the brightest people to solve some of the biggest questions...we need to work on that narrative."In this episode the Victorians get a couple of name-checks and we also get some top tips on which tree to go to to get unbeatable conkers.Podcast presenter: Rachael ForsythPodcast producer: Christina Taylor Hosted on Acast. See acast.com/privacy for more information.

This week we're joined by Bio-Archeologist, Dr Carly Ameen, who has been part of a team studying the  emergence and diversification of dog morphology. Looking at the remarkable difference in over 600 dog's skulls from as far back as 11,000 years ago, the team discovered a huge variety of skull shapes and sizes. This proves that dogs were very different from wolves at this point in time. But the missing link as to when wolves became dogs is still unclear. But this research confirms it was more than 11,000 years ago! The variety of skull shapes in what is generically termed a 'canid' also dispels the myth that the Victorians created the range of dog breeds we see today. The extreme modern exaggeration of features was not apparent in the skulls analysed, but they do prove that dogs had been shaped, being created for the different purposes whether guarding, hunting, or simply being ‘lap dogs'.  We chat about the Romans and how there are graves dedicated to dogs in the UK dating back to the Roman empire, again proving the huge impact dogs have had on our lives for centuries. The question of when wolves became dogs may never be  answered as for many years the wolves - a strain of Grey Wolf, long extinct, would have remained as wolves for likely hundreds of years. before they changed shape. What we do know is that these early dogs saw something in us early humans that inspired them to become man's best friend.Read the study hereThank you to the good people at Antinol. We're super proud to be collaborating with them and you can enjoy at 10% discount on your purchase by using our promocode ANNAWEBB. Remember - you're supporting A Dog's Life by supporting our proud sponsor!If you want to switch to a raw diet for your dog, you can't do better than Paleo Ridge. Find out more here and follow them on @paleoridgeInstagram: @PaleoridgeFor more about Anna go to annawebb.co.ukMusic and production by Mike Hanson for Pod People ProductionsCover art by JaijoCover photo by Rhian Ap Gruffydd at Gruff Pawtraits

What if the most valuable substance on Earth wasn't gold, or oil, or diamonds… but bird droppings?In the mid-19th century, guano—yes, seabird excrement—fueled an agricultural and geopolitical revolution. From the sacred islands of the Inca Empire to the docks of Victorian London and the halls of the U.S. Congress, this strange, smelly fertilizer transformed farming, powered economies, and even sparked wars. Nations fought for it, empires expanded because of it, and fortunes were made (and lost) in the race for what Victorians called “white gold.”Join John and Patrick as they dig into the astonishing history of guano: how it sustained the Inca Empire, drove the birth of American imperialism, and even set the stage for modern synthetic fertilizers. It's a tale of science, empire, and excrement — one that changed the world, quite literally, from the ground up.-----------Ever see a shirt that you could just eat it? Well, this New Jersey family-run business may just be it! Visit EatShirts here to order your favorite fruit or veggies shirt!-----------Join the History of Fresh Produce Club for ad-free listening, bonus episodes, book discounts and access to an exclusive chatroom community.Support us!Share this episode with your friendsGive a 5-star ratingWrite a review -----------Subscribe to our biweekly newsletter here for extra stories related to recent episodes, book recommendations, a sneak peek of upcoming episodes and more.-----------Instagram, TikTok, Threads:@historyoffreshproduceEmail: historyoffreshproduce@gmail.com

Ballooning became a huge fad starting in the late 18th century, and there was a surprising amount of rioting associated with it. Fervor, excitement, and intoxication in some instances, meant that balloon events were prone to get out of control. Research: Bond, Elizabeth Andrews. “Popular Science and Public Participation.” From The Writing Public: Participatory Knowledge Production in Enlightenment and Revolutionary France. Cornell University Press. 2021. https://www.jstor.org/stable/10.7591/j.ctv310vktg.8 Branson, Susan. “Scientific Americans.” Cornell University Press, 2022. Cornell University Press, 2022. Coxwell, Henry Tracey. “My Life and Balloon Experiences.” W.H. Allen. 1889. https://archive.org/details/mylifeandballoo02coxwgoog/ Daily National Intelligencer. “The Balloon, and Conflagration of Vauxhall.” 9/14/1819. https://www.loc.gov/resource/sn83026172/1819-09-14/ed-1/?sp=2&q=vauxhall&r=0.48,-0.027,0.621,0.225,0 Franklin, Benjamin. “Benjamin Franklin to Ingenhousz, 16 January 1784.” https://founders.archives.gov/documents/Franklin/01-41-02-0310#BNFN-01-41-02-0310-fn-0005 “Hot-Air Balloon: Jean-François Janinet (1752–1814).” https://www.getty.edu/publications/artists-things/things/hot-air-balloon/#fnref8 Gillespie, Richard. “Ballooning in France and Britain, 1783-1786: Aerostation and Adventurism.” Isis, Vol. 75, No. 2 (June, 1984). https://www.jstor.org/stable/231824 Glaisher, James. “Travels in the Air.” R. Bentley. 1871. https://archive.org/details/ldpd_7245144_000 Holman, Brett. “The Melbourne balloon riot of 1858.” Airminded. 3/23/2017. https://airminded.org/2017/03/23/the-melbourne-balloon-riot-of-1858/ Jackson, Joseph. “Vauxhall Garden.” The Pennsylvania Magazine of History and Biography. Vol. LVII. No. 4. 1933. Keen, Paul. “The ‘Balloonomania’: Science and Spectacle in 1780s England.” Eighteenth-Century Studies , Summer, 2006, Vol. 39, No. 4 (Summer, 2006). https://www.jstor.org/stable/30053707 Magazine Monitor. “Victorian Strangeness: The great balloon riot of 1864.” BBC. 8/9/2014. https://www.bbc.com/news/blogs-magazine-monitor-28674654 Robbins, John. “Up in the Air: Balloonomania and Scientific Performance.” Eighteenth-Century Studies, Vol. 48, No. 4, Special Issue: Performance. Summer 2015. Via JSTOR. https://www.jstor.org/stable/24690309 Robson, David. “The Victorians who flew as high as jumbo jets.” BBC. 4/20/2016. https://www.bbc.com/future/article/20160419-the-victorians-who-flew-as-high-as-jets Smith, Zoe. “Disaster at 37,000 feet.” University of Cambridge. https://www.cam.ac.uk/stories/balloon-disaster Soth, Amelia. “Hot Air Balloon Launch Riot!” JSTOR Daily. 2/3/2022. https://daily.jstor.org/hot-air-balloon-launch-riot/ Sparrow, Jeff. “Wrath and awe: a short history of balloons and their power to fire up mob fury.” The Guardian. 2/14/2023. https://www.theguardian.com/commentisfree/2023/feb/15/wrath-and-awe-a-short-history-of-balloons-and-their-power-to-fire-up-mob-fury Sydney Morning Herald. “The Balloon Riot in the Domain: Death of Thomas Downs.” 12/19/1856. https://trove.nla.gov.au/newspaper/article/12990254 Sydney Morning Herald. “The Sydney Balloon.” Trove. 12/16/1856. https://trove.nla.gov.au/newspaper/article/12990120 The Rhode-Island American. “Riotous Proceedigns.” 9/14/1819. https://www.loc.gov/resource/sn83025442/1819-09-14/ed-1/?sp=3&q=vauxhall&r=-0.14,1.265,0.686,0.248,0 Tucker, Jennifer. “Voyages of Discovery on Oceans of Air: Scientific Observation and the Image of Science in an Age of ‘Balloonacy.’” Osiris, 1996, Vol. 11, Science in the Field (1996). Via JSTOR. https://www.jstor.org/stable/301930 Wroth, Warwick. “Cremorne and the Later London Gardens.” London. Elliot Stock. 1907. See omnystudio.com/listener for privacy information.

SUPPORT THE SHOW ON PATREON: https://www.patreon.com/lionsledbydonkeys Towards the end of the Crimean War the Russians invade the Ottoman Empire, coming up against the Fortress City of Kars. Command of the Ottoman forces fall to an old drunk, British man who may or may not be the bastard child of Prince Edward, all of the Turkish officers under him are actually Hungarian, and one American catholic. Sources: Winifred Baumgart. The Crimean War: 1853-1856 Raugh Harold. The Victorians at War: 1815-1914 Humphrey Sandwith. The Siege of Kars 1856 William Edward David Allen, Paul Muratoff. Caucasian Battlefields: The History of the Wars of the Turco-Caucasian Border 1828-1921

Some hauntings don't wait for old Victorians, tragic deaths, or cursed land. Sometimes they happen in the kind of house that shouldn't be haunted at all — a normal, newer family home where nothing bad ever happened. That's what makes this one so unnerving. After a late-night horror movie, an 18-year-old steps out of the shower and hears it: slow, deliberate footsteps crossing the open-plan living room… directly toward the hallway… and stopping right outside the bathroom where he's standing. No siblings. No parents. No pets. Just boots on the floor of a house that should've been silent. Was it something that followed him home? Residual energy waking up? Or proof that even “clean” houses aren't really empty? This is the kind of true ghost story that hits different — because it sounds like the house you live in right now. If you've ever been home alone, heard footsteps, and told yourself, “It's just the house”… this one won't let you do that again. #trueghoststory #hauntedhouse #paranormalactivity #realghoststoriesonline #ghostfootsteps #homealone #creepynight #supernaturalencounter #spiritactivity #scarystory Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Jacqui Felgate has doubled down on Labor MP Tim Richardson's "inappropriate behaviour", two days after calling him out for "gaslighting" Victorians.See omnystudio.com/listener for privacy information.

The Foodbank CEO joined 3AW Mornings to explain.See omnystudio.com/listener for privacy information.

Happy Halloween! Tonight or tomorrow little trick or treaters will be out getting candy... what a perfect time to listen another spooky Christmas story for Halloween! Tonight's tale is called "The Judge's House", by the master of horror Bram Stoker. The story seems simple enough - a college student in need of a quiet place to study, rents an old house that that belonged to a judge whose cruelty was renowned. While his malignant portrait oversees the room, the rats come out to play... It may surprise you to learn that this tale was first published in a Christmas magazine in 1891. The Victorians, it seems, loved a good ghost story with their holiday cheer! I hope you find this story as delightfully chilling as I did while reading it for you.    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       Songs used: Epic Unease by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100406 Artist: http://incompetech.com/   Dreamlike by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100410 Artist: http://incompetech.com/   Apprehension - Supernatural Haunting by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100327 Artist: http://incompetech.com/   Midnight in the Graveyard by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://www.twinmusicom.org/song/252/midnight-in-the-graveyard Artist: http://www.twinmusicom.org   Darkness Speaks by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100364 Artist: http://incompetech.com/   #podcast #Christmas #christmaspodcast #halloween #halloweenstories #ghoststory

Two parter today. Forget the fake cobwebs and the pumpkin punch – this is the real Halloween experience: history, mystery, and magic in the world's greatest treasure house. Guided by Marc – host of the award-nominated Extraordinary Stories of Britain podcast – you'll explore the British Museum after dark, when the crowds are gone and the marble whispers. From the Rosetta Stone to the Elgin Marbles, five thousand years of civilisation glow under the glass dome of the Great Court. Spine-tingling, civilised, unforgettable – it's Halloween the London Walks way. Followed by: Tucked behind Victoria Gate Lodge lies one of London's tiniest and most tender secrets – the Hyde Park Pet Cemetery. Born of a little girl's grief in 1881, it grew into a miniature city of marble headstones for beloved dogs, cats, parrots and rabbits. It's the Victorians at their most human – sentimental, heartfelt, and quietly profound. Join us among the mossy stones and whispering trees for a story of love, loss, and loyalty – a forgotten corner of London where even the ghosts have wagging tails.

Recently, the Victorian government celebrated the state's Senior of the Year Awards, recognising extraordinary contributions to community life. The Promotion of Multiculturalism Award went to Dilnaz Billimoria, an Indian-Australian of Persian heritage and Zoroastrian faith. In this podcast, she shares her journey of empowering older Victorians from diverse backgrounds, making sure their voices are heard, their stories are celebrated, and barriers are broken for seniors in CALD communities.

In the Victorian era, mourning wasn't just an emotion — it was a way of life. From black veils and funeral etiquetteto hair jewellery and post-mortem photography, grief became an art form — and death, a thriving industry.In this episode of The StickyBeak, Monika O'Hanlon dives into the darkly fascinating world of Victorian mourning culture — a time when death was public, ritualistic, and deeply personal.Monika is joined by Al, a U.S.-based collector of Victorian mourning artifacts, who shares eerie insights into the era's most curious traditions. Together, they uncover:Why Victorians were so obsessed with death and the afterlifeThe fear of being buried alive — and the strange inventions to prevent itThe meaning behind mourning jewellery made from human hairHow grief became both a fashion statement and a social expectationFrom superstition to sentimentality, this episode explores how Victorian mourning rituals reveal more about life than death itself.A HUGE thanks to Al for taking the time to have a chat. Follow her here:INSTAGRAM: @al_curioTIKTOK: @al_curioThis episode was brought to you by Tüt, toilet lid stickers to zhuzh up your toot. Because every throne needs a crown.https://www.etsy.com/shop/tutdeco/

This week on The Veg Grower Podcast, Richard enjoys a productive weekend of gardening, with mild autumn weather, a few fireworks for the dog to contend with, and plenty of composting, tidying, and planning for the colder months ahead. In the Kitchen Garden After a lovely weekend of good gardening weather, Richard shares how it's left him smiling — the kind of days that remind us why we love being outside this time of year. With the dog and chickens safely tucked away during the firework noise, the focus has been on tidying up the beds and adding more compost to improve the soil before winter sets in. Most of the compost used is home-made — the result of months of careful recycling and turning — but for anyone needing to top up, Richard recommends PSA100 compost bought in bulk as a cost-effective alternative. The same approach has been used in the Vegepod area, where the beds have been cleared and prepped ready for the next round of sowing. It's all part of setting the garden up so it's ready to burst into life again next spring. Supporters Club Segment As always, Richard pauses to thank his Supporters Club members for helping keep the podcast running.Members receive extra behind-the-scenes podcasts and a monthly seed pack to sow, along with exclusive growing tips and access to a friendly online community. You can join the Supporters Club for just £5 a month at theveggrowerpodcast.co.uk. Down on the Allotment Over on the allotment, Richard has now lifted the last of the potatoes for the year — a satisfying job that marks the end of another growing season. The leftover straw mulch from the potato beds has been repurposed to cover the rhubarb and other perennial vegetables, helping protect them from the winter cold and frost. It's a small but effective way to reuse materials and make sure the soil — and plants — stay healthy through the winter months. Chef Scott's Recipe of the Week Chef Scott makes his return this week with a recipe for Quince Jam, perfect for making use of those seasonal fruits. His recipe is simple, fragrant, and a lovely way to preserve autumn flavours for the months ahead. You'll find the full recipe over on the website. In the Podding Shed Back in the shed, Richard turns his attention to a timely topic — heating the greenhouse. The first step, he says, is always insulation. Bubble wrap or fleece can help trap warmth and protect plants from frost. He also uses a water butt full of water as a thermal battery, storing warmth during the day and releasing it at night. In the past, he even experimented with a compost heap for heating, inspired by the Victorians' pineapple houses — though this proved less effective in practice. When it comes to heating options, paraffin heaters can work well but bring concerns about safety and ventilation. For reliability and peace of mind, Richard now leans towards an electric greenhouse heater fitted with a thermostat to keep conditions steady without wasting energy.

Happy Spooky Season, dear one! This week, in our Season 11 Finale, we are exploring a question that has been on my mind for quite some time. What is the history of Halloween costumes?!

NSW knocks back more flood funding, blaming tight budgets, Chris Bowen fumes over Queensland keeping coal alive. Plus, a new poll shows Victorians have little appetite for Labor’s push for an Indigenous Treaty.See omnystudio.com/listener for privacy information.

Peta’s take on whether Kevin Rudd should stay or go as Ambassador to the United States. Plus, a new poll finds a majority of Victorians oppose the push for a state Indigenous treaty. See omnystudio.com/listener for privacy information.

Fresh polling shows only one in three Victorians support the state-based treaty, Brittany Higgins drops her defamation appeal against Linda Reynolds. Plus, all the US news, including what Americans made of our politicians.See omnystudio.com/listener for privacy information.

From myth and legend to cider-fuelled revolutions, from Johnny Appleseed's frontier orchards to the Victorians' quest for the perfect pippin, the story of the apple has been anything but ordinary. In the final part of this five-part series, John and Patrick follow the fruit onto the world stage - when refrigeration, global shipping, and empire transformed it into an international commodity. From Tasmania's “Apple Isle” and Cecil Rhodes's Cape orchards, to Japan's remarkable embrace of the fruit that would one day give us the Fuji, the apple became both a tool of empire and a symbol of modernization.But world war would shake that story, stripping Britain of its imported fruit and forcing farmers to dig for victory. The apple rallied in service of king and country - only to face a peacetime collapse that saw Britain's orchards vanish in the shadow of supermarket shelves and European imports. Yet the apple endures, still shaping landscapes, economies, and everyday diets around the globe.Join John and Patrick as they conclude the saga of the world's most storied fruit - a tale of empire, war, decline, and resilience - that leaves us with the apple we know today.----------In Sponsorship with Cornell University: Dyson Cornell SC Johnson College of Business-----------Join the History of Fresh Produce Club for ad-free listening, bonus episodes, book discounts and access to an exclusive chatroom community.Support us!Share this episode with your friendsGive a 5-star ratingWrite a review -----------Subscribe to our biweekly newsletter here for extra stories related to recent episodes, book recommendations, a sneak peek of upcoming episodes and more.-----------Step into history - literally! Now is your chance to own a pair of The History of Fresh Produce sneakers. Fill out the form here and get ready to walk through the past in style.-----------Instagram, TikTok, Threads:@historyoffreshproduceEmail: historyoffreshproduce@gmail.com

Victorians have been told to brace for wild weather, with parts of the state to experience winds reaching up to 120km/h.See omnystudio.com/listener for privacy information.

Author Mark Beatty joins to explore three Victorians who shaped their era in very different ways yet rarely get the spotlight. We trace Grace Darling's 1838 sea rescue and the birth of tabloid celebrity; Josephine Butler's fearless campaign against the Contagious Diseases Acts and for raising the age of consent; and George Biddell Airy's half-century as Astronomer Royal, standardising Greenwich Mean Time for a world on the move. It's a conversation about media, morality, science, empire—and how private grief and public purpose can collide.Mark's trilogy on Darling, Butler and Airy is out now. If you can, please support independent bookshops or buy direct from the publisher.Go Deeper: Visit our website at www.explaininghistory.org for articles and detailed explorations of the topics discussed.▸ Join the Conversation: Our community of history enthusiasts discusses episodes, shares ideas, and continues the conversation. Find us on:Facebook: https://www.facebook.com/groups/ExplainingHistoryPodcast/Substack: https://theexplaininghistorypodcast.substack.com/▸ Support the Podcast: Explaining History is a listener-supported production. Your contribution helps us cover the costs of research and keep these conversations going. You can support the show and get access to exclusive content by becoming a patron.Support on Patreon: https://www.patreon.com/explaininghistoryExplaining History helps you understand the 20th Century through critical conversations and expert interviews. We connect the past to the present. If you enjoy the show, please subscribe and share.▸ Support the Show & Get Exclusive ContentBecome a Patron: patreon.com/explaininghistory▸ Join the Community & Continue the ConversationFacebook Group: facebook.com/groups/ExplainingHistoryPodcastSubstack: theexplaininghistorypodcast.substack.com▸ Read Articles & Go DeeperWebsite: explaininghistory.org Hosted on Acast. See acast.com/privacy for more information.

In this Fireside Fairytale, I share the first published version of Rapunzel, which was recorded by the Brothers Grimm for their famous 1812 collection of German folktales, Kinder- und Hausmärchen. Find out why this early version was offensive to 19th Century morality, and also why it really wasn't as racy as pearl-clutching Victorians thought it … Continue reading "207 – Fireside Fairy Tale: Rapunzel (1812)"

The Victorian era transformed Britain into the world's foremost industrial and imperial power. The rise of factories saw the expansion of sprawling cities, inhabited by a working class trapped in grinding poverty. But while the ever-growing ranks of impoverished residents were dogged by dangerous conditions, slums and the perpetual fear of the workhouse, industrialists became rich on the back of their labour.   As Britain continued its march forward, advancements in science, technology, and machinery began to expose the dark underbelly of the empire. Victorians grappled with the consequences of their own progress, as moral and religious ideals collided with a rapidly changing world. But in what way did these new ideologies of gender, power, and class challenge society? And how would this epic, nation-defining era finally come to an end?   This is A Short History Of The Victorians, Part Two. A Noiser podcast production. Hosted by John Hopkins. With thanks to Dr Amy Milne-Smith, Professor of History at Wilfrid Laurier University in Ontario, Canada, and Dr Onyeka Nubia, a British historian, writer and presenter. Written by Sean Coleman | Produced by Kate Simants | Assistant Producer: Nicole Edmunds | Production Assistant: Chris McDonald | Exec produced by Katrina Hughes | Sound supervisor: Tom Pink | Sound design by Oliver Sanders | Assembly edit by Dorry Macaulay, Rob Plummer | Compositions by Oliver Baines, Dorry Macaulay, Tom Pink | Mix & mastering: Cody Reynolds-Shaw | Get every episode of Short History Of… a week early with Noiser+. You'll also get ad-free listening, bonus material and early access to shows across the Noiser podcast network. Click the subscription banner at the top of the feed to get started. Or go to noiser.com/subscriptions Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode 242 is about putting ploughs into the ground, how the rural areas of much of the country was experiencing something of an agricultural revolution. It's rather a fascinating tale, because there are tremendous contradictions in what we're going to talk about this episode. As usual, there we will need to combine a global story with our local story —without doing so would be to stunt our awareness of the strands and tendrils that spread and connect. By the 1850s, Great Britain was manipulating trade and military as well as political power as reciprocating elements. This is a technique adopted by pretty much every empire since before Carthage. Political influence was used so as to extend and secure free exchange, in Britain's case commerce and anglicisation, spread political influence and welded alliances. As Lord Palmerston so aptly pointed out “…It is the business of Government to open and secure the roads for the Merchant…” Antiquated regimes were its enemy and foreign tariffs were its enemy, as anyone knows, the greatest enemy of free trade are tariffs. Empires were broken, the gouty and outdated Chinese, the religion-strangled Turkey, innumerable sheikdoms, sultanates and chieftancies were drawn into the invisible British empire of informal sway. When merchants manage affairs instead of men with guns, it's harder to pin down the essence of power — and also the dangers. The results of this grand vision were not encouraging by the 1870s and the Victorians were less sure of their panacea for both Asia and Africa. Among the ancient and invincibly conservative Confucian and Islamic rulers, no effective westernising collaborators had been found. The Tai'ping rebellion in China and the growing chaos in Muslim states appeared never ending. It was the United States that was gobbling up immigrants — most of Britain's emigrants went there, and the Victorians bought and sold more there than in any other single country. It had dawned on the British political elite that their commerical experience impressed a single portentous fact — that their most successful trading associations with the exception of the Indian Empire, were with Europeans transplanted abroad. They accounted for around 70 percent of all her investment overseas. The white communities in the temperate zones had the outlook and the institutions favourable to progress which the Asiatics and Africans seemed to lack. They offered customers with European tastes and money to spend. Mutual self-interest with whites of their empire meant private business of Great Britain commingled freely with that of Greater Britain and the once-colonial societies of the New World — the Americans and many in South America too. At the same time, the colonists were growing more bitter about Downing Street control and self-government appeared one solution. The aim was to avert the loss of more colonies and more American Wars of independence. So by the 1870s, confederated Canada, responsibly governed Australia and the Cape were regarded as constitutional embodiments of collaboration between British and colonial interests — all working at their best. The number of trading stores in the Transkei quadrupled to a few hundred, and all of this meant that there was a major qualitative shift in the cumsumption patterns of Africans. New permanent wants replaced needs, metal was now preferred to traditionally crafted pots and baskets, the cow-hide kaross was replaced by the Witney blanket, ploughs and all manner of tools flooded into these developing farms. Around South Africa, energy seemed to be surging. Take the highveld for example. The sour veld of the Harrismith district to be precise. Largely used for summer grazing, the farmers here often moved their herds into Natal every autumn. Below the Berg as they put, OnderBerg. Underberg.

Over the course of Queen Victoria's reign, Britain transformed into the world's foremost industrial and imperial power. The Victorians built railways that spanned continents, invented life-changing technologies, and expanded a vast realm that stretched from the Caribbean to India. Yet, for all their achievements, they grappled with social unrest, stark inequalities between the rich and poor, and the dark side of imperialism.    So how did the Victorians justify their colonial project, while they tolerated such inequality at home? How did their moral values shape the way they treated those at the fringes of their rigid society? And how do the Victorians' struggles with industrialisation, governance, and poverty echo in the modern world?  This is A Short History Of The Victorians, Part One A Noiser podcast production. Hosted by John Hopkins. With thanks to Dr Amy Milne-Smith, Professor of History at Wilfrid Laurier University in Ontario, Canada, and Dr Onyeka Nubia, a British historian, writer and presenter. Written by Sean Coleman | Produced by Kate Simants | Assistant Producer: Nicole Edmunds | Production Assistant: Chris McDonald | Exec produced by Katrina Hughes | Sound supervisor: Tom Pink | Sound design by Oliver Sanders | Assembly edit by Dorry Macaulay, Rob Plummer | Compositions by Oliver Baines, Dorry Macaulay, Tom Pink | Mix & mastering: Cody Reynolds-Shaw | Get every episode of Short History Of… a week early with Noiser+. You'll also get ad-free listening, bonus material and early access to shows across the Noiser podcast network. Click the subscription banner at the top of the feed to get started. Or go to noiser.com/subscriptions Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Losers return for another round of recommends in The Stacks, our monthly series about all the good shit we've been reading, watching, and listening to this month. For this installment, Randall, Mike, and Ashley discuss Stephen King's take on Hansel & Gretel with the late Maurice Sendak. They also go over new releases, what they've been reading as of late, and more. Here's a list of all the titles covered: Murder in the Dollhouse: The Jennifer Dulos Story by Rich Cohen; The Troop by Nick Cutter; The Shards by Bret Easton Ellis; All Hallows by Christopher Golden; Scared by the Bible: The Roots of Horror in Scripture by Brandon Grafius; Certain Nocturnal Disturbances: Ghost Hunting before the Victorians by Tim Prasil; Coffin Moon by Keith Rosson; Hole in the Sky by Daniel H Wilson; The Andromeda Evolution by Michael Crichton and Daniel H Wilson; Demonlover (movie); and TASK (TV show). Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hey comrades! In this episode, I'm chatting about what the heck "historical accuracy" is anyway with my new favorite historical romance author (and 19th c. English lit professor) Alexandra Vasti, author of the upcoming sapphic romcom, LADIES IN HATING. We talk about falling into research rabbit holes, when to throw that research in the trash, and assign an appropriate amount of hate toward Georgette Heyer and the Victorians. And of course, we're stuffing your TBRs with our favorite historically accurate recs. Enjoy the show! Connect with Alexandra: www.alexandravasti.com; Instagram &  Tiktok: @alexandravasti RESOURCES Heyerisms Tiffany Problem Pride & Predators Female Husbands by Jen Manion When We Were Trans by Kit Keyam   Subscribe! Follow! Rate! Review! Tell your friends and family all about us! Support the podcast and buy us coffee WRION merch! Our feminist, sapphic, bookish Etsy shop! Instagram/Threads: @wereaditonenight TikTok: @wereaditonenight Facebook: We Read It One Night Email: wereaditonenight [at] gmail.com

The Victorians called it ‘pernicious vomiting of pregnancy', but modern medicine has offered no end to the torture of hyperemesis gravidarum – until now. By Abi Stephenson. Read by Nicolette Chin. Help support our independent journalism at theguardian.com/longreadpod

This week on The Broski Report, Fearless Leader Brittany Broski explores Victorian history (again), talks curio shops, and reads your ghost stories.  The OFFICIAL Songs of The Week Playlist: https://open.spotify.com/playlist/3ULrcEqO2JafGZPeonyuje?si=061c5c0dd4664f01 

Merriam-Webster's Word of the Day for July 26, 2025 is: embellish • im-BELL-ish • verb To embellish something is to make it more appealing or attractive with fanciful or decorative details. // The gift shop had cowboy shirts and hats embellished with beads and stitching. // As they grew older, the children realized their grandfather had embellished the stories of his travels abroad. See the entry > Examples: "Shell art isn't a new genre; it's been with us for centuries. The Victorians often framed their family photos with shells. ... The medium also came to the fore in the 1970s when everything was embellished with shells, from photo frames and mirrors to trinket boxes and even furniture." — Stephen Crafti, The Sydney Morning Herald, 4 June 2025 Did you know? Embellish came to English, by way of Anglo-French, from the Latin word bellus, meaning "beautiful." It's in good company: modern language is adorned with bellus descendants. Examples include such classics as beauty, belle, and beau. And the beauty of bellus reaches beyond English: its influence is seen in the French bel, a word meaning "beautiful" that is directly related to the English embellish. And in Spanish, bellus is evidenced in the word bello, also meaning "beautiful."