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This episode is brought to you by the Change Makers Certification Program! In this solo episode of Even Better, host Sinikka Waugh shines a spotlight on three of the biggest sources of organizational pain: ineffective communication, role and responsibility mismatch, and ineffective risk management. These common challenges cause breakdowns in projects, teams, and trust—and yet, they're often overlooked or accepted as "just how things go." With clarity and compassion, Sinikka explores how better communication, aligned expectations, and proactive planning can lead to fewer headaches and better workdays—for everyone. From understanding what you're working on (and why), to setting and clarifying expectations, to learning from past mistakes and planning for risks, this episode offers practical wisdom for project managers, business leaders, and teams at every level. As Sinikka puts it: “A lot of pain can be avoided if we just ask better questions.” Tune in for thoughtful insights and a few helpful “If…then…so…” strategies to return real value to your organization—one better day at a time. Sinikka Waugh - Connect with me on either LinkedIn or send me an email! Founder, Owner, Trainer, and Coach Sinikka Waugh, PMP, President and CEO of Your Clear Next Step, spends her days helping people have better workdays. Trainer, coach, business leader, and difference maker, Sinikka is known for consistently helping people solve problems and get things done at work. With a 20+ year background in languages, literature, and project management, Sinikka has helped over 50,000 people have better workdays since 2008. Her clients value how her professionalism blends seamlessly with her down-to-earth, “try this now” approach and her passion for helping others. Sinikka holds a BA from Central College, an MA from the University of Iowa, and is a certified Project Management Professional through the Project Management Institute (PMI).
This week we're again privileged to be joined by another member of the C-Suite, former Wallaby Flanker & current CEO of Rugby Australia Phil Waugh.Stan Sport, catch every Australia vs British & Irish Lions test live and ad free on Stan Sport here: https://www.stan.com.au/sportMark your calendars, the long-awaited Hello Sport Black Bomber Jackets go on sale Tuesday July 22 at 6pm via https://hellosport.shop/Good Day Multivitamin & Day Lyte Electrolytes, it's the least you can do. Use code 'dribblers' for 10% off your order here: https://www.begoodhealth.com.au/4 Pines, a brewery born in Manly and enjoyed everywhere. Check out their new merch range now available here: https://4pinesbeer.com.au/Neds. Whatever you bet on, Take it to the Neds Level. Visit: https://www.neds.com.au/Swyftx. Get $20 worth of Bitcoin FREE when you sign up to Swyftx using the link here: https://trade.swyftx.com.au/register/?promoRef=Dribblers20 - Valid for new sign-ups only. https://swyftx.com/au/terms-conditions/Grumpy Coffee, everything to turn your frown upside down. Use code "KODY" for 10% off your order this week here: https://grumpycoffee.com.au/Australia vs West IndiesWallabies Biggest WinBritish & Irish Lions TourSuper Rugby PacificLaw Change TrialsRetaining Local TalentCross-Code PlayersNegotiating TV RightsSchoolboy RugbyWallabies & All Black EligibilityProgression To C-SuiteWallabies Merch Hosted on Acast. See acast.com/privacy for more information.
Jay and the team break up the week's big news, including President Donald Trump's surprise interview with the BBC, a proposal to replace ferries with tunnels for Shetland, a new 'height filter' for dating, and the theft of Beyonce's unreleased music. Lead writer: Chris Ballard Additional Material: Kate Smurthwaite, Lee Jevon and Garth Apthomas, Chris Stanners, Rebecca Bain and Alex Garrick Wright, Louis George, Dominic McGladdery, James Docherty Producer: Chris Quilietti and Lauren Mackay Series producer: Dave Flynn Researcher: Jodie White Script editor: Keiron NicholsonAn Eco-Audio certified Production.
Sylvia Waugh. „Žmogonai dykrose“. Skaito aktorė Neringa Varnelytė.
Sylvia Waugh. „Žmogonai dykrose“. Skaito aktorė Neringa Varnelytė.
Sylvia Waugh. „Žmogonai dykrose“. Skaito aktorė Neringa Varnelytė.
Sylvia Waugh. „Žmogonai dykrose“. Skaito aktorė Neringa Varnelytė.
2023 Weatherford Award Finalist, Nonfiction How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce: Musical Instrument Makers and Appalachia's Mountain Forests (West Virginia UP, 2023) considers the meanings of work, place, and creative expression in drawing music from wood. Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region's work and nature. From West Virginia University Press Jasper Waugh-Quasebarth PhD is Director and Curator of the Gordon Art Galleries at Old Dominion University in Norfolk, Virginia. He earned a PhD and MA in Anthropology from the University of Kentucky and a BA in Anthropology and History from the University of Virginia. He has held research, teaching, and administrative positions in Anthropology and Folklore Studies through his work with the Smithsonian Institution's Asian Cultural History Program, the University of Kentucky Department of Anthropology and Appalachian Center, and The Ohio State University Department of Comparative Studies and Center for Folklore Studies. Rachel Hopkin PhD is a folklorist and audio producer. 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
Edinburgh comedian Gareth Waugh was fired as a barman due to his first stand up comedy attempt! Now a phenomenal Professional Comedian - here he is (IG) doing some memorable crowd work in which your host (me! Thor) get's caught up! The discussion takes a darker turn into the boundaries of humour with current events and anti-war jokes - E.g. The assassination of Jamal Khashoggi and the implications of using such references within comedy. Check out Gareth's superb special here on YouTube
2023 Weatherford Award Finalist, Nonfiction How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce: Musical Instrument Makers and Appalachia's Mountain Forests (West Virginia UP, 2023) considers the meanings of work, place, and creative expression in drawing music from wood. Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region's work and nature. From West Virginia University Press Jasper Waugh-Quasebarth PhD is Director and Curator of the Gordon Art Galleries at Old Dominion University in Norfolk, Virginia. He earned a PhD and MA in Anthropology from the University of Kentucky and a BA in Anthropology and History from the University of Virginia. He has held research, teaching, and administrative positions in Anthropology and Folklore Studies through his work with the Smithsonian Institution's Asian Cultural History Program, the University of Kentucky Department of Anthropology and Appalachian Center, and The Ohio State University Department of Comparative Studies and Center for Folklore Studies. Rachel Hopkin PhD is a folklorist and audio producer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore
2023 Weatherford Award Finalist, Nonfiction How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce: Musical Instrument Makers and Appalachia's Mountain Forests (West Virginia UP, 2023) considers the meanings of work, place, and creative expression in drawing music from wood. Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region's work and nature. From West Virginia University Press Jasper Waugh-Quasebarth PhD is Director and Curator of the Gordon Art Galleries at Old Dominion University in Norfolk, Virginia. He earned a PhD and MA in Anthropology from the University of Kentucky and a BA in Anthropology and History from the University of Virginia. He has held research, teaching, and administrative positions in Anthropology and Folklore Studies through his work with the Smithsonian Institution's Asian Cultural History Program, the University of Kentucky Department of Anthropology and Appalachian Center, and The Ohio State University Department of Comparative Studies and Center for Folklore Studies. Rachel Hopkin PhD is a folklorist and audio producer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
2023 Weatherford Award Finalist, Nonfiction How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce: Musical Instrument Makers and Appalachia's Mountain Forests (West Virginia UP, 2023) considers the meanings of work, place, and creative expression in drawing music from wood. Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region's work and nature. From West Virginia University Press Jasper Waugh-Quasebarth PhD is Director and Curator of the Gordon Art Galleries at Old Dominion University in Norfolk, Virginia. He earned a PhD and MA in Anthropology from the University of Kentucky and a BA in Anthropology and History from the University of Virginia. He has held research, teaching, and administrative positions in Anthropology and Folklore Studies through his work with the Smithsonian Institution's Asian Cultural History Program, the University of Kentucky Department of Anthropology and Appalachian Center, and The Ohio State University Department of Comparative Studies and Center for Folklore Studies. Rachel Hopkin PhD is a folklorist and audio producer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south
Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe
Rob Waugh talks about the shadowy figures who are successfully bombarding UK news media with fake content. Fictional experts and non-existent experts are conning their way into UK news media with the help dodgy PR companies. It's a lucrative business providing search engine juice to gambling sites and dubious online retailers. And it won't stop until publishers raise their game in terms of verifying the sources they quote. Hosted on Acast. See acast.com/privacy for more information.
This episode is brought to you by the Change Makers Certification Program! In this solo episode of Even Better, host Sinikka Waugh revisits lesson #10 from our 100th episode with an empowering reminder: You Can Fail at Something and Not Be a Failure. Mistakes and missteps are part of the human experience—but they don't define us. As Sinikka shares, “A setback is only a failure if you don't learn from it.” True growth comes from reflection, humility, and a willingness to try again. When we give ourselves and others the space to learn, we make room for innovation, empathy, and resilience. With humor and honesty, Sinikka explores how our tools, mindsets, and support systems shape the way we respond to challenges—and why a hammer isn't the answer to every problem. Tune in for practical encouragement that reminds us: progress, not perfection, is the goal. Sinikka Waugh - Connect with me on either LinkedIn or send me an email! Founder, Owner, Trainer, and Coach Sinikka Waugh, PMP, President and CEO of Your Clear Next Step, spends her days helping people have better workdays. Trainer, coach, business leader, and difference maker, Sinikka is known for consistently helping people solve problems and get things done at work. With a 20+ year background in languages, literature, and project management, Sinikka has helped over 50,000 people have better workdays since 2008. Her clients value how her professionalism blends seamlessly with her down-to-earth, “try this now” approach and her passion for helping others. Sinikka holds a BA from Central College, an MA from the University of Iowa, and is a certified Project Management Professional through the Project Management Institute (PMI).
Send us your thoughts! Daniel Vildosola and John Waugh may come from opposite sides of the Atlantic—one from the sun-scorched deserts of Arizona, the other from the rolling hills of Northumberland, UK—but together, their music finds an effortless middle ground. Drawing from their vastly different environments, they've created a sound that feels natural, fusing Americana and jazz with a sense of place and history that's both personal and expansive.Individually, they've cut their teeth on the world stage in pop music—Vildosola, a long- standing member of HÆLOS, producing various artists, and more recently, touring extensively with CMAT. While Waugh has spent over a decade playing with the chart- topping powerhouse, The 1975. Despite their success in the pop world, they now find themselves retreating to intimate venues, where they can explore a more organic, jazz- infused sound, drawing from the folk traditions and stories of their respective homes.Support the show
Nailers Defenseman Phip Waugh (Mar. 29) by The Toolbox: Wheeling Nailers Podcast
Are you ready to launch? This week, Liz is joined by Sandy Waugh Ruggles to discuss go-to market strategy. In their conversation, they discuss the importance of identifying targets early and training commercial reps on those targets so that they can best sell the product. Sandy shares why she recommends utilizing psychographic descriptors for targeting and the importance of gaining alignment on these targets prior to launch.In 2025, we're embarking on a MedDevice Training Journey: From clinical trials to standard of care. Join us all year long as we explore training at each stage of the product life cycle.Need help developing your clinical trial training strategies? Contact us at training@cumbyconsulting.com.Related Resources:Sandra is the President of Summit Rock Strategy Consulting, where she specializes in leading medtech development teams through strategic decisions, assessing opportunities, defining product and portfolio plans, and preparing for commercial launch. She also serves as director for policy research in the Stanford Biodesign Policy Program. Sandra is both an inventor and an innovator. She holds over 20 patents in various domains, from consumer medical devices to therapeutic proteins, and has led multiple US product launches. Sandra co-founded Catalyst Biosciences and was named a Top Innovator Under 35 by MIT Technology Review. Sandra earned a PhD from the University of California, San Francisco in biophysics and was a Stanford Biodesign Innovation Fellow.Subscribe to our newsletter to hear more about the journey from clinical trials to standard of care! Click here to subscribe!Connect with us on LinkedIn: Sandy Waugh RugglesCumby ConsultingRachel MedeirosLiz CumbyAbout Cumby Consulting: Cumby Consulting's team of professionals deliver innovative MedTech training services for physicians, sales representatives, teaching faculty, key opinion leaders and clinical development teams. Whether you need a complete training system developed to deliver revenue sooner or a discrete training program for a specific meeting, Cumby Consulting will deliver highly strategic, efficient programs with uncompromising standards of quality.
Adam Peacock joins Alyssa Healy to preview the upcoming IPL final between Hadds' Kings and RCB. They discuss Shreyas Iyer's match-winning knock, the pressure facing Virat Kohli and RCB, and debate what the Willow Talk crew's win bonus should be if Punjab secures victory. The episode also touches on Glenn Maxwell's ODI career (with a deeper dive promised in Thursday's episode) and celebrates the special date of June 2, marking the birthdays of Steve and Mark Waugh, as well as Steve Smith. We share some of their greatest Waugh memories. Plus, Australian fast bowler Brendan Doggett talks his World Test Championship final squad call-up, South Australia's Sheffield Shield victory, triathlons, dismissing Kevin Pietersen, and playing under Brendon McCullum. Send your cricket club cap to Producer Joel at the following address: Joel Harrison 50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.
In this conversation, Tyler and Zachary discuss the concept of 'time generosity,' exploring how individuals can be intentional with their time to serve others without expecting anything in return. They emphasize the importance of managing one's own time effectively to create space for generosity, referencing various scriptures that highlight the value of wise time management. The discussion also touches on the countercultural nature of generosity in a self-focused world, the need for spontaneity in helping others, and the balance between being generous and avoiding burnout. Practical steps are provided to help listeners incorporate generosity into their daily lives.
Think dog breath is just part of the deal? Think again. In this eye-opening episode of Founded Fetch It, Jo sits down with canine dental expert Anastasia Waugh—aka the Dog Tooth Fairy—to talk all things teeth. From silent pain to stinky breath, and the often-overlooked dangers hiding in your dog's mouth, Anastasia shares the truth about dental health, what's fixable at home, and when it's time to call in the pros. We talk ultrasonic toothbrushes, teething tips for puppies, natural chews, and the one transformation story that'll make you rethink skipping tooth care.Whether your dog's a raw-fed retriever or a kibble-crunching companion, this is your reminder: their teeth matter more than we realise.
(Lander, WY) - Lander Police Department interim Chief Kelly Waugh and Lander Mayor Missy White joined us in the KOVE studio recently on the Today in the 10 Morning Show. Together, they discussed the busy summer season coming up with events and an expected influx of tourism. Waugh chats about how they handle large events like Brew Fest and the 4th of July festivities. Both also noted a desire from the community, and law enforcement alike, for extra LPD patrolling on Main Street this summer. Some of those efforts have already been established by Waugh's officers. You can hear the full conversation archived on the County 10 Podcast, which is available on any major podcast platform or just click the player below!
What if the secret to true beauty isn't found in a bottle of makeup, but in the vulnerability of being seen for who you truly are? Today, I'm joined by Danielle Waugh, a celebrity makeup artist and founder of In Her Beauty. Danielle unveils how beauty transcends trends and how authenticity, both in appearance and spirit, is the true foundation of confidence. Danielle's journey into the beauty industry started with a personal insecurity—an experience that ultimately shaped her mission to make others feel empowered through their own unique beauty. She shares the raw, behind-the-scenes reality of working with some of the most powerful names across various industries. If you're looking to redefine your own approach to beauty or leadership, this episode is a must-listen. Danielle's story is a reminder that embracing our imperfections and vulnerabilities can unlock a new level of confidence. Hit play now!“Make sure your canvas is as pure as it can possibly be because the canvas is what makes everything great. Makeup is cool and fantastic, but making sure your canvas is great is everything.” ~ Danielle WaughIn this Episode:- Meet Danielle Waugh- Common traits of the high-profile makeup clients- How Danielle discovered her mission in beauty - Common makeup mistakes and tips to fix them- Behind the scenes of red carpet events- Redefining beauty standards and embracing authenticity - Debunking common beauty myths- Danielle's advice and tips for aspiring artistsAbout Danielle Waugh:Danielle Waugh is a New York-based makeup artist and hair designer with nearly two decades of experience in the beauty industry. Her journey began with a personal quest to perfect her brows, which sparked a deep passion for makeup artistry. Over the years, Danielle has honed her skills, working across various platforms including New York Fashion Week, film, television, and editorial shoots. She has also served as a Brand Manager for one of the world's most renowned cosmetic companies. Danielle's work is driven by a commitment to bringing inner beauty to the forefront, blending technique, color, and texture to enhance her clients' natural features. Connect with Danielle Waugh:Website: https://www.inherbeautyny.com/ Instagram: https://www.instagram.com/inherbeautyllc/ Facebook: https://www.facebook.com/InHerBeautyllc Connect with me here:
Kearney Police Chief Bryan Waugh will be the next Nebraska State Patrol superintendent. Current superintendent Colonel John Bolduc retires at the end of this week.
En vísperas del funeral del Papa Francisco, los culturetas hacen un repaso del género vaticano y aprovechan para contar sus andanzas durante las vacaciones de Semana Santa. A propósito de la nueva edición de Un puñado de polvo (Impedimenta), recorren la vida y obra de Evelyn Waugh, autor de Retorno a Brideshead y cronista del ocaso de la aristocracia británica, y del resto de la prolífica saga Waugh. Con Rubén Amón, Isabel Vázquez, Guillermo Altares, Sergio del Molino y Rosa Belmonte.
En vísperas del funeral del Papa Francisco, los culturetas hacen un repaso del género vaticano y aprovechan para contar sus andanzas durante las vacaciones de Semana Santa. A propósito de la nueva edición de Un puñado de polvo (Impedimenta), recorren la vida y obra de Evelyn Waugh, autor de Retorno a Brideshead y cronista del ocaso de la aristocracia británica, y del resto de la prolífica saga Waugh. Con Rubén Amón, Isabel Vázquez, Guillermo Altares, Sergio del Molino y Rosa Belmonte.
Kate Waugh won T100 Singapore in her first ever outing at the distance just over a week ago. While the young star has made an early mark on the series, we hear in this conversation just what that win meant for her. Kate shares a sobering account of just how challenging her build and experience in Paris was last summer and how she has dealt with the tough lessons to come from the Olympics. Armed with a new perspective, new coach and new environment, it seems that this is only the beginning for the 26 year old Brit. Use code BURN for 15% off prescriptions at telyrx.com
In this episode of The Real Build, I sat down with Jason Waugh, President of Caldwell Banker Affiliates. With a distinguished career spanning over two decades in real estate, he has demonstrated exceptional leadership and strategic vision. In his current role, Jason oversees the brand's marketing, franchise sales, and operations teams, supporting a vast network of 100,000 affiliated sales professionals across more than 2,700 offices in 39 countries and territories. He is also an advocate for philanthropy, actively leading initiatives like the CB Supports St. Jude program, which has raised over $1.6 million for St. Jude Children's Research Hospital since 2020. Jason and I talked about topics like:Surround yourself with people who are better than you. Put people ahead of yourself. Control your controlables. Attitude is contagious; is your worth catching?Commit to fostering a genuine relationship with employees.Developing good people in real estate and business. Guest Info: Jason WaughWebsite: anywhere.re/team-member/jason-waugh/ Linkedin: https://www.linkedin.com/in/jasonjwaugh/Host Info:CONNECT WITH ME ON SOCIAL MEDIA:▶︎ YOUTUBE | https://www.youtube.com/channel/UCxAdSxHN0dIXZPhA-6p1HYA ▶︎ INSTAGRAM | https://www.instagram.com/imbillreiman▶︎FACEBOOK| https://www.facebook.com/billy.reiman ▶︎ LINKEDIN | https://www.linkedin.com/in/bill-reim...▶︎ TWITTER | https://twitter.com/ImBillReiman▶︎ WEBSITE | https://www.rkreiman.com
Kate Waugh won Singapore T100 on the weekend by almost 7 minutes - the biggest winning margin in T100 history so far AND she did it on debut against the likes of Ash Gentle, Julie Derron and Lucy Charles-Barclay. We talk about the race, how it played out from Kate's perspective, her move to long course, what it's like behind the scenes at the T100 and then we do a BIG TIME deep dive into Kate's training she did this year from her early VO2 max/polarised block into her 6 week LT2/specific block leading into the race. Sign up to Patreon Here - Patreon link Pillar Performance - Pillar Performance Link + TTH15 - 15% off site-wide for first time users Precision Fuel & Hydration - Precision Link use TTH25 for 15% off your first order (or find the code for 20% off all orders on Patreon) buycycle - Buycycle Link need to sell your bike? Or buy a secondhand bike? Then click this link for a special discount code
Adam Peacock and Alyssa Healy join Greg Blewett to talk about South Australia's historic Sheffield Shield win, the 1996 South Australia win and some of the great stories coming out of the 2025 SACA squad. Plus, we look into the Australian Men's & Women's schedule for the 2025/26 summer, look at Mitch Starc and the Australian's success in the IPL and then hear from Blewy about some of the stories from his Test debut 100 to Ambrose vs Waugh on the West Indies 1995 tour! Send your cricket club cap to Producer Joel at the following address: Joel Harrison 50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.
In this episode, Jason Waugh from the YouTube channel "Backpacking with Jason" jumps on the show to tell us about his epic adventure on the John Muir Trail in Northern Tennessee. After severely breaking his ankle last year, how did he do as he put that ankle through its first major test?Check out the Outdoor Vitals Stormloft Topquilt here: https://bit.ly/4c2Kugi
Des Clarke hosts Scotland's award-winning satirical news quiz.
Dust off your finest tuxedo and/or ball gown - we've got OSCAR FEVER this week~!Dave and Adam are joined by Lucien Waugh-Daly, host of the superb Boy Party podcast, to predict the big winners at this Sunday's Academy Awards ceremony, and to celebrate the best songs that took home gold over the years. Despite the fact that Lucien thinks the award should be abolished, by the way. We've also got a busy news section and a particularly lively gig review, plus details of exciting upcoming Patreon projects - remember. it's a mere five euro a month for weekly bonus episodes, just hit up patreon.com/noencore ACT ONE: The preamble in which we ramble. ACT TWO (14:20): The boys report back from Touché Amoré's visit to Dublin, run the rule over this year's big Oscar contenders, assess Stormzy's attempting at clarification, detail why Disturbed frontman David Draiman sucks, and consider AI's ongoing threat to the creative arts. ACT THREE (1:03:47): Top 5 Best Original Song Oscar Winners. -Follow Lucien on Letterboxd / InstagramListen to the Boy Party Podcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Kainani Stevens is back with John and Brian on Jags A.M. to discuss the candidates for General Manager who are moving forward to in person interviews this week. The trio dives into the process and how important it is to get the right guy for years to come and not rush just for the Combine. Boselli, Coen, Waugh and staff are keeping the operations moving including scouting and more. Lastly, recap the three coordinators first media availability and what the crew thinks their schemes will look like.See omnystudio.com/listener for privacy information.
Spencer Waugh has led some of Simpson's most high-profile programs, including Speech & Debate and Exploratory Studies. Now he's tasked with taking over Simpson Online, the undergraduate, graduate, and certificate program aimed at non-traditional learners. Spencer stops by the podcast this week to talk about the program and his ideas for growing it in the years to come.
The never-ending golf news cycle leads to a jam-packed Friday episode as Andy and Brendan unpack a week's worth of stories and rumors heading into the weekend. TGL sent out some team-themed email blasts on Thursday afternoon, so this episode begins with more chatter about the screen golf league and its many marketing campaigns. Brendan and Andy read these team descriptions and discuss how a casual golf viewer might react upon reading that the Atlanta Drive represent the 365/24/7 nature of their city. In outdoor golf news, the Farmers Insurance Open had more withdrawals on Wednesday before play began for the week, with big names such as Will Zalatoris and Gary Woodland bowing out. The tournament is ongoing without a full field despite constant cries about players needing more opportunities to play on the PGA Tour. From there, Brendan and Andy discuss Eamon Lynch's interview with former PGA of America CEO Seth Waugh that was teased on the Wednesday episode earlier this week. First, Waugh is taking credit for Keegan Bradley's appointment as Ryder Cup captain for Bethpage and went into detail about how that choice came to be. Waugh also discussed the new PGA Tour Enterprises corporation and how that's changed the business of golf, wondering if the PGA of America would one day sell the Ryder Cup off. At the PGA Show this week, Adam Schupak sat down with current PGA of America CEO Derek Sprague, who made comments expressing some hesitancy with the proposed rollback starting in 2028. Andy and Brendan discuss what would happen if the rollback was further delayed or even cancelled and how that would impact the game on all levels. In less consequential news about the future of the game, Jordan Spieth committed to the AT&T Pebble Beach, presumably entering via a sponsor exemption, and The Open Championship will return to St Andrews in 2027. PJ chimes in to tell Andy that "Sticks Boy" Noah Kahan is now an investor in the Ballfrogs, which leads the show down a rabbit hole of ranking pop stars. This beefy Friday episode ends with one golf advice email about an upcoming golf trip impacted by a lifelong phobia.
Seth Waugh, former CEO of the PGA of America, joined Gary Williams to discuss the state of the game, his tenure with the PGA of America and what's next for him.Mark Lev, co-owner of TGL's Boston Common Golf team, also joined the program in advance of his team's first match against Jupiter Links.
Recorded at the magnificent Strawberry pub in the shadow of St James's Park, Pod on the Tyne (with some allowances for flu season) assembled an audience of friends, colleagues and (the Waugh) family for our traditional Christmas special.Looking back over a magnificent seven days, a rollercoaster of twelve months, and with a glimpse ahead to 2025, there's plenty of festive cheer in supply. Hosted on Acast. See acast.com/privacy for more information.
Recorded at the magnificent Strawberry pub in the shadow of St James's Park, Pod on the Tyne (with some allowances for flu season) assembled an audience of friends, colleagues and (the Waugh) family for our traditional Christmas special. Looking back over a magnificent seven days, a rollercoaster of twelve months, and with a glimpse ahead to 2025, there's plenty of festive cheer in supply. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Dr. Orlandi sat down with Dr. Scott Roniger, Associate Professor of Philosophy at Loyola Marymount University in Los Angeles, to discuss beauty, love, and faith. This time, the excuse was philosophical and literary ... all at once. Dr. Roniger, a philosophy of literature scholar, was recently the author of a paper bringing together the platonic symposium and Waugh's most famous novel. Tune in to hear about charm and beauty, about educating eros, and about metaphoric and embodied ascents to truth redemption. Hopefully, Dr. Roniger will visit us in person soon too. Links: Platonic eros and catholic faith in waugh's brideshead revisited https://scholars.lmu.edu/en/publications/platonic-eros-and-catholic-faith-in-waughs-brideshead-revisited #Bridesheadrevisited #Plato #Symposium #Evelynwaugh
Cream is joined by resident ginger Gareth Waugh in today's episode where they discuss their time at the Final Fantasy Orchestra, how horrible pregnancies are, and flavour it all with a healthy dose of thinly-veiled sexism. We are proud to still be sponsored by Thistly Cross Cider, who have recently released their limited-time Rum Cask Cider, so make sure to stock up while it is available and enjoy (responsibly) Go to thistlycrosscider.co.uk and use code: THISTLYSLOSSNOVEMBER for 10% your order, for UK residents only, and you must be over 18 years old
Tracy Waugh is co-founder of a dark wave cover band called the Lovecats with her best friend Missy Balsam. These days, she sings in the cover band Rockadelic with Joe Palumbo and Dan Wolkoff. Tracy has been in a series of original bands since high school, she says her favorite being Space Vacuum (From Outer Space). They released their album Starcade in 2005 on Dionysus Records. It featured songs with titles like Space Monkeys, Plastic Planet People, Spy Fi Agent, and Space Booty.See omnystudio.com/listener for privacy information.
In this episode, guest Pam Waugh talks about the real impact of mentorship in your faith journey. She shares how being mentored—and mentoring others—helps you grow spiritually, build stronger community, and live out God's purpose. Pam also digs into why mentorship is more than just advice—it's about walking alongside each other, learning, and growing together. Whether you're just starting out or have been mentored for a while, this episode is packed with practical insights on how mentorship helps strengthen your relationship with God and others.Pam's Website:https://www.pamwaugh.com/Pam's Instagram:https://www.instagram.com/pamwaugh/Pam's Facebook:https://www.facebook.com/pamwaughcoaching/Addie's Socials YouTubehttps://youtube.com/@addieoverla?si=b9BzpzS9J9HrLiK5 TikTok https://www.tiktok.com/@addieoverla Instagram https://www.instagram.com/addieoverla/ LINKS Elevated Faith Apparel https://bit.ly/3xjVBvFLikeToKnowIthttps://www.shopltk.com/explore/addiewoostAmazon Storefronthttps://www.amazon.com/shop/influencer-649a9b8a?ref_=cm_sw_r_cp_ud_aipsfshop_aipsfinfluencer-649a9b8a_4C3D57EYC99TN49DVP21Support the show
In 1946 Evelyn Waugh declared that 20th-century society – ‘the century of the common man', as he put it – was so degenerate that satire was no longer possible. But before reaching that conclusion he had written several novels taking aim at his ‘crazy, sterile generation' with a sparkling, acerbic and increasingly reactionary wit. In this episode, Colin and Clare look at A Handful of Dust (1934), a disturbingly modernist satire divorced from modernist ideas. They discuss the ways in which Waugh was a disciple of Oscar Wilde, with his belief in the artist as an agent of cultural change, and why he's at his best when describing the fevered dream of a dying civilisation.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://apple.co/4dbjbjGIn other podcast apps: lrb.me/closereadingsFurther reading in the LRB:Seamus Perry:https://www.lrb.co.uk/the-paper/v45/n16/seamus-perry/isn-t-london-hellJohn Bayley:https://www.lrb.co.uk/the-paper/v16/n20/john-bayley/mr-toad Hosted on Acast. See acast.com/privacy for more information.
Send us a textIn this months episode, Danielle Whah shares her incredible journey from a mechanical engineer at Panasonic to a significant leadership role at Whirlpool, and now her impactful work with C12, an organization dedicated to integrating faith in the workplace. Danielle talks about her upbringing, her mechanical engineering background, and how her quest for spiritual and professional fulfillment led her to pursue an MBA while raising a family. She delves into her pivot to marketing and sales, her leadership philosophies, and her transformative shift to integrating her Christian faith openly in her professional life. Listeners will be inspired by Waugh's commitment to authenticity, her belief in continual growth, and her emphasis on balancing personal faith with professional excellence. Danielle's LinkedIn pageSupport the showBe sure to rate and follow our podcast!
It's Story Time, our walk through cricket history via your listener quiz challenges. This week, we start by looking back at how Bangladesh went from destruction to a seat at cricket's top table. From there, the stories of two Queenslanders - a Slasher and a leggie. We finish with some cryptic fun that takes us back to Jamaica in 1995 where the Waughs were never better. Your Nerd Pledge numbers this week: 4.47 – Calum Evans 15.00 – Alex Newcombe 4.64 – Keelan O'Reilly 2.31 – Adam Soffer Go Ambassador cruising with Goochy, Aggers, Blowers and Alex Tudor from December 12-19! Pick up 10% off with finalword10 at checkout here - www.ambassadorcruiseline.com Support the show with a Nerd Pledge at patreon.com/thefinalword Check out Westfield London and Westfield Stratford City By downloading the app: westfield.com/united-kingdom/app Find previous episodes at finalwordcricket.com Title track by Urthboy Learn more about your ad choices. Visit podcastchoices.com/adchoices
Taylor Payne is joined by Chris Waugh and professional Chris Waugh stand-in Jacob Whitehead for another weekly recap in the mad, mad, mad, world of Newcastle United.We wanted a routine result at Bournemouth, but that's hoping against hope and we got another stressful, frustrating afternoon. However, Eddie Howe was able to fix several problems with his bench and a draw is not the end of the world.There's also the encouragement of a return for Sandro Tonali, might he start the cup tie at Forest? And, of course, there's a transfer deadline on Friday with at least one major signing expected, if not guaranteed. Hosted on Acast. See acast.com/privacy for more information.
Taylor Payne is joined by Chris Waugh and professional Chris Waugh stand-in Jacob Whitehead for another weekly recap in the mad, mad, mad, world of Newcastle United. We wanted a routine result at Bournemouth, but that's hoping against hope and we got another stressful, frustrating afternoon. However, Eddie Howe was able to fix several problems with his bench and a draw is not the end of the world. There's also the encouragement of a return for Sandro Tonali, might he start the cup tie at Forest? And, of course, there's a transfer deadline on Friday with at least one major signing expected, if not guaranteed. Learn more about your ad choices. Visit megaphone.fm/adchoices
Don't Quill the Messenger : Revealing the Truth of Shakespeare Authorship
Steven is joined by frequent guest, Dr. Earl Showerman, to deliver a farewell to Oxfordian luminary Alexander Waugh, whose recent passing has been felt across the literary spectrum, and most among the Oxfordian community. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger Made possible by Patrons: Brent Evans & Patty Henson, Bryan Wildenthal, Clare Jaget, Daniel Cowan, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Frank Lawler, James Gutierrez, James Warren, Jaymie, Jeanine Clark, Jen Swan, John Creider, John Eddings, John Guarnaccia, Jon Foss, Kara Elizabeth Martin, Luís S, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Stephen Hopkins, Tim Norman, Tim Price, Troy Stelzer, Vanessa Lops, Yvonne Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com
With Paris on the horizon, we are thrilled to welcome Kate Waugh to the podcast this week!! Kate has been on the rise through the ranks of World Triathlon for the past couple of years, which recently resulted in the achievement of being selected for her first Olympic Games. After winning the under 23 world championship in 2022, Kate decided she would go all in to pursue her Olympic dream. In this interview we got to hear all about her triathlon career beginning at the age of eight, and all the little goals she has set along the way which ultimately led her to the world's biggest stage.Kate's Instagram: @kate__waugh
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