Podcasts about Walter Scott

Has conservatism really defeated utilitarianism? Or are modern conservatives just utilitarians at their core? Find out as we discuss Jeremy Bentham, James Mill, John Stuart Mill, Walter Scott, George Canning, and Samuel Coleridge in their war for English politics!Follow us on X!Give us your opinions here!

Ahead of her new book What's So Great About the Great Books? coming out in April, Naomi Kanakia and I talked about literature from Herodotus to Tony Tulathimutte. We touched on Chaucer, Anglo-Saxon poetry, Scott Alexander, Shakespeare, William James, Helen deWitt, Marx and Engels, Walter Scott, Les Miserables, Jhootha Sach, the Mahabharata, and more. Naomi also talked about some of her working habits and the history and future of the Great Books movement. Naomi, of course, writes Woman of Letters here on Substack.TranscriptHenry Oliver: Today, I am talking with Naomi Kanakia. Naomi is a novelist, a literary critic, and most importantly she writes a Substack called Woman of Letters, and she has a new book coming out, What's So Great About the Great Books? Naomi, welcome.Naomi Kanakia: Thanks for having me on.Oliver: How is the internet changing the way that literature gets discussed and criticized, and what is that going to mean for the future of the Great Books?Kanakia: How is the internet changing it? I can really speak to only how it has changed it for me. I started off as a writer of young adult novels and science fiction, and there's these very active online fan cultures for those two things.I was reading the Great Books all through that time. I started in 2010 through today. In the 2010s, it really felt like there was not a lot of online discussion of classic literature. Maybe that was just me and I wasn't finding it, but it didn't necessarily feel like there was that community.I think because there are so many strong, public-facing institutions that discuss classic literature, like the NYRB, London Review of Books, a lot of journals, and universities, too. But now on Substack, there are a number of blogs—yours, mine, a number of other ones—that are devoted to classic literature. All of those have these commenters, a community of commenters. I also follow bloggers who have relatively small followings who are reading Tolstoy, reading Middlemarch, reading even much more esoteric things.I know that for me, becoming involved in this online culture has given me much more of an awareness that there are many people who are reading the classics on their own. I think that was always true, but now it does feel like it's more of a community.Oliver: We are recording this the day after the Washington Post book section has been removed. You don't see some sort of relationship between the way these literary institutions are changing online and the way the Great Books are going to be conceived of in the future? Because the Great Books came out of a an old-fashioned, saving-the-institutions kind of radical approach to university education. We're now moving into a world where all those old things seem to be going.Kanakia: Yes. I agree. The Great Books began in the University of Chicago and Columbia University. If you look into the history of the movement, it really was about university education and the idea that you would have a common core and all undergraduates would read these books. The idea that the Great Books were for the ordinary person was really an afterthought, at least for Mortimer Adler and those original Great Books guys. Now, the Great Books in the university have had a resurgence that we can discuss, but I do think there's a lot more life and vitality in the kind of public-facing humanities than there has been.I talked to Irina Dumitrescu, who writes for TLS (The Times Literary Supplement), LRB (The London Review of Books), a lot of these places, and she also said the same thing—that a lot of these journals are going into podcasts, and they're noticing a huge interest in the humanities and in the classics even at the same time as big institutions are really scaling back on those things. Humanities majors are dropping, classics majors are getting cut, book coverage at major periodicals is going down. It does seem like there are signals that are conflicting. I don't really know totally what to make of it. I do think there is some relation between those two things.Ted Gioia on Substack is always talking about how culture is stagnant, basically, and one of the symptoms of that is that “back list” really outsells “front list” for books. Even in 2010, 50 percent of the books that were sold were front-list titles, books that had been released in the last 18 months. Now it's something like only 35 percent of books or something like that are front-list titles. These could be completely wrong, but there's been a trend.I think the decrease in interest in front-list books is really what drives the loss of these book-review pages because they mostly review front-list books. So, I think that does imply that there's a lot of interest in old books. That's what our stagnant culture means.Oliver: Why do you think your own blog is popular with the rationalists?Kanakia: I don't know for certain. There was a story I wrote that was a joke. There are all these pop nonfiction books that aim to prove something that seems counterintuitive, so I wrote a parody of one of those where I aim to prove that reading is bad for you. This book has many scientific studies that show the more you read, the worse it is because it makes you very rigid.Scott Alexander, who is the archrationalist, really liked that, and he added me to his blog roll. Because of that, I got a thousand rationalist subscribers. I have found that rationalists at least somewhat interested in the classics. I think they are definitely interested in enduring sources of value. I've observed a fair amount of interest.Oliver: How much of a lay reader are you really? Because you read scholarship and critics and you can just quote John Gilroy in the middle of a piece or something.Kanakia: Yeah. That is a good question. I have definitely gotten more interested in secondary literature. In my book, I really talk about being a lay reader and personally having a nonacademic approach to literature. I do think that, over 15 years of being a lay reader, I have developed a lot of knowledge.I've also learned the kind of secondary literature that is really important. I think having historical context adds a lot and is invaluable. Right now I'm rereading Les Miserables by Victor Hugo. When I first read it in 2010, I hardly knew anything about French history. I was even talking online with someone about how most people who read Les Miserables think it's set in the French Revolution. That's basically because Americans don't really know anything about French history.Everything makes just a lot more sense the more you know about the time because it was written for people in it. For people in 1860s France, who knew everything about their own recent history, that really adds a lot to it. I still don't tend to go that much into interpretive literature, literature that tries to do readings of the stories or tell me the meaning of the stories. I feel like I haven't really gotten that much out of that.Oliver: How long have you been learning Anglo-Saxon?Kanakia: I went through a big Anglo-Saxon phase. That was in 2010. It started because I started reading The Canterbury Tales in Middle English. There is a great app online called General Prologue created by one of your countrymen, Terry Richardson [NB it is Terry Jones], who loved Middle English. In this app, he recites the Middle English of the General Prologue. I started listening to this app, and I thought, I just really love the rhythms and the sounds of Middle English. And it's quite easy to learn. So then, I got really into that.And then I thought, but what about Anglo-Saxon? I'm very bad at languages. I studied Latin for seven years in middle school and high school. I never really got very far, but I thought, Anglo-Saxon has to be the easiest foreign language you can learn, right? So, I got into it.I cannot sight read Anglo-Saxon, but I really got into Anglo-Saxon poetry. I really liked the Anglo-Saxon Chronicle. Most people probably would not like the Anglo-Saxon Chronicle because it's very repetitive, but that makes it great if you're a language learner because every entry is in this very repetitive structure. I just felt such a connection. I get in trouble when I say this kind of stuff, because I'm never quiet sure if it's 100 percent true. But it's certainly one of the oldest vernacular literatures in Europe. It's just so much older than most of the other medieval literature I've read. And it just was such a window into a different part of history I never knew about.Oliver: And you particularly like “The Dream of the Rood”?Kanakia: Yeah, “The Dream of the Rood” is my favorite Anglo-Saxon poem. “The Dream of the Rood” is a poem that is told from the point of view of Christ's cross. A man is having a dream. In this dream he encounters Christ's cross, and Christ's cross starts reciting to him basically the story of the crucifixion. At the end, the cross is buried. I don't know, it was just so haunting and powerful. Yeah, it was one of my favorites.Oliver: Why do you think Byron is a better poet than Alexander Pope?Kanakia: This is an argument I cannot get into. I think this is coming up because T. S. Eliot felt that Alexander Pope was a great poet because he really exemplified the spirit of the age. I don't know. I've tried to read Pope. It just doesn't do it for me. Whereas with Byron, I read Don Juan and found it entertaining. I enjoyed it. Then, his lyric poetry is just more entertaining to read. With Alexander Pope, I'm learning a lot about what kind of poetry people wrote in the 18th century, but the joy is not there.Oliver: Okay. Can we do a quick fire round where I say the name of a book and you just say what you think of it, whatever you think of it?Kanakia: Sure.Oliver: Okay. The Odyssey.Kanakia: The Odyssey. Oh, I love The Odyssey. It has a very strange structure, where it starts with Telemachus and then there's this flashback in the middle of it. It is much more readable than The Iliad; I'll say that.Oliver: Herodotus.Kanakia: Herodotus is wild. Going into Herodotus, I really thought it was about the Persian war, which it is, but it's mostly a general overview of everything that Herodotus knew, about anything. It's been a long time since I read it. I really appreciate the voice of Herodotus, how human it is, and the accumulation of facts. It was great.Oliver: I love the first half actually. The bit about the Persian war I'm less interested in, but the first half I think is fantastic. I particularly love the Egypt book.Kanakia: Oh yeah, the Egypt book is really good.Oliver: All those like giant beetles that are made of fire or whatever; I can't remember the details, but it's completely…Kanakia: The Greeks are also so fascinated by Egypt. They go down there like what is going on out there? Then, most of what we know about Egypt comes from this Hellenistic period, when the Greeks went to Egypt. Our Egyptian kings list comes from the Hellenistic period where some scholar decided to sort out what everybody was up to and put it all into order. That's why we have such an orderly story about Egypt. That's the story that the Greeks tried to tell themselves.Oliver: Marcus Aurelius.Kanakia: Marcus Aurelius. When I first read The Meditations, which I loved, obviously, I thought, “being the Roman emperor cannot be this hard.” It really was a black pill moment because I thought, “if the emperor of Rome is so unhappy, maybe human power really doesn't do it.”Knowing more about Marcus Aurelius, he did have quite a difficult life. He was at war for most of his—just stuck in the region in Germany for ages. He had various troubles, but yeah, it really was very stoic. It was, oh, I just have to do my duty. Very “heavy is the head that wears the crown” kind of stuff. I thought, “okay, I guess being Roman emperor is not so great.”Oliver: Omar Khayyam.Kanakia: Omar Khayyam. Okay, I've only read The Rubaiyat of Omar Khayyam by Edward Fitzgerald, which I loved, but I cannot formulate a strong opinion right now.Oliver: As You Like It.Kanakia: No opinions.Oliver: Boswell's Life of Samuel Johnson.Kanakia: Boswell's Life of Samuel Johnson. I do have an opinion about this, which is that they should make a redacted version of Boswell's Life of Samuel Johnson. I normally am not a big believer in abridgements because I feel like whatever is there is there. But, Boswell's Life of Samuel Johnson, first of all, has a long portion before Boswell even meets Johnson. That portion drags; it's not that great. Then it has all these like letters that Johnson wrote, which also are not that great. What's really good is when Boswell just reports everything Johnson ever said, which is about half the book. You get a sense of Johnson's conversation and his personality, and that is very gripping. I've definitely thought that with a different presentation, this could still be popular. People would still read this.Oliver: The Communist Manifesto.Kanakia: The Communist Manifesto. It's very stirring. I love The Communist Manifesto. It has very haunting, powerful lines. I won't try to quote from it because I'll misquote them.Oliver: But it is remarkably well written.Kanakia: Oh yeah, it is a great work of literature.Oliver: Yeah.Kanakia: I read Capital [Das Kapital], which is not a great work of literature, and I would venture to say that it is not necessarily worth reading. It really feels like Marx's reputation is built on other political writings like The Eighteenth Brumaire of Louis Bonaparte and works like that, which really seem to have a lot more meat on the bone than Capital.Oliver: Pragmatism by William James.Kanakia: Pragmatism. I mean, I've mentioned that in my book. I love William James in general. I think William James was writing in this 19th-century environment where it seemed like some form of skepticism was the only rational solution. You couldn't have any source of value, and he really tried to cut through that with Pragmatism and was like, let's just believe the things that are good to believe. It is definitely at least useful to think, although someone else can always argue with you about what is useful to believe. But, as a personal guide for belief, I think it is still useful.Oliver: Major Barbara by George Bernard Shaw.Kanakia: No strong opinions. It was a long time ago that I read Major Barbara.Oliver: Tell me what you like about James Fenimore Cooper.Kanakia: James Fenimore Cooper. Oh, this is great. I have basically a list of Great Books that I want to read, but four or five years ago, I thought, “what's in all the other books that I know the names of but that are not reputed, are not the kind of books you still read?”That was when I read Walter Scott, who I really love. And I just started reading all kinds of books that were kind of well known but have kind of fallen into literary disfavor. In almost every case, I felt like I got a lot out of these books. So, nowadays when I approach any realm of literature, I always look for those books.In 19th-century American literature, the biggest no-longer-read book is The Last of the Mohicans by James Fenimore Cooper, which was America's first bestseller. He was the first American novelist that had a high reputation in Europe. The Last of the Mohicans is kind of a historical romance, à la Walter Scott, but much more tightly written and much more tightly plotted.Cooper has written five novels, the Leatherstocking Tales, that are all centered around this very virtuous, rough-hewn frontiersman, Natty Bumppo. He has his best friend, Chingachgook, who is the last of the Mohicans. He's the last of his tribe. And the two of these guys are basically very sad and stoic. Chingachgook is distanced from his tribe. Chingachgook has a tribe of Native Americans that he hates—I want to say it's the Huron. He's always like, “they're the bad ones,” and he's always fighting them. Then, Natty Bumppo doesn't really love settled civilization. He's not precisely at war with it, but he does not like the settlers. They're kind of stuck in the middle. They have various adventures, and I just thought it was so haunting and powerful.I've been reading a lot of other 19th-century American literature, and virtually none of it treats Native Americans with this kind of respect. There's a lot of diversity in the Native American characters; there's really an attempt to show how their society works and the various ways that leadership and chiefship works among them. There's this very haunting moment in The Last of the Mohicans, where this aged chief, Tamenund, comes out and starts speaking. This is a chief who, in American mythology, was famous for being a friend to the white people. But, James Fenimore Cooper writing in the 1820s has Tamenund come out at 80 years old and say, “we have to fight; we have to fight the white people. That's our only option.” It was just such a powerful moment and such a powerful book.I was really, really enthused. I read all of these Leatherstocking Tales. It was also a very strange experience to read these books that are generally supposed to be very turgid and boring, and then I read them and was like, “I understand. I'm so transported.” I understand exactly why readers in the 1820s loved this.Oliver: Which Walter Scott books do you like?Kanakia: I love all the Walter Scott books I've read, but the one I liked best was Kenilworth. Have you ever read Kenilworth?Oliver: I don't know that one.Kanakia: Yeah, it's about Elizabeth I, who had a romantic relationship with one of her courtiers.Oliver: The Earl of Essex?Kanakia: Yeah. She really thought they were going to get married, but then it turned out he was secretly married. Basically, I guess the implication is that he killed his wife in order to marry Queen Elizabeth I. It's a novel all about him and that situation, and it just felt very tightly plotted. I really enjoyed it.Oliver: What did you think of Rejection?Kanakia: Rejection by Tony Tulathimutte? Initially when I read this book, I enjoyed it, but I was like, “life cannot possibly be this sad.” It's five or six stories about these people who just have nothing going on. Their lives are so miserable, they can't find anyone to sleep with, and they're just doomed to be alone forever. I was like, “life can't be this bad.” But now thinking back over it, it is one of the most memorable books I've read in the last year. It really sticks with you. I feel like my opinion of this book has gone up a lot in retrospect.Oliver: How antisemitic is the House of Mirth?Kanakia: That is a hotly debated question, which I mentioned in my book. I think there has been a good case made that Edith Wharton, the author of House of Mirth, who was from an old New York family, was herself fairly antisemitic and did not personally like Jewish people. What she portrays in this book is that this old New York society also was highly suspicious of Jewish people and was organized to keep Jewish people out.In this book there is a rich Jewish man, Simon Rosedale, and there's a poor woman, Lily Bart. Lily Bart's main thing is whether she's going to marry the poor guy, Lawrence Selden, or the rich guy, Percy Gryce. She can't choose. She doesn't want to be poor, but she also is always bored by the rich guys. Meanwhile, through the whole book, there's Simon Rosedale, who's always like, “you should marry me.” He's the rich Jewish guy. He's like, “you should marry me. I will give you lots of money. You can do whatever you want.”Everybody else kind of just sees her as a woman and as a wife; he really sees her as an ally in his social climbing. That's his main motivation. The book is relatively clear that he has a kind of respect for her that nobody else does. Then, over the course of the book, she also gains a lot more respect for him. Basically, late in the book, she decides to marry him, but she has fallen a lot in the world. He's like, “that particular deal is not available anymore,” but he does offer her another deal that—although she finds it not to her taste—is still pretty good.He basically is like, “I'll give you some money, you'll figure out how to rehabilitate your reputation, and later down the line, we can figure something out.” So, I think with a great author like Edith Wharton, there's power in these portrayals. I felt it hard to come away from it feeling like the book is like a really antisemitic book.Oliver: Now, you note that the Great Books movement started out as something quite socially aspirational. Do you think it's still like that?Kanakia: I do think so. Yeah. For me, that's 100 percent what it was because I majored in econ. I always felt kind of inadequate as a writer against people who had majored in English. Then I started off as a science fiction writer, young adult writer, and I was like, “I'm going to read all these Great Books and then I'll have read the books that everybody else has read.” In my mind, that's also what it was—that there was some upper crust or literary society that was reading all these Great Books.That's really what did it. I do think there's still an element of aspiration to it because it's a club that you can join, that anyone can join. It's very straightforward to be a Great Books reader, and so I think there's still something there. I think because the Great Books movement has such a democratic quality to it, it actually doesn't get you to the top socially, which has always been the true, always been the case. But, that's okay. As long as you end up higher than where you started, that's fine.Oliver: What makes a book great?Kanakia: I talk about it this in the book, and I go through many different authors' conceptions of what makes a book great or what constitutes a classic. I don't know that anyone has come up with a really satisfying answer. The Horatian formulation from Horace—that a book is great or an author is great if it has lasted for a hundred years—is the one that seems to be the most accurate. Like, any book that's still being read a hundred years after it was written has a greatness.I do think that T. S. Eliott's formulation—that a civilization at its height produces certain literature and that literature partakes of the greatness of the civilization and summarizes the greatness of the civilization—does seem to have some kind of truth to it.But it's hard, right? Because the greatest French novel is In Search of Lost Time, but I don't know that anyone would say that the France in the 1920s was at its height. It's not a prescriptive thing, but it does seem like the way we read many of these Great Books, like Moby Dick, it feels like you're like communing with the entire society that produced it. So, maybe there's something there.Oliver: Now, you've used a list from Clifton Fadiman.Kanakia: Yes.Oliver: Rather than from Mortimer Adler or Harold Bloom or several others. Why this list?Kanakia: Well, the best reason is that it's actually the list I've just been using for the last 15 years. I went to a science fiction convention in 2009, Readercon, and at this science fiction convention was Michael Dirda, who was a Washington Post book critic. He had recently come out with his book, Classics for Pleasure, which I also bought and liked. But he said that the list he had always used was this Clifton Fadiman book. And so when I decided to start reading the Great Books, I went and got that book. I have perused many other lists over time, but that was always the list that seemed best to me.It seemed to have like the best mix. There's considerable variation amongst these lists, but there's also a lot of overlap. So any of these lists is going to have Dickens on it, and Tolstoy, and stuff like that. So really, you're just thinking about, “aside from Dickens and Tolstoy and George Eliot and Walt Whitman and all these people, who are the other 50 authors that you're going be reading?”The Mortimer Adler list is very heavy on philosophy. It has Plotinus on it. It has all these scientific works. I don't know, it didn't speak to me as much. Whereas, this Clifton Fadiman and John Major list has all these Eastern works on it. It has The Tale of Genji, Romance of the Three Kingdoms, Story of the Stone, and that just spoke to me a little bit more.Oliver: What modern books will be on a future Great Books list, whether it's from someone alive or someone since the war.Kanakia: Have you ever heard of Robert Caro?Oliver: Sure.Kanakia: Yeah. I think his Lyndon Johnson books are great books. They have changed the field of biography. They're so complete, they seem to summarize an entire era, epoch. They're highly rated, but I feel like they're underrated as literature.What else? I was actually a little bit surprised in this Clifton Fadiman-John Major book, which came out in 1999, that there are not more African Americans in their list. Like, Invisible Man definitely seemed like a huge missed work. You know, it's hard. You would definitely want a book that has undergone enough critical evaluation that people are pretty certain that it is great. A lot of things that are more recent have not undergone that evaluation yet, but Invisible Man has, as have some works by Martin Luther King.Oliver: What about The Autobiography of Malcolm X?Kanakia: I would have to reread. I feel like it hasn't been evaluated much as a literary document.Oliver: Helen DeWitt?Kanakia: It's hard to say. It's so idiosyncratic, The Last Samurai, but it is certainly one of the best novels of the last 25 years.Oliver: Yeah.Kanakia: It is hard to say, because there's nothing else quite like it. But I would love if The Last Samurai was on a list like this; that would be amazing.Oliver: If someone wants to try the Great Books, but they think that those sort of classic 19th-century novels are too difficult—because they're long and the sentences are weird or whatever—what else should they do? Where else should they start?Kanakia: Well, it depends on what they're into, or it depends on their personality type. I think like there are people who like very, very difficult literature. There are people who are very into James Joyce and Proust. I think for some people the cost-benefit is better. If they're going to be pouring over some book for a long time, they would prefer if it was overtly difficult.If they're not like that, then I would say, there are many Great Books that are more accessible. Hemingway is a good one and Grapes of Wrath is wonderful. The 19th-century American books tend to be written in a very different register than the English books. If you read Moby Dick, it feels like it's written in a completely different language than Charles Dickens, even though they're writing essentially at the same time.Oliver: Is there too much Freud on the list that you've used?Kanakia: Maybe. I know that Interpretation of Dreams is on that list, which I've tried to read and have decided life is too short. I didn't really buy it, but I have read a fair amount of Freud. My impression of Freud was always that I would read Freud and somehow it would just seem completely fanciful or far out, like wouldn't ring true. But then when I started reading Freud, it was more the opposite. I was like, oh yeah, this seems very, very true.Like this battle between like the id and the ego and the super ego, and this feeling that like the psyche is at war with itself. Human beings really desire to be singular and exceptional, but then you're constantly under assault by the reality principle, which is that you're insignificant. That all seemed completely true. But then he tries to cure this somehow, which does not seem a curable problem. And he also situates the problem in some early sexual development, which also did not necessarily ring true. But no, I wouldn't say there's too much. Freud is a lot of fun. People should read Freud.Oliver: Which of the Great Books have you really not liked?Kanakia: I do get asked this quite a bit. I would say the Great Book that I really felt like—at least in translation—was not that rewarding in an unabridged version was Don Quixote. Because at least half the length of Don Quixote is these like interpolated novellas that are really long and tedious. I felt Don Quixote was a big slog. But maybe someday I'll go back and reread it and love it. Who knows?Oliver: Now you wrote that the question of biography is totally divorced from the question of what art is and how it operates. What do you think of George Orwell's supposition that if Shakespeare came back tomorrow, and we found out he used to rape children that we should—we would not say, you know, it's fine to carry on to doing that because he might write another King Lear.Kanakia: Well, if we discovered that Shakespeare was raping children, he should go to prison for that. No. It's totally divorced in both senses. You don't get any credit in the court of law because you are the writer of King Lear. If I murdered someone and then I was hauled in front of a judge and they were like, oh, Naomi's a genius, I wouldn't get off for murder. Nor should I get off for murder.So in terms of like whether we would punish Shakespeare for his crime of raping children, I don't think King Lear should count at all, but it's never used that way. It's never should someone go to prison or not for their crimes, because they're a genius. It's always used the other way, which is should we read King Lear knowing that the author raped children, but I also feel like that is immaterial. If you read King Lear, you're not enabling someone to rape children.Oliver: There's an almost endless amount of discussion these days about the Great Books and education and the value of the humanities, and what's the future of it all. What is your short opinion on that?Kanakia: My short opinion is that the Great Books at least are going to be fine. The Great Books will continue to be read, and they would even survive the university. All these books predate the university and they will survive the university. I feel like the university has stewarded literature in its own way for a while now and has made certain choices in that stewardship. I think if that stewardship was given up to more voluntary associations that had less financial support, then I think the choices would probably be very different. But I still think the greatest works would survive.Oliver: Now this is a quote from the book: “I am glad that reactionaries love the Great Books. They've invited a Trojan horse into their own camp.” Tell us what you mean by that.Kanakia: Let's say you believed in Christian theocracy, that you thought America should be organized on explicitly Christian principles. And because you believe in Christian theocracy, you organize a school that teaches the Great Books. Many of these schools that are Christian schools that have Great Books programs will also teach Nietzsche. They definitely put some kind of spin on Nietzsche. But they will teach anti-Christ, and that is a counterpoint to Christian morality and Christian theology. There are many things that you'll read in the Great Books that are corrosive to various kinds of certainties.If someone who I think is bad starts educating themselves in the Great Books, I don't think that the Great Books are going to make them worse from my perspective. So it's good.Oliver: How did reading the Mahabharata change you?Kanakia: Oh yeah, so the Mahabharata is a Hindu epic from, let's say, the first century AD. I'm Indian and most Indians are familiar with the basic outline of the Mahabharata story because it's told in various retellings, and there's a TV serial that my parents would rent from the Indian store growing up and we would watch it tape by tape. So I'm very familiar with it. Like there's never been a time I have not known this story.But I was also familiar with the idea that there is a written version in Sanskrit that's extremely long. It is 10 times as long as the Iliad and the Odyssey combined. This Mahabharata story is not that long. I've read a version of it that's about 800 pages long. So how could something that's 10 times this long be the same? A new unabridged translation came out 10 years ago. So I started reading it, and it basically contains the entire Sanskrit Vedic worldview in it.I had never been exposed to this very coherently laid-out version of what I would call Hindu cosmology and ethics. Hindus don't really get taught those things in a very organized way. The book is basically about dharma, the principle of rightness and how this principle of rightness orders the universe and how it basically results in everybody getting their just deserts in various ways. As I was reading the book, I was like, this seems very true that there is some cosmic rebalancing here, and that everything does turn out more or less the way it should, which is not something that I can defend on a rational level.But just reading the book, it just made me feel like, yes, that is true. There is justice, the universe is organized by justice. It took me about a year to read the whole thing. I started waking up at 5:00 a.m. and reading for an hour each morning, and it just was a really magical, profound experience that brought me a lot closer to my grandmother's religious beliefs.Oliver: Is it ever possible to persuade someone with arguments that they should read literature, or is it just something that they have to have an inclination toward and then follow someone's example? Because I feel like we have so many columns and op-eds and “books are good because of X reason, and it's very important because of Y reason.” And like, who cares? No one cares. If you are persuaded, you take all that very seriously and you argue about what exactly are the precise reasons we should say. And if you're not persuaded, you don't even know this is happening.And what really persuades you is like, oh, Naomi sounds pretty compelling about the Mahabharata. That sounds cool. I'll try that. It's much more of a temperamental, feelingsy kind of thing. Is it possible to argue people into thinking about this differently? Or should we just be doing what we do and setting an example and hoping that people will follow.Kanakia: As to whether it's possible or not, I do not know. But I do think these columns are too ambitious. A thousand-word column and the imagined audience for this column is somebody who doesn't read books at all, who doesn't care about literature at all. And then in a thousand-word column, you're going to persuade them to care about literature. This is no good. It's so unnecessary.Whereas there's a much broader range of people who love to read books, but have never picked up Moby Dick or have never picked up Middlemarch, or who like maybe loved Middlemarch, but never thought maybe I should then go on and read Jane Austen and George Eliot.I think trying to shift people from “I don't read books at all; reading books is not something I do,” to being a Great Books card-carrying lover of literature is a lot. I really aim for a much lower result than that, which is to whatever extent people are interested in literature, they should pursue that interest. And as the rationalists would say, there's a lot of alpha in that; there's a lot to be gained from converting people who are somewhat interested into people who are very interested.Oliver: If there was a more widespread practice of humanism in education and the general culture, would that make America into a more liberal country in any way?Kanakia: What do you mean by humanism?Oliver: You know, the old-fashioned liberal arts approach, the revival of the literary journal culture, the sort of depolitical approach to literature, the way things used to be, as it were.Kanakia: It couldn't hurt. It couldn't hurt is my answer to that question.Oliver: Okay.Kanakia: What you're describing is basically the way I was educated. I went to Catholic school in DC at St. Anselm's Abbey School, in Northeast, DC, grade school. Highly recommend sending your little boys there. No complaints about the school. They talked about humanism all the time and all these civic virtues. I thought it was great. I don't know what people in other schools learn, but I really feel like it was a superior way of teaching.Now, you know, it was Catholic school, so a lot of people who graduated from my school are conservatives and don't really have the beliefs that I have, but that's okay.Oliver: Tell us about your reading habits.Kanakia: I read mostly ebooks. I really love ebooks because you can make the type bigger. I just read all the time. They vary. I don't wake up at 5:00 a.m. to read anymore. Sometimes if I feel like I'm not reading enough—because I write this blog, and the blog doesn't get written unless I'm reading. That's the engine, and so sometimes I set aside a day each week to read. But generally, the reading mostly takes care of itself.What I tend to get is very into a particular thing, and then I'll start reading more and more in that area. Recently, I was reading a lot of New Yorker stories. So I started reading more and more of these storywriters that have been published in the New Yorker and old anthologies of New Yorker stories. And then eventually I am done. I'm tired. It's time to move on.Oliver: But do you read several books at once? Do you make notes? Do you abandon books? How many hours a day do you read?Kanakia: Hours a day: Because my e-reader keeps these stats, I'd say 15 or 20 hours a week of reading. Nowadays because I write for the blog, I often think as I'm reading how I would frame a post about this. So I look for quotes, like what quote I would look at. I take different kinds of notes. I'll make more notes if I'm more confused by what is going on. Especially with nonfiction books, I'll try sometimes to make notes just to iron out what exactly I think is happening or what I think the argument is. But no, not much of a note taker.Oliver: What will you read next?Kanakia: What will I read next? Well, I've been thinking about getting back into Indian literature. Right now I'm reading Les Miserables by Victor Hugo. But there's an Indian novel called Jhootha Sach, which is a partition novel that is originally in Hindi. And it's also a thousand pages long, and is frequently compared to Les Miserables and War and Peace. So I'm thinking about tackling that finally.Oliver: Naomi Kanakia, thank you very much.Kanakia: Thanks for having me. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Welcome back to purgatory!!! This month we celebrate one of the influential directors on cinema history, Michael Mann!!! We kick off our series Manbruary with Michael Mann's first theatrical film Thief from1981, based off of the novel The Home Invaders by Frank Hohimer, the screenplay is adapted for the screen by Michael Mann and directed by Michael Mann. The film stars James Caan, Tuesday Weld, Willie Nelson, Jim Belushi, Robert Prosky, Tom Signorelli, Dennis Farina, William Peterson, Nick Nickeas, W.R. Brown, Norm Tobin, John Santucci, Gavin MacFayden. Chuck Adamson, Sam Cirone, Spero Anast and Walter Scott!!! Thanks for checkin us out!!! You can find our past and most recent episodes on Podbean.com and you can find us where most other podcasts are found. Intro & Outro tracks from the Thief soundtrack composed and conducted by Tangerine Dream  1. Burning Bar https://youtu.be/_7IpubBepeM?si=PApjMz5TyxHPo4e8 2. Confrontation w/ Craig Safan https://youtu.be/il2mxFFhtQk?si=sk5BG6vGlCQlogc5  

fWotD Episode 3167: Poisoning of Margaret Warden Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Monday, 5 January 2026, is Poisoning of Margaret Warden.In September 1826, Margaret Warden, a young servant girl living near Dundee, Scotland, died of arsenic poisoning. She was pregnant at the time of her death; the father was George Smith, the son of Warden's employers, Mary and David Smith. The attending doctor initially thought Warden died of cholera, but rumours of poisoning soon spread and she was exhumed. Her stomach contents were tested; arsenic was found, and Mary Smith was committed in October for trial in Edinburgh for her murder. Her defence advocates called nearly fifty witnesses, and the trial was delayed twice to allow the prosecution time to prepare. When the trial began on 5 February, the illness of a juror led to the trial being restarted on 19 February with a new jury.The advocates for the defence included Francis Jeffrey and Henry Cockburn, both leading Scottish advocates of the day; the prosecution was led by William Rae, the Lord Advocate. Testimony at the trial made it clear that Smith had given Warden something to drink shortly before she became ill. The defence called witnesses who testified that Warden had said she would "do some ill to hersel" and similar statements that implied she might have committed suicide. The medical evidence for the presence of arsenic was questioned by the defence, but in his instructions to the jury, the judge, David Boyle, told them that they should accept as fact Warden's death by arsenic, and consider whether it had been administered by Smith. Boyle's instructions concluded at 5:30 a.m. on 20 February, about twenty hours after the trial began. At 2:00 p.m. that afternoon, the jury returned a verdict of not proven, acquitting Smith of the crime.The trial was described in 1923 by the historian A. H. Millar as "in several particulars ... the most remarkable trial that ever took place in Scotland". It was the subject of much contemporary interest, and accounts of it were published that recorded the testimony of the many witnesses who were called. Popular opinion at the time was that Smith, who became known as "the Wife o Denside", was guilty, and ballads were written about the case. One of Smith's own defence lawyers later wrote that he was sure she had committed the murder. The writer Walter Scott attended the reading of the verdict, and had no doubt of Smith's guilt; he commented afterwards that "if that woman was my wife, I should take good care to be my own cook!"This recording reflects the Wikipedia text as of 00:37 UTC on Monday, 5 January 2026.For the full current version of the article, see Poisoning of Margaret Warden on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Stephen.

durée : 00:58:25 - Toute une vie - par : Catherine Pont-Humbert - Contemporaine de Walter Scott, le père du roman historique britannique, Jane Austen fut l'autre grande plume de son temps. Formidable peintre des mœurs de son époque, elle décrivit avec un esprit d'une remarquable indépendance, les amours, les déboires, les ambitions de la gentry. - réalisation : Françoise Camar - invités : Ariane Hudelet Professeure de culture visuelle des pays anglophones à l'université Paris Cité ; Alain Jumeau Alain Jumeau, professeur émérite à la Sorbonne, spécialiste de la civilisation victorienne.; Marie-Laure Massei-Chamayou Maîtresse de conférences en études anglophones à l'Université Paris 1 Panthéon-Sorbonne, membre du Centre d'histoire du XIXᵉ siècle

durée : 00:59:55 - Les Nuits de France Culture - par : Philippe Garbit - Contemporaine de Walter Scott, le père du roman historique britannique, Jane Austen fut l'autre grande plume de son temps. Formidable peintre des mœurs de son époque, elle décrivit avec un esprit d'une remarquable indépendance, les amours, les déboires, les ambitions de la gentry. - réalisation : Virginie Mourthé - invités : Ariane Hudelet Professeure de culture visuelle des pays anglophones à l'université Paris Cité ; Alain Jumeau Alain Jumeau, professeur émérite à la Sorbonne, spécialiste de la civilisation victorienne.; Marie-Laure Massei-Chamayou Maîtresse de conférences en études anglophones à l'Université Paris 1 Panthéon-Sorbonne, membre du Centre d'histoire du XIXᵉ siècle

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

In The Castle: A History (Yale University Press, 2022) Dr. John Goodall presents a vibrant history of the castle in Britain, from the early Middle Ages to the present day. The castle has long had a pivotal place in British life, associated with lordship, landholding, and military might, and today it remains a powerful symbol of history. But castles have never been merely impressive fortresses—they were hubs of life, activity, and imagination. Dr. John Goodall weaves together the history of the British castle across the span of a millennium, from the eleventh to the twenty-first century, through the voices of those who witnessed it. Drawing on chronicles, poems, letters, and novels, including the work of figures like Gawain Poet, Walter Scott, Evelyn Waugh, and P. G. Wodehouse, Dr. Goodall explores the importance of the castle in our culture and society. From the medieval period to Civil War engagements, right up to modern manifestations in Harry Potter, Dr. Goodall reveals that the castle has always been put to different uses, and to this day continues to serve as a source of inspiration. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Castle: A History (Yale University Press, 2022) Dr. John Goodall presents a vibrant history of the castle in Britain, from the early Middle Ages to the present day. The castle has long had a pivotal place in British life, associated with lordship, landholding, and military might, and today it remains a powerful symbol of history. But castles have never been merely impressive fortresses—they were hubs of life, activity, and imagination. Dr. John Goodall weaves together the history of the British castle across the span of a millennium, from the eleventh to the twenty-first century, through the voices of those who witnessed it. Drawing on chronicles, poems, letters, and novels, including the work of figures like Gawain Poet, Walter Scott, Evelyn Waugh, and P. G. Wodehouse, Dr. Goodall explores the importance of the castle in our culture and society. From the medieval period to Civil War engagements, right up to modern manifestations in Harry Potter, Dr. Goodall reveals that the castle has always been put to different uses, and to this day continues to serve as a source of inspiration. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

In The Castle: A History (Yale University Press, 2022) Dr. John Goodall presents a vibrant history of the castle in Britain, from the early Middle Ages to the present day. The castle has long had a pivotal place in British life, associated with lordship, landholding, and military might, and today it remains a powerful symbol of history. But castles have never been merely impressive fortresses—they were hubs of life, activity, and imagination. Dr. John Goodall weaves together the history of the British castle across the span of a millennium, from the eleventh to the twenty-first century, through the voices of those who witnessed it. Drawing on chronicles, poems, letters, and novels, including the work of figures like Gawain Poet, Walter Scott, Evelyn Waugh, and P. G. Wodehouse, Dr. Goodall explores the importance of the castle in our culture and society. From the medieval period to Civil War engagements, right up to modern manifestations in Harry Potter, Dr. Goodall reveals that the castle has always been put to different uses, and to this day continues to serve as a source of inspiration. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

In The Castle: A History (Yale University Press, 2022) Dr. John Goodall presents a vibrant history of the castle in Britain, from the early Middle Ages to the present day. The castle has long had a pivotal place in British life, associated with lordship, landholding, and military might, and today it remains a powerful symbol of history. But castles have never been merely impressive fortresses—they were hubs of life, activity, and imagination. Dr. John Goodall weaves together the history of the British castle across the span of a millennium, from the eleventh to the twenty-first century, through the voices of those who witnessed it. Drawing on chronicles, poems, letters, and novels, including the work of figures like Gawain Poet, Walter Scott, Evelyn Waugh, and P. G. Wodehouse, Dr. Goodall explores the importance of the castle in our culture and society. From the medieval period to Civil War engagements, right up to modern manifestations in Harry Potter, Dr. Goodall reveals that the castle has always been put to different uses, and to this day continues to serve as a source of inspiration. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Castle: A History (Yale University Press, 2022) Dr. John Goodall presents a vibrant history of the castle in Britain, from the early Middle Ages to the present day. The castle has long had a pivotal place in British life, associated with lordship, landholding, and military might, and today it remains a powerful symbol of history. But castles have never been merely impressive fortresses—they were hubs of life, activity, and imagination. Dr. John Goodall weaves together the history of the British castle across the span of a millennium, from the eleventh to the twenty-first century, through the voices of those who witnessed it. Drawing on chronicles, poems, letters, and novels, including the work of figures like Gawain Poet, Walter Scott, Evelyn Waugh, and P. G. Wodehouse, Dr. Goodall explores the importance of the castle in our culture and society. From the medieval period to Civil War engagements, right up to modern manifestations in Harry Potter, Dr. Goodall reveals that the castle has always been put to different uses, and to this day continues to serve as a source of inspiration. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Scott and William are joined by friend of the show Monica Perez to discuss the classic work "Ivanhoe" by Sir Walter Scott, a medieval romance that arguably created the genre of historical fiction and permanently fixed the concepts of chivalry, feudal life and the mythical figure of Robin Hood into the minds of the entire English speaking world and the West.Don't forget to join our Telegram channel at T.me/historyhomos and to join our group chat at T.me/historyhomoschatFor programming updates and news follow us across social media @historyhomospod and follow Scott @Scottlizardabrams and Patrick @cantgetfooledagainradio OR subscribe to our telegram channel t.me/historyhomosThe video version of the show is available on Substack, Rokfin, bitchute, odysee and RumbleFor weekly premium episodes or to contribute to the show subscribe to our channel at www.historyhomospod.substack.comYou can donate to the show directly at paypal.me/historyhomosTo order a History Homos T shirt (and recieve a free sticker) please send your shirt size and address to Historyhomos@gmail.com and please address all questions, comments and concerns there as well.Later homos

Charlie Macquaker reflects on 34 years at Walter Scott, sharing insights from his early days to recent research trips in China and Sweden, and discusses the enduring principles that underpin the firm's investment approach.Visiting companies and engaging directly with management teams reveals insights that go far beyond desk-based analysis. As the current AI frenzy echoes the dotcom days, why healthy scepticism is vital for effective long-term investing.China's rapid infrastructure and technological development is reshaping the global competitive landscape.While the investment landscape evolves, discipline, adaptability, and trust in the research process remain fundamental to successListen to the podcast to learn more.Resources-          Inside China's chip challenge: On the road in China (article with video)Can China wean itself off overseas technology and become self-sufficient in semiconductors? Tom Miedema and Michael Scott visited the country to find out more.The podcast is intended for investment professionals only and should not be construed as investment advice or a recommendation. Any stock examples discussed are given in the context of the theme being explored, and the views expressed are those of the presenters at the time of the recording.

If your religious heritage is associated with the American Restoration Movement, have you ever wondered what makes us who we are? Our DNA betrays us. In this second of a 3-part series, we examine the purity stream of the restoration movement, as expressed in Churches of Christ.The sermon today is titled "The Purity Stream." This sermon is the second installment in our series "Churches of Christ: Understanding Our Story." Originally preached at the West Side Church of Christ (Searcy, AR) on April 6, 2025. All lessons fit under one of 6 broad categories: Begin, Instill, Discover, Grow, Learn, and Serve. This sermon is filed under LEARN: Christian History.Click here if you would like to watch the sermon or read a transcript.Podcast Notes (resources used or referenced):Walter Scott, The Gospel Restored (1836)J W Shepherd, The Church, The Falling Away, and the Restoration.I'd love to connect with you!Watch sermons and find transcripts at nathanguy.com.Follow along each Sunday through YouTube livestream and find a study guide on the sermon notes page.Follow me @nathanpguy (facebook/instagram/twitter)Subscribe to my email newsletter on substack.

In “[M]y ‘case' to work up': William Carlos Williams's Paterson” (William Carlos Williams Review, Volume 41, Number 2, 2024), Walter Scott Peterson argues that as a physician-poet Dr. Williams approaches his poetic material very much as he approaches his patients, and that the form of Paterson in particular is intentionally and actually reminiscent of the various forms taken by the medical case narrative, or “work-up.” This episode concerns the poet and physician William Carlos Williams, whose mother, Raquel Hélène Rose Hoheb Williams, was born and raised in Mayagüez, Puerto Rico. This conversation is part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, that links medicine, science, technology and engineering to the sensibilities honed in the humanities—rethinking ways to blend and combine studies in literature, poetry, history, philosophy, and the arts as more central dimensions of technical preparation. The discussion explores the profound connection between medical humanities and poetry, highlighting how their combination enriches our understanding of patient care, fosters empathy, and humanizes the medical experience. Medical humanities is an interdisciplinary field combining arts, literature, philosophy and cultural approaches to the human condition—considering each of these as insights into the emotional and ethical dimensions of healthcare. Poetry can serve as a powerful tool for expressing the complex feelings and narratives that often go unspoken in clinical settings. Blending poetry and the science of healthcare reminds us that medicine is not just a science but also an art, emphasizing compassion, understanding, and the shared human experience at the heart of healing. In this episode are: Walter Scott Peterson is a retired ophthalmologist and William Carlos Williams scholar; he is the author of the first book-length study of William Carlos Williams's epic poem Paterson, titled An Approach to Paterson (Yale, 1967). Vamsi Koneru is a Professor in the Department of Psychiatry in the University of Connecticut School of Medicine. Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez. 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

In “[M]y ‘case' to work up': William Carlos Williams's Paterson” (William Carlos Williams Review, Volume 41, Number 2, 2024), Walter Scott Peterson argues that as a physician-poet Dr. Williams approaches his poetic material very much as he approaches his patients, and that the form of Paterson in particular is intentionally and actually reminiscent of the various forms taken by the medical case narrative, or “work-up.” This episode concerns the poet and physician William Carlos Williams, whose mother, Raquel Hélène Rose Hoheb Williams, was born and raised in Mayagüez, Puerto Rico. This conversation is part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, that links medicine, science, technology and engineering to the sensibilities honed in the humanities—rethinking ways to blend and combine studies in literature, poetry, history, philosophy, and the arts as more central dimensions of technical preparation. The discussion explores the profound connection between medical humanities and poetry, highlighting how their combination enriches our understanding of patient care, fosters empathy, and humanizes the medical experience. Medical humanities is an interdisciplinary field combining arts, literature, philosophy and cultural approaches to the human condition—considering each of these as insights into the emotional and ethical dimensions of healthcare. Poetry can serve as a powerful tool for expressing the complex feelings and narratives that often go unspoken in clinical settings. Blending poetry and the science of healthcare reminds us that medicine is not just a science but also an art, emphasizing compassion, understanding, and the shared human experience at the heart of healing. In this episode are: Walter Scott Peterson is a retired ophthalmologist and William Carlos Williams scholar; he is the author of the first book-length study of William Carlos Williams's epic poem Paterson, titled An Approach to Paterson (Yale, 1967). Vamsi Koneru is a Professor in the Department of Psychiatry in the University of Connecticut School of Medicine. Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In “[M]y ‘case' to work up': William Carlos Williams's Paterson” (William Carlos Williams Review, Volume 41, Number 2, 2024), Walter Scott Peterson argues that as a physician-poet Dr. Williams approaches his poetic material very much as he approaches his patients, and that the form of Paterson in particular is intentionally and actually reminiscent of the various forms taken by the medical case narrative, or “work-up.” This episode concerns the poet and physician William Carlos Williams, whose mother, Raquel Hélène Rose Hoheb Williams, was born and raised in Mayagüez, Puerto Rico. This conversation is part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, that links medicine, science, technology and engineering to the sensibilities honed in the humanities—rethinking ways to blend and combine studies in literature, poetry, history, philosophy, and the arts as more central dimensions of technical preparation. The discussion explores the profound connection between medical humanities and poetry, highlighting how their combination enriches our understanding of patient care, fosters empathy, and humanizes the medical experience. Medical humanities is an interdisciplinary field combining arts, literature, philosophy and cultural approaches to the human condition—considering each of these as insights into the emotional and ethical dimensions of healthcare. Poetry can serve as a powerful tool for expressing the complex feelings and narratives that often go unspoken in clinical settings. Blending poetry and the science of healthcare reminds us that medicine is not just a science but also an art, emphasizing compassion, understanding, and the shared human experience at the heart of healing. In this episode are: Walter Scott Peterson is a retired ophthalmologist and William Carlos Williams scholar; he is the author of the first book-length study of William Carlos Williams's epic poem Paterson, titled An Approach to Paterson (Yale, 1967). Vamsi Koneru is a Professor in the Department of Psychiatry in the University of Connecticut School of Medicine. Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

In “[M]y ‘case' to work up': William Carlos Williams's Paterson” (William Carlos Williams Review, Volume 41, Number 2, 2024), Walter Scott Peterson argues that as a physician-poet Dr. Williams approaches his poetic material very much as he approaches his patients, and that the form of Paterson in particular is intentionally and actually reminiscent of the various forms taken by the medical case narrative, or “work-up.” This episode concerns the poet and physician William Carlos Williams, whose mother, Raquel Hélène Rose Hoheb Williams, was born and raised in Mayagüez, Puerto Rico. This conversation is part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, that links medicine, science, technology and engineering to the sensibilities honed in the humanities—rethinking ways to blend and combine studies in literature, poetry, history, philosophy, and the arts as more central dimensions of technical preparation. The discussion explores the profound connection between medical humanities and poetry, highlighting how their combination enriches our understanding of patient care, fosters empathy, and humanizes the medical experience. Medical humanities is an interdisciplinary field combining arts, literature, philosophy and cultural approaches to the human condition—considering each of these as insights into the emotional and ethical dimensions of healthcare. Poetry can serve as a powerful tool for expressing the complex feelings and narratives that often go unspoken in clinical settings. Blending poetry and the science of healthcare reminds us that medicine is not just a science but also an art, emphasizing compassion, understanding, and the shared human experience at the heart of healing. In this episode are: Walter Scott Peterson is a retired ophthalmologist and William Carlos Williams scholar; he is the author of the first book-length study of William Carlos Williams's epic poem Paterson, titled An Approach to Paterson (Yale, 1967). Vamsi Koneru is a Professor in the Department of Psychiatry in the University of Connecticut School of Medicine. Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In “[M]y ‘case' to work up': William Carlos Williams's Paterson” (William Carlos Williams Review, Volume 41, Number 2, 2024), Walter Scott Peterson argues that as a physician-poet Dr. Williams approaches his poetic material very much as he approaches his patients, and that the form of Paterson in particular is intentionally and actually reminiscent of the various forms taken by the medical case narrative, or “work-up.” This episode concerns the poet and physician William Carlos Williams, whose mother, Raquel Hélène Rose Hoheb Williams, was born and raised in Mayagüez, Puerto Rico. This conversation is part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, that links medicine, science, technology and engineering to the sensibilities honed in the humanities—rethinking ways to blend and combine studies in literature, poetry, history, philosophy, and the arts as more central dimensions of technical preparation. The discussion explores the profound connection between medical humanities and poetry, highlighting how their combination enriches our understanding of patient care, fosters empathy, and humanizes the medical experience. Medical humanities is an interdisciplinary field combining arts, literature, philosophy and cultural approaches to the human condition—considering each of these as insights into the emotional and ethical dimensions of healthcare. Poetry can serve as a powerful tool for expressing the complex feelings and narratives that often go unspoken in clinical settings. Blending poetry and the science of healthcare reminds us that medicine is not just a science but also an art, emphasizing compassion, understanding, and the shared human experience at the heart of healing. In this episode are: Walter Scott Peterson is a retired ophthalmologist and William Carlos Williams scholar; he is the author of the first book-length study of William Carlos Williams's epic poem Paterson, titled An Approach to Paterson (Yale, 1967). Vamsi Koneru is a Professor in the Department of Psychiatry in the University of Connecticut School of Medicine. Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Un racconto di cavalieri, passioni e giustizia: la trama completa di Ivanhoe per studenti e appassionati di letteratura.

Critic and opinion writer Christopher Scalia, son of the late Justice Antonin Scalia, recommends 13 novels with conservative themes that, he says, aren't widely known by conservatives. In his book "13 Novels Conservatives Will Love (but Probably Haven't Read," the former English professor discusses books by Walter Scott, George Eliot, P.D. James, Zora Neale Hurston, and others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Critic and opinion writer Christopher Scalia, son of the late Justice Antonin Scalia, recommends 13 novels with conservative themes that, he says, aren't widely known by conservatives. In his book "13 Novels Conservatives Will Love (but Probably Haven't Read," the former English professor discusses books by Walter Scott, George Eliot, P.D. James, Zora Neale Hurston, and others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's reading comes from, the Works of John Dryden. Written by Walter Scott, Esq., and published in 1808, this book journeys through the formative landscapes of a literary figure's life, tracing their path from early influences to lasting legacy.

“Scotland is a land of mountains, glens, and islands, a land of myth and legend” - Walter Scott. Join Kitchen Chat host Margaret McSweeney as she celebrates the 100th anniversary of Gleneagles, located at the base of the Scottish Southern Highlands. After its grand opening in 1924, media proclaimed that Gleneagles was the "8th Wonder of the World" and called it "The Glorious Playground." Learn more at https://gleneagles.com/ Tee and Tea are hallmark experiences at this timeless resort. With three championship courses and a nine-hole course, golfers can test their skills amidst the lush landscape. In 1921 (before the hotel opened), Gleneagles hosted their first golf tournament between American and British players, which is considered to be the precursor to the Ryder Cup. Photos at Kitchenchat.info Enjoy Afternoon Tea in Glendevon at Glenagles for a taste of Scottish heritage with a legacy of impeccable service and refined elegance. Margaret especially enjoyed the Centenary Afternoon Tea offered during her stay with savories and pastries representing the culinary highlights during the 100 years, including the Truffled Egg Mayonnaise sandwich made famous in the 1930s in The Ritz. Explore the verdant grounds and crunch along the paths of the Kitchen Garden, an oasis of produce and botanicals. Photos at Kitchenchat.info Expand your knowledge about Scottish Whisky through a tasting offered at Gleneagles. Visit: https://gleneagles.com/the-gleneagle-blog/spirited-away/ Remember, every episode of Kitchen Chat can be heard on all podcast platforms and NOW heard on The Great British Tea Party on Facebook., https://www.facebook.com/GreatBritishTeaParty/ What are your favorite memories and experiences in Scotland? ✅ Be sure and visit KitchenChat.info for more interviews and recipes.  Subscribe to the KitchenChat audio podcast: Apple Podcasts: https://podcasts.apple.com/us/podcast/kitchen-chat-margaret-mcsweeney/id447185040 Spotify: https://open.spotify.com/show/3PpcTPpvHEh8eOMfDUm8I9 Webtalkradio: Webtalkradio.com This podcast is also available on Apple TV, Roku and Amazon Fire Stick streaming devices. Download the Experts and Authors App and go to the Kitchen Chat series page or visit: www.Expertsandauthors.tv    Savor the day!

Romanzo storico: genere narrativo che intreccia storia e finzione. Scopri le sue caratteristiche, i protagonisti e le opere più importanti della letteratura.

In this episode, we talk about the upward and downward social interactions taking place, what the implications are behind the Dalrymples being Irish aristocracy, the introductions of Mrs Smith and Nurse Rooke, the comedy of Mary's letter and Admiral Croft's meeting with Anne, and the fact that in the book's timeline it is only a month before Napoleon Bonaparte will escape from Elba.The characters we discuss are Admiral and Mrs Croft. In the historical section, Ellen talks about nurses, and for popular culture Harriet discusses the 2020 television movie Modern Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Maria Edgeworth, Castle Rackrent (1800)Character discussion:Walter Scott, Waverley (1814)Patrick O'Brien, Master and Commander (1969) and sequels in the Aubrey and Maturin seriesHistorical discussion:Charles Dickens, Martin Chuzzlewit (1844)Elizabeth Fry (19th century English prison reformer, social reformer, philanthropist and Quaker)Wellcome Collection in LondonPopular culture discussion:Modern Persuasion (2020, Tangerine Entertainment) – starring Alicia Witt and Shane McRaeCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Auf ihre große Liebe verzichten – das verlangt die Familie. Aus politischem Kalkül soll Lucia einen Fremden heiraten. In Donizettis Oper endet das in einer blutigen Katastrophe in der Hochzeitsnacht ... Von Michael Lohse.

Walter Scott: vita, opere e stile dello scrittore considerato il padre del romanzo storico. Temi, analisi e caratteristiche di Ivanhoe e le altre opere.

The Men of Micheaux say goodbye to Walter Scott of The Whispers while also wondering about the group's strange hold on the hearts of Philly. Vincent and Len went to the movies to see Jurassic World: Rebirth, and they have an opinion about what the film should have rebirthed. And after sharing their favorite Saturday morning cartoons (YAY!) and cereals (BUMMER!), the Men analyze what went wrong with writer-director Fred Williamson's 1982 attempt at a 1970s "cool Black flick." Subscribe to the Mission on YouTube  Rate & Review The Mission on Apple Email  micheauxmission@gmail.com Follow The Mission on Instagram We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 331. This episode, we pay a soulful tribute to the late Walter Scott Jr., the iconic baritone voice behind the classic R&B group The Whispers. Join us as we explore his musical journey from humble street-corner beginnings in LA with twin brother Wallace "Scotty" Scott, through chart-topping hits like "And the Beat Goes On" and "Rock Steady," to legacy that shaped countless artists across generations. Sponsor: Why You Need A Podcast ebook   LRPod Website: thelrpod.com   Quick Links ======== - Give the gift of wellness with the IONICCARE Device—relieve muscle tension, boost circulation, and sleep better together, backed by a 14-day money-back guarantee! - Earn $10K+/Month with This 3-Step Blueprint — No Investment, Just 30 Minutes a Day! - Get High-Probability Call & Put Option Alerts with OptionsPop — Fast Trades, Big Potential in Just 2–9 Days! - Unlock hands-free trading success with our done-for-you system—from prop firm funding to account flipping, AI tools, and live mentorship, all backed by a powerful trading community!  - Turn your Instagram into a cash-generating machine with IG Millionaires Automation—guaranteed followers, guaranteed revenue, zero effort.

Tavis honors the life and musical legacy of soul music pioneer, R&B legend, and co-founder of The Whispers, Walter Scott.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

This episode goes into Beyoncé nearly dying during a concert accident, we also go into Walter Scott Jr death at the age of 81, and finally we also go into The Dukes of Hazzard star Richard Hurst Death at 79. Hosted by your Pastor Michael Smith and co-hosted by your Brotha Lamick IsraelIf you would like tune in and join Brotha Lamick Young Disciples Discord the link is https://discord.gg/SVQygUP2 If you would like to sign up for the Monthly newsletter/ have a special request/report you would like done email Brotha Lamick Israel at Lamick19@outlook.com

On A Bowl of Soul we are celebrating the end of June is Black Music Month with some Classic Soul & R&B. On this broadcast we celebrate Sly Stone of Sly and the Family Stone, Walter Scott from the Whispers and Wayne Lewis from Atlantic Starr. May they Rest in God's Peace. I enjoyed creating this mix of Soul, R&B, Funk and Hip Hop on this  broadcast.  Crank up your car stereos, mp3 players for this soulful mix of Classic Soul & R&B. Kick back and enjoy the Summer. I hope you enjoy this broadcast, because I sure did. Thank you for showing love to A Bowl of Soul A Mixed Stew of Soul Music. Happy Pride!!! Get up to 2 months free podcasting service with our Libsyn code=ABOS. Sign up & bring your  podcast to life! Get on Apple & Spotify, get critical stats & all the support you need to sound your best and grow your show!! Sign up here: https://signup.libsyn.com/?promo_code=ABOS You can listen to the A Bowl of Soul Radio Network on Live365.com giving you 24/7/365 days of Soul Music. Stop on by and listen:  A Bowl of Soul Radio Network on Live365 You can support A Bowl of Soul and Buy Me A Coffee. Just click: Buy A Bowl of Soul A Cup of Coffee Purchase your A Bowl of Soul T-Shirt and other merchandise. Just click: Get Your A Bowl of Soul Merch Follow me: @proftlove on Threads                   @proftlove on Instagram                   @abowlofsoul.bsky.social - Bluesky                                  @A Bowl of Soul A Mixed Stew of Soul Music on Facebook Promote your product or service on the podcast and the radio network. You can sponsor A Bowl of Soul by getting your product or service in front of listeners. Email us at: abowlofsoul@gmail.com  Thank you for your Support!!!  

6.27.2025 #RolandMartinUnfiltered: SCOTUS Birthright Ruling, Crockett vs MAGA, Moral Monday preview, Trump disrespects African reporter The Supreme Court has sided with the Trump administration in the birthright citizenship case, which limits the ability of federal judges to impose nationwide injunctions. We will examine how this decision affects our freedoms. Texas Congresswoman Jasmine Crockett is here to discuss Iran, immigration, and MAGA's attempt to dismantle democracy. Dr. William Barber will provide a preview of the Moral Monday March to the nation's capital, where protesters will gather against Trump's "Big Beautiful Bill." After top diplomats from Rwanda and the Democratic Republic of Congo signed a peace agreement to address the ongoing war in eastern Congo, and in an underhanded slight, Trump tells an African reporter, "now you can go back to where you belong." We'll show you how this situation unfolded. And the R&B community mourns the loss of another legend. Walter Scott, a founding member of The Whispers, has passed away. #BlackStarNetwork partner: Fanbasehttps://www.startengine.com/offering/fanbase This Reg A+ offering is made available through StartEngine Primary, LLC, member FINRA/SIPC. This investment is speculative, illiquid, and involves a high degree of risk, including the possible loss of your entire investment. You should read the Offering Circular (https://bit.ly/3VDPKjD) and Risks (https://bit.ly/3ZQzHl0) related to this offering before investing. Download the Black Star Network app at http://www.blackstarnetwork.com! We're on iOS, AppleTV, Android, AndroidTV, Roku, FireTV, XBox and SamsungTV. The #BlackStarNetwork is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.See omnystudio.com/listener for privacy information.

(0:00) Leroy Irvin and Cerrone Battle start the show by exchanging pleasantries following some well deserved vacation time. The Music of the Day is dedicated to "The Whispers" following the recent passing of one of the lead singers of the group, Walter Scott. Irvin and Battle pivot to the Celtics and the start to their offseason. Cerrone breaks down the Celtics' trades that sent Porzingis to Atlanta and Holiday to Portland, while shedding the light on some optimism to next season. (12:37) Leroy and Cerrone react to comments made by Shams Charania on his expectations for the Celtics to continue making trades. Leroy expresses his disappointment over the Celtics early playoff exit, in spite of Tatum's injury. Cerrone suggests the Celtics' Championship core is still in tact. What should the Celtics expectations be for next season, in a down Eastern Conference? Leroy provides a Jayson Tatum injury update. (22:29) Brad Stevens comments on the Celtics new ownership regime's commitment to spending following the 1st Round of the NBA Draft. Irvin and Battle get into the 2nd Apron restrictions that NBA teams are actively avoiding, including the Celtics. The duo highlight how tough it is to maintain camaraderie with the new CBA salary cap penalties in the NBA. More on the Celtics' roster construction. (34:21) Leroy and Cerrone analyze the Celtics' 1st Round Draft selection - Hugo Gonzalez. Cerrone highlights the caliber of International talent in the NBA over the last quarter century. ------------------------------------------- FOLLOW ON TWITTER/X: @BostonLIrvin | @Cerrone_Battle | @jorgiesepulveda

Circumstance made him a legend of the quizzing world, but Siddhartha Basu is a man of many parts. He joins Amit Varma in episode 420 of The Seen and the Unseen to talk about life, India, the art of asking questions and the answers he has found. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Siddhartha Basu on Wikipedia, Twitter, Instagram and IMDb. 2. Tree of Knowledge, DigiTok. 3. Quizzitok on YouTube. 4. Middlemarch -- George Eliot. 5. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 6. Gita Press and the Making of Hindu India — Akshaya Mukul. 7. Episodes of The Seen and the Unseen featuring Ramachandra Guha: 1, 2, 3, 4, 5, 6. 9. The Life and Times of KP Krishnan — Episode 355 of The Seen and the Unseen. 10. The Life and Times of Vir Sanghvi — Episode 236 of The Seen and the Unseen. 11. Gods, Guns and Missionaries: The Making of the Modern Hindu Identity — Manu Pillai. 12. The Forces That Shaped Hinduism — Episode 405 of The Seen and the Unseen (w Manu Pillai). 13. How to Become a Tyrant -- Narrated by Peter Dinklage. 14. What Is Populism? -- Jan-Werner Müller. 15. The Populist Playbook -- Episode 42 of Everything is Everything. 16. 20,000 Leagues Under the Sea -- Richard Fleischer. 17. The Hedgehog And The Fox — Isaiah Berlin. 18. Trees of Delhi : A Field Guide -- Pradip Krishen. 19. The Rooted Cosmopolitanism of Sugata Srinivasaraju — Episode 277 of The Seen and the Unseen. 20. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 21. Stage.in. 22. Dance Like a Man -- Mahesh Dattani. 23. How Old Are You? -- Rosshan Andrrews. 24. The Mehta Boys -- Boman Irani. 25. A Portrait of the Artist as a Young Man -- James Joyce. 26. Massey Sahib -- Pradip Krishen. 27. Derek O'Brien talks to Siddhartha Basu -- Episode 6 of the Quizzitok Podcast. 28. Kwizzing with Kumar Varun. 29. Ivanhoe, Treasure Island and Black Beauty. 30. Jane Austen, Walter Scott, Charles Dickens, John Steinbeck, Albert Camus, Jean-Paul Sartre, Charles Baudelaire, Arthur Rimbaud, Allan Ginsberg, Jack Kerouac, James Joyce, TS Eliot and Vivekananda. 31. Ramayana and Mahabharata -- C Rajagopalachari. 32. Paradise Lost -- John Milton. 33. Morte d'Arthur -- Alfred Tennyson. 34. Death of a Salesman -- Arthur Miller. 35. Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Rukun Advani, Vikram Seth, Shashi Tharoor, Jhumpa Lahiri, I Allan Sealy, Arundhati Roy and William Dalrymple. 36. The Trotter-nama -- I Allan Sealy. 37. The Everest Hotel -- I Allan Sealy. 38. The Life and Times of Altu-Faltu -- Ranjit Lal. 39. Mr Beast on YouTube. 40. The Spectacular Life of Prahlad Kakar — Episode 414 of The Seen and the Unseen. 41. Ramki and the Ocean of Stories -- Episode 415 of The Seen and the Unseen. 42. Adolescence -- Created by Stephen Graham & Jack Thorne. 43. Anora -- Sean Baker. 44. Jerry Seinfeld on the results of the Seinfeld pilot. 45. Scam 1992 -- Hansal Mehta. 46. Dahaad -- Created by Reema Kagti & Zoya Akhtar. 47. The Delhi Walla -- Mayank Austen Soofi. 48. Flood of Fire -- Amitav Ghosh. 49. The Shadow Lines -- Amitav Ghosh. 50. The God of Small Things -- Arundhati Roy. 51. Shillong Chamber Choir. 52. The Waste Land -- TS Eliot. 53. Omkara, Maqbool and Haider -- Vishal Bhardwaj. 54. A Tale of Two Cities -- Charles Dickens. 55. William Shakespeare and Henry James. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Your Time Starts Now' by Simahina.

Marrying in haste is easy, but divorces can be oh so much trickier. Two complicated marriages finally dissolve in the courtroom.October 1933, Mae Murray is on her third attempt to divorce Prince David Mdivani. Amidst their divorce proceedings, she has several other cases related to an unpaid debt and a personal injury claim. Meanwhile Hope Diamond owner Evalyn Walsh McLean requests an insanity hearing for her wayward spouse Edward “Ned” McLean. In other news, more details on potential Lindbergh baby kidnapping suspects pop up. Other people and subjects include:Koran Mdivani, Mary McCormick, Prince Serge Mdivani, Pola Negri, Valentino, Joan Crawford, Clark Gable, Samuel Insull, Gaston Means, Cartier, Elizabeth “Betsy” Stack, Robert Stack, Charles Lindbergh, Anne Morrow Lindbergh, John “Jafsie” Condon, Cemetery John, Rose Douras Davies, Marion Davies, William Randolph Hearst, Dr. Ross Chapman, Dr. Arthur Patrell, Edgar Allen Poe, Reverend Francis Hurney, John Gorch, Otto Hawk – Arthur Young, bridal party, loans, usury, lunacy petition, mental cruelty, controlling behaviors, erratic jealousy, alimony, community property, child support, child custody, trust, financial settlement, freedom, personal injury, leg insurance, extradited, pottery fraud, real estate embezzlement, ransom money, wrestler, racketeer, ex-convict, detective, Hope Diamond curse, morphine addiction, prostitutes, aging actress, flailing career, 1925 Merry Widow, Washington Post headquarters, Pacific Shore Oil Company, Hill, Morgan & Bledsoe, Bricklayers', Masons' and Plasters' International Union, Metropolitan National Bank, Shepard and Enoch Pratt Hospital, L.A. Superior Court, Brooklyn Fox Theatre, Playa del Rey, Los Angeles, Boston, New York, Athens, Greece, Washington, D.C., Baltimore, Maryland, Hopewell, NJ, Youngstown, Ohio, Texas, Florida, Colorado, Scotland, Paris, Mexico, Latvia, Zelda Fitzgerald, spending sprees, alcoholism, women, dance classes, elope, European honeymoon, trained seal, trained bear, May Dixon Thacker, Teapot Dome Scandal, Elk Hills, naval oil leases, oil tycoons, President Warren Harding, U.S. Secretary of Interior Albert Fall, U.S. Attorney Harry Daugherty, Harry Sinclair, Edward Doheny, Strange Death of President Harding, Liberty Magazine, falsities, inaccuracies, retraction, revenge, Lochinvar, Walter Scott, poem, knight, Helen, laggard, Mdivani-Hutton jade necklace, Duke of Windsor brooch, Victoria & Albert South Kensington, Cartier exhibit, connections, synchronicity, frequency illusion, Baader-Meinhof, coinciding lawsuits, Unsolved Mysteries, America's Most Wanted, History Channel, documentaries, new Mdivani book & Instagram account, scandal, overlaps, large fortunes, Elon Musk, Jeff Bezos, Lauren Sanchez,…--Extra Notes / Call to Action:Cartier Exhibit at Victoria & Albert South Kensington, London May 27th – November 16th, 2025https://www.vam.ac.uk/exhibitions/cartierSearching for the Mikinaak is available via Tubi, Amazon, and YouTubehttps://www.youtube.com/watch?v=4x-9C9EWur4Share, like, subscribe --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Lullaby by Coleman Hawkins, Album Nightfall – Sophisticated Jazz ClassicsSection 2 Music: Just A Mood by Benny Carter & His Orchestra, Album Nightfall – Sophisticated Jazz ClassicsSection 3 Music: These Foolish Things by Benny Carter, Album Perfect BluesEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands--https://asthemoneyburns.com/X / TW / IG – @asthemoneyburnsX / Twitter – https://x.com/asthemoneyburnsInstagram – https://www.instagram.com/asthemoneyburns/Facebook – https://www.facebook.com/asthemoneyburns/

Author's Note: This writing was adapted from a series of conversations around race in America and edited as audio, recorded in 2020, right after George Floyd was lynched.. The podcast of this writing is the real thing, as it were.  What follows is edited text to clarify the narrators, absent the audio.  Please consider following the podcast associated with this newsletter and leaving a 5-star review on Spotify or Apple Podcasts. Please subscribe to support high-impact content like this.The author, David Foster Wallace, described the experience of reading his novel Infinite Jest as intended to feel “tornadic,” like you're in the middle of a tornado. That's what the last several weeks have felt like.Protesters:"Racist ass police! No justice, no peace! F**k these racist ass police! No justice, no peace!""F**k these racist ass police!"Owen Muir, M.D.:I originally tried making this episode a linear narrative, but it wasn't happening. So, welcome to the tornado of racism in America. Buckle up.George Floyd spent 8 minutes and 46 seconds gasping for breath.  Police officers, some of whom were very experienced, knelt on his back...until he didn't breathe anymore. As a psychiatrist, I often emphasize how the words we use to describe someone's death have meaning. So, I'll say, you know, completed suicide, not “commit.” And George Floyd was lynched.Welcome. This is about anxiety, uncertainty, and existential despair. And I recorded the narration in one take because I wasn't, like, going to get it right a second time. So much of what we say about race is calculated, polite, and wrong. So I'm not going to try to do that tonight.Here we go.Sequoiah:"Yeah. My general reaction to all this is a little more, a little more extended. The, uh, f**k".Owen Muir, M.D.:That's my teammate. She is a TMS technician at the mental health practice we worked at together. She also works in the community with patients helping put their lives together, but tonight she's a field reporter on the revolution.Sequoiah:"I am a TMS tech, Winnicott coach, and black woman. Which seems very important right now. George Floyd, Say His Name.  George Floyd, Say his Name.So I just got home from a protest in Flatbush. Police would not let us pass. We were chanting with our hands up. And after a while, they decided to push the line backward. We resisted—we stood there with our hands up. They pushed us and pushed us, and when we wouldn't..."Owen:Now, as someone with a lot of white privilege, I'm outraged at hearing this, like, wow, this is fucked up. So I called another colleague in the special operations community, and I'm not using names in this episode for semi-obvious reasons, and I heard what he had to say.Master Sergeant:“The things that U. S. police forces are apparently fully within their legal rights to do, like, use tear gas, would literally have…been against the Geneva Conventions. It's an actual war crime. We cannot gas a civilian population.”Owen Muir, M.D.:The person I'm interviewing has over a decade of experience in the special operations community. He has fought and killed for our right to do what my other colleagues were in the street doing, peacefully protesting.Master Sergeant:"This is a perversion of what the United States stands for. We invade countries who treat their people the way that our police forces are on camera treating Americans "Sequoiah:"People started to back up, , and run and they then started to hit us with batons. , I fell. And then we reformed the line."Master Sergeant:"It's disgusting in a lot of ways."Owen Muir, M.D.:So when someone whose life has been dedicated to protecting our freedoms tells me they're upset with what they're seeing, I take that pretty seriously.Sequoiah:"Well, the other night, well, last night, when the cops and protestors were getting into, into fights and they were trying to, the cops were trying to push back the protestors, I saw them bring out the batons and, like, start attacking people...and each time they'd tell us to back up and back up and kept pushing us and pushing us. And finally, there was a frustration in the air, and people started to act out."Owen Muir, M.D.:Now, as a psychiatrist, my life has been saved by police officers on more than one occasion. I have been physically attacked in hospital settings.  The police have been called, and I have not died, and my colleagues have not died thanks to them. And this is Flatbush, Brooklyn, New York, and these people are black people. The Flatbush, at least the area I was in, is a predominantly black neighborhood.  So, look, Americans love the police.  They are a highly regarded part of society by many people, but that's not the experience for black America I have learned.Master Sergeant:“There are many things you can do in that spectrum that don't involve actively using force against a human being, which makes the process easier across the board. If I don't have to hurt somebody, the only thing that is hurting another person does for me is further endanger my Troops. "Owen Muir, M.D.:Now this makes sense to me because, having run the show in a psychiatric emergency department, where I have to protect myself, other patients, and violent people themselves from getting hurt, sometimes we use violence, but oftentimes we don't.Master Sergeant:"What started this particular instance has been four cops lynched George Floyd. One guy put his knee on the man. We don't do that to terrorists actively trying to kill us. ""George Floyd, Say His Name."Sequoiah:"It was at that point that they called in more backup and started to attack and arrest groups of gathered people from the neighborhood.”Owen Muir, M.D.:Police officers, when they're called to stand trial for the use of force, have a standard called the reasonable officer standard.I feel like I have to make it relevant for me--a white person—to watch humans being murdered by police and then people killing each other in the streets about it. There was an article I read about six months ago about yet another person being slammed to the ground, handcuffed behind their back, and suffocated to death by the police. I was shocked..that the person was white. Until I read several paragraphs down that he had schizophrenia. Oh, that's what made it okay. Reasonable officers can only be judged based on what someone would do in that moment of terror when they have to decide to use force.Sequoiah:"I was so emotionally spent and so exhausted. And then we saw marauding bands of police officers going down the street, just telling people to go home and attacking groups of people on the street.”"George Floyd, Say His Name.  George Floyd, Say His Name."Owen Muir, M.D.:Police officers are represented by unions. Those unions have spent 20 years bargaining for lack of accountability to protect, in their minds, their members. This means police officers have the right to huddle and discuss their stories before speaking to prosecutors. It means many other things.  But importantly, whenever any officer stands trial, the jury is instructed, per Chief Justice Rehnquist, to not use the benefit of 20/20 hindsight in judging their actions, but only what a reasonable, that is, terrified person, would do at the moment.Master Sergeant:"We have an entire job in the US military to validate whether or not we killed someone the right way."Owen Muir, M.D.:The court system is what's supposed to do that for police officers. But it doesn't; it just says, eh, it's okay.Master Sergeant:"That's an actual thing; we have entire organizational structures dedicated to the legality of murder."Owen Muir, M.D.:Killing black or brown people in America, if you're a police officer, has literally never been ruled against the law. Ever.Master Sergeant:"To not call it murder, to call it, to call it killing combatants, that's what a JAG does. Overseas, when they're deployed, they tell you whether or not you can kill this person. And sometimes, even though we can kill someone, we don't because they have a much higher value as an intelligence asset. Or for any number of other reasons. Or they're not actively shooting at us when we go get them. That happens a ton. Because sometimes, when you see 20 or 30 goons show up outside your house, breach your door with a shotgun round, rush in, and then point all their guns at you, you won't fight back. And then, okay, well, he's not shooting back at us, so we're going to take him in, and then... "Owen Muir, M.D.:You don't get to kill someone. In the U. S. military. Deployed in the field. In Afghanistan. Even if someone's a terrorist, if they're not pointing a gun at you and about to pull the goddamn trigger.“Cause one of the things I don't want to do is vilify police officers. And, and ...”Master Sergeant:"I mean, Owen, to be perfectly honest with you,  You may not want to vilify police officers, but the things I've seen police officers do in the past week while they know they're being recorded are actively the actions of villains."Owen Muir, M.D.:This hit me like a ton of bricks. This is not okay, but when people call for help, and the police arrive, they deal with a crisis. A lot of those crises involve people with mental illness, and police officers are being asked to do a thing that like is a whole medical specialty. Like, I'm a psychiatrist. It was 45 000 hours of training to learn how to calm people down when upset and have experiences we don't have access to. And, if you're called to the scene of a crisis, and someone's acting in a really strange and scary way, and you have a gun. You've been told to protect yourself, don't let yourself get hurt or let this person harm you, and you know nothing bad will happen to you if you pull that trigger. You're going to pull that trigger.  More often than not. And that's about a thousand times a year. You're about... God knows it doesn't even matter. The percentage of time you're more likely to be killed if you're black and mentally ill. The fact that we have a statistic for that is fucked up enough. Help isn't helpful for black America. And that's just a fact of life.”Master Sergeant:"You know, I have friends in New York who are talking about the cruelty they see in these police officers' eyes. And what's worse, what's truly evil about this whole system is even in the throes of this violence, they're exhibiting racist and preferential behaviors towards white protesters versus black protesters. Or brown protesters. They're active, you know, taking it easier on white people because they're white. "Owen Muir, M.D.:And this is just f*****g killing me at this point. Ugh. Look, what's happening in the streets is not okay. It's not been okay for hundreds of years. And police officers are part of a system designed to keep order, and order used to mean slaves. That's just why they're there.Master Sergeant:"Things I don't even f*****g think about, man. Like, I'll go for a run or a rock at night. And I'll, I'll like, sometimes I'll go on my own, but if I don't go earlier, like, T. is like, well, I guess I'll go for a run. Like, one day, I just asked, like, why do you only run with me? Why do you only run with me? And she's like, well, it depends. We're in a quiet neighborhood in Florida, and I'm a black woman like I'm; there's a bunch of Trump signs everywhere like I'm not going running on my own. I was like, wow, yeah, I've never even thought along those lines; I don't question my safety when I go places. I'm hyper-vigilant for a lot of other reasons, but like, there's never a question in my mind, like if someone attacks me, it's not, it's an unexpected event, I'm not expecting, That at any moment, someone might attack me for the color of my skin. Because I'm in the neighborhood."William Osei, PhD.:"Hey, I'm Dr. Will Osei.I am a postdoctoral fellow, an African American psychologist living in Bedstuy, Brooklyn. " Owen Muir, M.D.:Dr. Osei is a scholar of racism and multiculturalism.And helped me explain what it's like for the black kids I've treated at Bellevue all these years.William Osei, PhD:"The average African American, this is like... This is a fact. This is not a revelation because we now have better cell phone coverage of these crimes. I remember being in Cleveland the day following Tamir Rice being murdered in the playground. And I was working with 12-year-old boys in the Cleveland school district. And I was devastated that day, and I went into that school expecting those boys to be devastated that their schoolmate, a kid they used to play with at the playground, was just murdered. And to them, it was nothing. It was more shocking because they knew a dozen people that the police had murdered. They knew that was just the latest murder that year. It just happened to be one that rose to the national conversation, but in Cleveland that year, there were probably 30, 50 police shootings.Owen Muir, M.D.:My level of outrage at watching all of this. That's privilege too.William Osei, PhD:"Yes. "Owen Muir, M.D.:Because to understand this as anything other than the rules of engagement would be a misunderstanding.  For a long time, Black America has known to watch out when you talk to the cops because they can kill you. Nothing's going to stop them if they want to. And they do. On camera. A thousand other times every year. And I wish it were as easy as saying it was a couple or even a lot of bad apples, but that is insufficient.Master Sergeant:"As far as privilege goes, I'm a combat veteran in the Ivy League. I'm an Arab Jew, but I look white enough that no one asks that question. I wear a suit, and you can't see my tattoos. And I... I can fit in anywhere from West Hampton to the slums of Bangladesh. Like, I'm good. You know what I mean? I have levels of privilege that people use to run for the presidency."Owen Muir, M.D.:But the magic of America is that white privilege runs out as soon as power wants it to. My colleague's married to a black woman.Master Sergeant:"And a huge part of this is like... It's the knowledge that I'm married to a black woman. My kids will be black, and this is like their plight. "Owen Muir, M.D.:Usually, we'd have credits now. Instead, I'm going to read these names.George Floyd, Ahmad Arbery, Brianna Taylor, Trayvon Martin, Eric Garner, Iyanna Jones. Freddie Gray, Michael Brown, Sandra Land, Walter Scott, and a kid on a playground in Cleveland named Tamir Rice. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thefrontierpsychiatrists.substack.com/subscribe

Or Marsh Monster, Heisenberg Cyclops, Inconceivable Menagerie, Tomb Plant.

Saladino es uno de los héroes más famosos y celebrados del mundo islámico, también una de las figuras de las Cruzadas más conocidas. Fue el fundador de la dinastía ayubí que primero extendió su imperio por los actuales Egipto y Siria para luego expandirse hacia Mesopotamia, el Yemen, Arabia, Libia y los reinos cruzados de Tierra Santa. Provenía de una familia kurda y su figura es muy relevante desde el punto de vista histórico ya que consiguió imponerse a los cruzados en la batalla de los Cuernos de Hattin, una victoria que le permitió reconquistar Jerusalén en el año 1187 tras casi un siglo de dominación cristiana. Saladino era un ferviente defensor del islam en su variedad sunní. Esa palanca la empleó para unificar desde el punto de vista político y religioso todo Oriente Próximo. No solo acaudilló la resistencia contra los cruzados llegados de Europa, sino que también se concentró en erradicar doctrinas heréticas contrarias al islam oficial heredero del Califato abasí. Su victoria sobre el reino de Jerusalén supuso golpe decisivo para los cruzados. Aquello, de hecho, desencadenó la tercera cruzada a cuyo frente estaba Ricardo I de Inglaterra, más conocido como Corazón de León. El duelo entre Saladino y Ricardo Corazón de León adquirió tintes legendarios que la literatura y el cine han reproducido en numerosas ocasiones. Pero Saladino no era hijo de reyes, no estaba llamado en principio a interpretar un papel tan decisivo en la historia. Pertenecía a una familia kurda que se empleaba como mercenarios de alto rango para la dinastía zenguí. Siendo muy joven, en calidad de enviado de los zenguíes viajó junto a su padre al Egipto de los Fatimíes para mediar en una disputa con el visir del califa. Decidió quedarse allí y fue escalando en la administración fatimí gracias a su cercanía al sultán Al-Adid y a su habilidad con las armas. Se hizo con el cargo de visir y, a la muerte del sultán, abolió el califato y prestó lealtad a los abasíes de Bagdad. Ya convertido en el general mejor valorado por los califas se concentró en ir expandiendo su imperio. Conquistó el Yemen, se apoderó de Siria y derrotó a sus antiguos amos zenguíes. El califa le recompensó nombrándole sultán de Egipto y Siria. Sólo le quedaban los cruzados que décadas antes habían llegado de Europa para establecer una serie de principados cristianos en Tierra Santa. El mayor y más valioso de todos ellos era el reino de Jerusalén controlado en aquel entonces por Sibila y Guido de Lusignan, un noble franco al que Saladino derrotó en los Cuernos de Hattin. Tras ello tomó Jerusalén reincorporándolo al mundo islámico. El reino de Jerusalén como tal siguió existiendo durante un siglo más, pero ya reducido a pequeños enclaves costeros en los que los cruzados resistieron hasta que se rindió la fortaleza de San Juan de Acre en 1291. La figura de Saladino es recordada tanto en oriente como en Occidente. Su tumba en Damasco es muy visitada y para los Estados árabes contemporáneos es toda una fuente de inspiración. El águila de Saladino, de hecho, forma parte de la heráldica de varios de ellos. En Occidente se le tiene como ejemplo de virtudes principescas, alguien piadoso y sabio que hizo las delicias siglos más tarde de los novelistas románticos. En La ContraRéplica: 0:00 Introducción 3:42 Saladino, azote de los cruzados 1:21:14 Antonio Maura 1:26:58 Puy du Fou Bibliografía: - "Vida y leyenda del sultán Saladino" de Jonathan Phillips - https://amzn.to/3F3RkpI - "El libro de Saladino" Tariq Ali - https://amzn.to/3DuP61V - "Saladino: El sultán y su época" de Hannes Möhring - https://amzn.to/3FkFyaj - "El talismán" de Walter Scott - https://amzn.to/4brU1NV · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #cruzadas #saladino Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Today's show sponsored by: Goldco — 10% Instant Match in BONUS SILVER, for qualified JLP Show listeners Learn more at https://www.JesseLovesGold.com or call 855-644-GOLD Punchie's coffee ☕ — https://jesseleepeterson.shop/

On a snowy night in St. Charles County, Missouri, police were called to the scene of a car accident; finding the driver clinging to life. A rookie officer, with only two years on the force, took one look at the Cadillac in the creek, and knew in his gut that something was off. He could have never imagined that it would take years and the mysterious disappearance of a local man to get to the truth. Instagram: @CousinsonCrimePodcast Email: CousinsonCrime@gmail.com Theme Music by AleXZavesa Join our new Patreon! https://www.patreon.com/CousinsOnCrime Check out our merch store! https://cousinsoncrime-shop.fourthwall.com/? Sources: https://www.findagrave.com/memorial/54697949/sharon_elaine-williams https://www.oxygen.com/exhumed-killer-revealed/crime-news/exhumed-james-williams-killed-wife-sharon-walter-notheis https://www.sportskeeda.com/pop-culture/what-happened-sharon-williams-walter-scott-horror-murder-case-explored-oxygen-s-exhumed-season-2 Forensic Files S7E1: The Cheater

Roy is Executive Director and Co-Chair of the Investment Management Committee at Walter Scott, a Scotland-based firm managing $100B in assets (as of 8/31/24). With a focus on long-term investing, he emphasizes the significance of compounding returns and the importance of a disciplined approach to risk management.

2014: CA man not charged in killing! Calls: Ego? Purpose? Minimum wage, Woodrow Wilson, and Starbucks cultural decline. The Hake Report, Monday, October 7, 2024 AD TIMESTAMPS * (0:00:00) Start * (0:02:33) Hey, guys! * (0:03:44) GREGGATRON: Ego? Doing good work * (0:10:44) 2014: Old man shot female robber * (0:22:18) Shooting unarmed fleeing; Walter Scott * (0:31:01) ALEX, CA: Purpose: Serve others, "Unconditional love"? * (0:38:15) WILLIAM: Miles; Trump rally in Butler, PA; BHI; Police, BLM * (0:50:21) Coffees… hater * (0:57:25) Coffee: Voting? * (1:03:54) You guys are dirty! "Diddy" gossip * (1:11:38) Tye Nichols beating, Rodney King, "police" * (1:16:05) Minimum Wage, Thomas Sowell, Walter Williams * (1:22:32) Woodrow Wilson exposed: Bill Lockwood on JLP, Oct 2021 * (1:30:12) Howard Schultz: Work somewhere else! Starbucks unions * (1:40:45) Howard Schultz: Buy shares somewhere else! Gay agenda * (1:50:59) Langtry - "Binderstiffs" - 2004, As Upon the Road Thereto LINKS BLOG  https://www.thehakereport.com/blog/2024/10/7/the-hake-report-mon-10-7-24 PODCAST / Substack  HAKE NEWS from JLP  https://www.thehakereport.com/jlp-news/2024/10/7/hake-news-mon-10-7-24 Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/show VIDEO  YouTube  -  Rumble*  -  Facebook  -  X  -  BitChute  -  Odysee*  PODCAST  Substack  -  Apple  -  Spotify  -  Castbox  -  Podcast Addict  *SUPER CHAT on platforms* above or  BuyMeACoffee, etc.  SHOP  Spring  -  Cameo  |  All My Links  JLP Network:  JLP  -  Church  -  TFS  -  Nick  -  Joel  -  Punchie   Get full access to HAKE at thehakereport.substack.com/subscribe

Helen Mark visits 50 square miles that were neither England nor Scotland. The Debatable Lands, between Carlisle and Gretna, were home to untameable crime families that petrified the most powerful of Lords and Kings. For hundreds of years governments in London and Edinburgh left the region to its own laws and moral codes. When they did intervene, the result was an explosion of violence that's still visible in the landscape of derelict towers and still audible in the Border Ballads collected by Walter Scott.Author, Graham Robb guides Helen through the region's complex history and Ian Scott Martin takes her to the ramparts of Gilnockie Tower- the fearsome stronghold of the Armstrong family, one of the most notorious clans of Border Reivers.The Union of the Crowns in the early 17th century brought the age of the Debatable Land to an end, ushering in a long period of peace broken abruptly in 1915. On the Western Front the British Army was running out of shells. In Westminster the government fell and the decision was made to build an enormous 9 mile long munitions factory, stretching across the region. Rebecca Short of the Devil's Porridge Museum guides Helen around the remains of the industrial landscape in which 30,000 people- 16,000 of them women- worked in the production of the cordite that propelled shells across the battlefields of Belgium and France. The western tip of the Debatable Land reaches out to the saltmarshes of the Solway Firth. This apparently peaceful landscape soon yields its secrets. The land is constantly battered and transformed by the tides while animals and plants have to adapt to survive the harsh and dynamic conditions. Helen explores the creeks, bogs and rivers with David Pickett of the Wildfowl and Wetlands Trust and Chris Miles of the Botanical Society of Britain and Ireland.Producer: Alasdair Cross

Dr. Melissa Burt is an esteemed Associate Professor in the Department of Atmospheric Science at Colorado State University, where her research specializes in Arctic clouds, radiation, sea ice, and climate change. In addition to her role as a professor, Dr. Burt serves as the Associate Dean for Diversity and Inclusion in the Walter Scott, Jr. College of Engineering at the same institution. She is also an active mother and a dedicated member of Science Moms, a nonpartisan group of climate scientists who are also mothers, committed to educating and empowering moms across the nation to advocate for climate solutions. Dr. Burt lives in Colorado with her husband and young daughter.Episode Summary:Dr. Melissa Burt, an expert in atmospheric science, discuss the pressing issue of climate change and its impact on our planet. The conversation delves deep into how human-caused climate change is exacerbating extreme heat events, the importance of clean energy, and what each of us can do to mitigate the effects of pollution for future generations.The discussion underscores how the warming of our planet, driven mainly by human activities such as burning fossil fuels, is leading to more frequent and intense extreme weather events. Key strategies to combat climate change include reducing carbon emissions by transitioning to electric transportation and energy-efficient appliances, using renewable energy sources, and advocating for policy changes at local, state, and national levels. Dr. Burt emphasizes that individual actions, although crucial, must be part of a broader collective effort to significantly impact climate change and protect our children's future.Key Takeaways:Human-Caused Climate Change: The burning of fossil fuels contributes significantly to the thickening heat-trapping blanket around our Earth, leading to more severe weather events, such as heatwaves, wildfires, and hurricanes.Individual and Collective Action: Simple changes like switching to energy-efficient appliances and electric vehicles, combined with advocating for larger systemic changes, can collectively make a significant impact.Impact on Children and Vulnerable Populations: Climate change disproportionately affects children and the elderly, and proactive measures are needed to safeguard these vulnerable groups.Hope for the Future: Despite the challenges, there is great potential for reversing damage if aggressive and concerted actions are taken swiftly and efficiently.Support The Sponsors who Support the Transform Your Mind podcast!RO.CO The Ro Body Program provides access to the most popular weight loss shots on the market. Go to RO.CO/TRANSFORMShopify - Go to shopify.com/transform now to upgrade your businessSee this video on The Transform Your Mind YouTube Channel https://www.youtube.com/@MyhelpsUs/videosTo see a transcripts of this audio as well as links to all the advertisers on the show page https://myhelps.us/Follow Transform Your Mind on Instagram https://www.instagram.com/myrnamyoung/Follow Transform Your mind on Facebookhttps://www.facebook.com/profile.php?id=100063738390977Please leave a rating and review on iTunes https://podcasts.apple.com/us/podcast/transform-your-mind/id1144973094

Join us in this enlightening clip of Market Mondays as we dive deep into pertinent political discussions with Senator Tim Scott. Hosts Rashad Bilal and Troy Millings engage the Senator in a candid conversation, tackling pressing issues that resonate within the Black community and beyond.

How do you step away from your most famous creation? Mohawk artist Walter Scott is about to find out. More than a decade after creating his beloved “Wendy” series of graphic novels, Walter is taking a long hiatus from his cartoon alter-ego. He joins Tom to tell us how he came up with Wendy — a neurotic young party girl who's trying to make it as an artist — and why his latest book, “The Wendy Award,” is going to be her final adventure for now.

In anticipation of our upcoming sixth annual Literary Life Online Conference, “Dispelling the Myth of Modernity: A Recovery of the Medieval Imagination,” this week we are re-airing a previous episode with Jason Baxter, our conference's special keynote speaker. Angelina Stanford, Cindy Rollins, and Thomas Banks sit down for a special conversation with Jason Baxter, author of The Medieval Mind of C. S. Lewis. Jason is a speaker, writer, and college professor who writes primarily on medieval thought and is especially interested in Lewis' ideas. You can find out more about him and his books at JasonMBaxter.com. Our hosts and Jason discuss a wide range of ideas, including the values of literature, the sacramental view of reality, why it is important to understand medieval thought, the “problem” of paganism in Lewis' writings, and how to approach reading ancient and medieval literature. Commonplace Quotes: My part has been merely that of Walter Scott's Old Mortality, who busied himself in clearing the moss, and bringing back to light the words, on the gravestones of the dead who seemed to him to have served humanity. This needs to be done and redone, generation after generation, in a world where there persists always a strong tendency to read newer writers, not because they are better, but because they are newer. The moss grows fast, and ceaselessly. F. L. Lucas It is the memory of time that makes us old; remembering eternity makes us young again. Statford Caldecott It is my settled conviction that in order to read old Western literature aright, you must suspend most of the responses and unlearn most of the habits you have acquired in reading modern literature. C. S. Lewis, from “De Descriptione Temporum” What then is the good of–what is even the defense for–occupying our hearts with stories of what never happened and entering vicariously into feeling which we should try to avoid in our own person?…The nearest I have yet got to an answer is that we seek an enlargement of our being. We want to be more than ourselves…[In] reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with myriad eyes, but it is still I who see. Here as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do. C. S. Lewis Victory by C. S. Lewis Roland is dead, Cuchulain's crest is low, The battered war-rear wastes and turns to rust, And Helen's eyes and Iseult's lips are dust And dust the shoulders and the breasts of snow. The faerie people from our woods are gone, No Dryads have I found in all our trees, No Triton blows his horn about our seas And Arthur sleeps far hence in Avalon. The ancient songs they wither as the grass And waste as doth a garment waxen old, All poets have been fools who thought to mould A monument more durable than brass. For these decay: but not for that decays The yearning, high, rebellious spirit of man That never rested yet since life began From striving with red Nature and her ways. Now in the filth of war, the baresark shout Of battle, it is vexed. And yet so oft Out of the deeps, of old, it rose aloft That they who watch the ages may not doubt. Though often bruised, oft broken by the rod, Yet, like the phoenix, from each fiery bed Higher the stricken spirit lifts its head And higher-till the beast become a god. Book List: Beauty in the Word by Stratford Caldecott An Experiment in Criticism by C. S. Lewis The Discarded Image by C. S. Lewis The Art of Living: Four Eighteenth Century Minds by F. L. Lucas Transposition by C. S. Lewis The Weight of Glory by C. S. Lewis Til We Have Faces by C. S. Lewis The Divine Comedy by Dante Nicholas of Cusa The Life of St. Francis of Assisi by St. Bonaventure The Consolation of Philosophy by Boethius Confessions by St. Augustine Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB