Podcasts about Wilkie Collins

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

This week's strange tale is an adaptation of The Dream Woman, a story by Wilkie Collins first published in 1909, and broadcast by The CBC Mystery Theatre on May 1, 1968. Listen to more from The CBC Mystery Theatre https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/StrangeTales826.mp3 Download StrangeTales826 | Subscribe | Spotify | Support Strange Tales Relic Radio is funded solely by listener donations. If you [...]

PRESENTACIÓN LIBROS 00:02:15 El poder de la verdad (Nevenka Fernández) 00:04:50 Mar en calma (Mar Flores) 00:07:10 El jardín de los dioses. Trilogía de Corfú #3 (Gerald Durrell) 00:09:05 Orfidal y caballero (Ángeles Caballero) 00:10:20 La princesa y el sándwich de queso (Deya Muniz) 00:11:50 Marido y mujer (Wilkie Collins) 00:14:00 Aliada del villano (Hannah Nicole Maehrer) 00:16:00 Mi verdadera historia (Isabel Preysler) 00:18:55 Ana Karénina (Lev. Tolstói) 00:20:50 Sushi para principiantes (Marian Keyes) 00:22:45 Física para gatos (Tom Gauld) PELÍCULAS 00:25:20 Las chicas de Manson 00:27:05 Las mujeres de Manson 00:31:35 Downton Abbey: el gran final 00:35:40 La mujer del camarote 10 00:38:00 Frankenstein 00:41:00 Taylor Swift: The life of a showgirl Release Party 00:42:25 Taylor Swift: la estrella que hace temblar a Donald Trump 00:43:05 Infiesto 00:44:05 G20 00:45:50 La vida de Chuck 00:48:05 La mesita del comedor 00:50:00 La vida según Philomena Cunk 00:51:05 Se requiere mantenimiento 00:51:50 La maldición del Queen Mary 00:53:30 Springsteen: deliver me from nowhere 00:55:10 Los aitas 00:56:40 La vecina perfecta* 00:57:30 Expediente Bryson. Conjuring the cult 00:59:10 Una casa llena de dinamita 01:00:25 La cena 01:01:20 Deberes: Heretic / Las guerreras K-pop SERIES 01:04:40 Las abogadas 01:06:10 Task 01:08:20 House of Guinnes (T1) 01:09:25 Dexter: resurrección (T1) 01:10:45 Monstruo: la historia de Ed Gein 01:13:45 Tierra de mafiosos (T1) 01:15:05 Entrepeneurs (T1) 01:17:15 Animal (T1) 01:18:15 El centro (T1) 01:19:00 Wolf Hall: el trueno en el reino (T2) 01:20:40 Peacemaker (T2) 01:22:50 Nadie quiere esto (T2) 01:24:30 Respira (T2) 01:25:50 Gen V (T2) 01:27:25 The newsreader (T1-T3) 01:29:10 The walking dead: Daryl Dixon (T3) 01:31:30 La diplomática (T3) 01:33:05 Only murders in the builiding (T5) 01:35:25 Love is blind USA (T9) 01:38:00 DESPEDIDA En este programa suenan: Radical Opinion (Archers) / Siesta (Jahzzar) / Place on Fire (Creo) / I saw you on TV (Jahzzar) / Bicycle Waltz (Goobye Kumiko)

In this episode of Mystery Theater, we delve into the sinister world crafted by Wilkie Collins, exploring a chilling tale titled "Shadows from the Grave." The story is introduced by our host, Hyman Brown, who sets the stage for an intriguing exploration of mortality and the supernatural. We meet Xavier Yardley Zenith, a young photographer who inherits a mysterious estate from his Uncle George, who ominously proclaims that he will die within a week.Uncle George's peculiar insistence on guarding his mausoleum raises the stakes as Xavier learns about the family secrets buried within the estate. As Xavier navigates his new life, the narrative takes a dark turn, unraveling the complexities of his uncle's death, underscored by a mysterious ghostly presence demanding resolution. The episode unfolds through Xavier's nightmarish visions of his uncle's ghost, urging him to seek a blessing for his unblessed grave, raising questions of guilt, a possible murder, and supernatural repercussions of familial ties.The atmospheric richness of the storytelling becomes palpable as we witness Xavier's struggle against unseen forces that challenge his understanding of reality. Throughout the episode, the tension escalates with every check on the mausoleum's locks and as Xavier grapples with his wife Catherine's growing distrust of the ancestral legacy that seems to haunt them. The listener is drawn into the murky depths of human emotions, fear of the unknown, and the morality entwined with death.Unknown Broadcast slips in with old-time radio horror, classic OTR ghost stories, and radio suspense, my dear. Draw closer—just enough to hear the dirt breathe.

Our website - www.perksofbeingabooklover.com. Instagram - @perksofbeingabookloverpod Facebook - Perks of Being a Book Lover. To send us a message go to our website and click the Contact button.   You can find Rediscovered Books at rdbooks.org/ or on IG at @rdbooks   The American Library Association's Banned Books Week is October 5-11, so we're sharing an interview with one of the co-owners of Rediscovered Books in Boise, Idaho, a store that has pioneered a program in their city to push back against book banning in their state. Rebecca Leber-Gottberg talks to us about the history of the bookstore, her role there, and books that folks in Boise have been buying, but she also explains the bookstore's Read Freely Project, which is their effort to get banned and threatened books dispersed throughout the community.    And in our book rec section, we're jumping into spooky season with books related to ghosts, but if you don't like horror, don't worry: a lot of these “ghostly” books aren't horror, and some of them may only seem to be about ghosts. We've got a historical fiction about the Sri Lankan civil war, a detective story in which ghosts are witnesses, a nonfiction book about unexplained phenomena which may or may not involve ghosts, a funny novella, a supernatural suspense, and a ghostly gothic novel set in Mexico.   Books Discussed in this Episode: 1- A Farewell to Arms by Ernest Hemingway 2- The Shift: One Nurse, Twelve House, Four Patients' Lives by Theresa Brown 3- American Sirens: The Incredible Story of the Black Men Who Became America's First Paramedics by Kevin Hazzard 4- The Queen Bees of Tybee County by Kyle Casey Chu 5- The Serviceberry by Robin Wall Kimmerer  6- Trans History: A Graphic Novel by Alex L. Combs and Andrew Eakett  7- Lone Women by Victor LaValle  8- Wild Tongues Can't be Tamed: 15 Voices from the LatinX Diaspora edited by Saraciea J. Fennell  9- Under the Same Stars by Libba Bray  10- Shout by Laurie Halse Anderson 11- House on the Cerulean Sea by TJ Klune  12- On Tyranny by Timothy Snyder  13- The Story of Ferdinand by Munro Leaf 14- Firekeeper's Daughter by Angleine Boulley  15- Warrior Girl Unearthed by Angeline Boulley  16- Sisters in the Wind by Angeline Boulley  17- The Woman in White by Wilkie Collins  18- Culpability by Bruce Holsinger  19- Songs for Other People's Weddings by David Levitan  20- A Five Star Read Recommended by Claire @bookishly_claire - Northanger Abbey by Jane Austen 21- The Seven Moons of Maali Almeida by Shehan Karunatilaka  22- The Canterville Ghost by Oscar Wilde 23- Rivers of London by Ben Aaronovitch  24- Ghost Tamer by Meredith R. Lyons  25- The Haunting of Alma Fielding: A True Ghost Story by Kate Summerscale  26- The Hacienda by Isabel Cañas 27- This is Going to Hurt by Adam McKay   Media Mentioned: 1- The Pitt (Max 2025) 2- ER ( 1994- 2009) 3- This is Going to Hurt (2022, Amazon Prime) 4- The Craft Lit Podcast - https://craftlit.com/  

Emily Dickinson (18301886) är berömd för sitt instängda liv och sin vidöppna poesi. Ulf Karl Olov Nilsson tolkar mångtydigheten i hennes slutord. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det är maj månad 1886 och amerikanska poeten Emily Dickinson ligger på sitt yttersta. Hon har just skrivit sitt livs allra sista brev. Det består av några ynka ord och skickas med postgången till hennes kusiner, systrarna Norcross. Brevet lyder i sin helhet: ”Dear Cousins, Called back, Emily”.Called back, hur översätter man det? ”Kallad tillbaka” kanske, även om det saknar all poetisk finess. Samma två ord är för övrigt inristade på poetens enkla gravsten. Kallad tillbaka till vad? Och från vad? Kände hon sig i ett vitalt ögonblick kallad tillbaka till jordelivet efter att ha närmat sig eftervärlden? Eller ville hon meddela kallelsen tillbaka till oändligheten, det tillstånd som finns innan livet? Till och med i sina sista stunder hade poeten öga för det flertydiga.Men orden Called back har också en populärkulturell förlaga. Det är titeln på en bästsäljande romantisk deckare skriven 1883 av pseudonymen Hugh Conway. Den handlar om en blind man som blir vittne till ett mord och sedan gifter sig med en kvinna som lider minnesförlust. Båda blir called back i bemärkelsen att mannen återfår synen och kvinnan sitt minne. Dessutom löser de i god Sherlock Holmes-anda mordmysteriet. Dickinson läste boken och var, som hon skriver i ett brev, ”mycket imponerad” av denna ”gripande |haunting] berättelse”.Emily Dickinson föddes 1830 i Amherst, Massachusets, och dog på samma plats. Under sitt liv publicerade hon endast nio korta dikter, de flesta mot sin vilja. Efter hennes död hittade systern Lavinia fyrtio häften med Dickinsons poesi i en kista, okänd för omvärlden. Först fyra år efter hennes död publicerades ett första urval av de sammanlagt 1789 dikterna från hennes penna.Dickinson kom från en välbärgad familj med en socialt och politiskt betydelsefull plats i det lilla puritanska samhället. Hon läste exceptionellt mycket: naturvetenskap, King James Bibel, Shakespeare, dagstidningar och samtida skönlitteratur – favoriter var Elizabeth Barrett Browning, systrarna Brontë, George Eliot och Wilkie Collins roman The Woman in White – till en av många myter om den tillbakadragna och excentriska Dickinson hör att hon alltid gick klädd i vitt. Emily Dickinson kom att leva som ogift i sitt fäderneshem, men när hon var i 20-års åldern blev hon djupt fäst vid, och sannolikt förälskad i, sin väninna Susan Gilbert, som emellertid gifte sig med Austin Dickinson, poetens egen bror.Med tiden kom hon att isolera sig alltmer, hon stannade på sitt rum för att läsa och skriva och gick endast ut på nätterna för att vattna blommor i trädgården. Samtidigt upprätthöll hon en omfattande korrespondens – förunderligt vackra och förtätade brev – med vänner och litterärt betydelsefulla personer i trakten, tidskriftsredaktörer, präster, politiker, författare.Emily Dickinson levde ytterligare en vecka efter sitt allra sista brev. Hennes syster satt troget med henne vid dödsbädden. Brodern kom och gick. Hennes läkare Dr Bigelow gav henne den förmodligen felaktiga diagnosen Brights disease, en diffus njursjukdom. Sannolikt dog Dickinson av högt blodtryck vilket bland annat ledde till stroke. Enligt hennes brorsdotter Martha Dickinson Bianchi blev hennes sista ord: ”I must go in; the fog is rising”. ”Jag måste gå in; dimman stiger, dimman väller in.”Dessa slutord är vid närmare betraktelse nästan ordagrant hämtade ur ett brev som Dickinson skrev till samma kusiner, systrarna Norcross, två år tidigare. Där berättar hon om hur hon svimmat för första gången i sitt liv. Hon skriver: ”För åtta lördagkvällar sedan bakade jag en kaka med Maggie när ett stort mörker kom över mig. När jag vaknade stod Lavinia och Austin och en underlig läkare böjda över mig och jag antog att jag höll på att dö, eller att jag redan var död. Alla var snälla och vördnadsfulla och doktorn sa att sjukdomen var 'nervernas hämnd'.”Men sedan byter Dickinson helt utan förklaring spår i brevet och skriver: ”Den lille pojken vi la i jorden viker aldrig från min sida, hans dunkla sällskap är med mig, ännu. Men daggen kommer och jag måste gå in. Minnets dimma väller in.” Här kan vi alltså höra hennes slutord. ”I must go in. Memory's fog is rising.” Och omständigheterna är inte oviktiga.Den lille pojke som omtalas i brevet hette Gilbert och var son till brodern Austin och den älskade Susan Gilbert Dickinson. Dickinson själv var på intet sätt känd för att ha varit speciellt intresserad av barn, inte ens sina syskonbarn, men just lille Gilbert kom hon att älska djupt. Men det ohyggliga inträffar, gossen insjuknar åtta år gammal, i tyfoidfeber och natten han dör lyckas den hembundne Emily med en enorm kraftansträngning ta sig till huset där Susan och Austin bor. Trots att de är grannar har hon inte varit där på femton år! På natten drabbas hon av ohygglig huvudvärk och kräks. Efter pojkens död blir hon sängliggande i två månader och får diagnosen ”nervös utmattning”. Hon är förkrossad, hennes hälsa återhämtar sig aldrig.Varför kom den lille gossen att betyda så mycket för henne? Och hur kunde hans död så till den grad bryta ned hennes livskraft? Den lika freudianske som amerikanske psykiatern John Cody föreslår i en psykobiografi från 1971, After great pain, the inner life of Emily Dickinson, att det hade med poetens egen mor att göra: Gilbert föddes i samband med att modern fick en förlamande hjärnblödning och moderns hjälplöshet och behov av omvårdnad, argumenterar Cody, gjorde att Dickinson själv för första gången kunde känna moderliga känslor. Själv vill jag snarare tro att det, förutom gossens omvittnat obestridliga charm, också hade med hans namn att göra, alltså Gilbert, som alltså var den älskade Susan Gilberts flicknamn.I de sista orden ”I must go in; the fog is rising”, som jag tolkar det, ligger alltså en hälsning fylld av kärlekssorg till pojken och hans mor. I sin tillgivenhet till gossen fick Dickinson utrymme för en ren, och denna gång enklare, kärlek till den adressat som hon skrivit så många förtätade brev, och skickat så många dikter. Ja, till Susan Gilbert skickade hon fler dikter än till någon annan, 276 stycken. Och i ett brev från 1875 fick Gilbert den kanske största kärlekshyllning som överhuvudtaget går att tänka sig, åtminstone om man är poet på allvar: ”Med undantag av Shakespeare, har du skänkt mig mer kunskap än någon levande varelse”.Ulf Karl Olov Nilssonförfattare, psykoanalytiker och översättare av bland annat Emily Dickinsons poesi

This week on Friday Night Noir, Vintage Classic Radio invites you into the shadows with Wilkie Collins' eerie masterpiece, "The Haunted Hotel". When a bride-to-be loses her fiancé under suspicious circumstances, her search for the truth leads to a Venetian palace heavy with secrets, guilt, and whispers of the supernatural. Dark intrigue meets ghostly terror in a story where every shadow hides a question -- and every answer may come too late. 

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The novel has a convoluted plot about two distant cousins both named Allan Armadale. The father of one had murdered the father of the other (the two fathers are also named Allan Armadale). The story starts with a deathbed confession by the murderer in the form of a letter to be given to his baby son when he grows up. Many years are skipped over. The son, mistreated at home, runs away from his mother and stepfather, and takes up a wandering life under the assumed name of Ozias Midwinter." (From Wikipedia.)This is a collaborative reading.Episode IX to XVI will be published on Monday, Sept 15th.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A House to Let is a short story originally published in 1858 in the Christmas edition of Dickens' Household Words magazine.Each of the contributors wrote a chapter (stories within a story, or, in the case of Adelaide Anne Procter, poetry) and the story was edited by Dickens, who also wrote the first and last chapters with Wilkie Collins.The plot concerns an elderly woman, Sophonisba, who notices signs of life in a supposedly empty dilapidated house (the eponymous "House to Let") opposite her own, and employs the efforts of an elderly admirer, Jabez Jarber, and her servant, Trottle, to discover what is happening within. (Adapted from Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A House to Let is a short story originally published in 1858 in the Christmas edition of Dickens' Household Words magazine.Each of the contributors wrote a chapter (stories within a story, or, in the case of Adelaide Anne Procter, poetry) and the story was edited by Dickens, who also wrote the first and last chapters with Wilkie Collins.The plot concerns an elderly woman, Sophonisba, who notices signs of life in a supposedly empty dilapidated house (the eponymous "House to Let") opposite her own, and employs the efforts of an elderly admirer, Jabez Jarber, and her servant, Trottle, to discover what is happening within. (Adapted from Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A House to Let is a short story originally published in 1858 in the Christmas edition of Dickens' Household Words magazine.Each of the contributors wrote a chapter (stories within a story, or, in the case of Adelaide Anne Procter, poetry) and the story was edited by Dickens, who also wrote the first and last chapters with Wilkie Collins.The plot concerns an elderly woman, Sophonisba, who notices signs of life in a supposedly empty dilapidated house (the eponymous "House to Let") opposite her own, and employs the efforts of an elderly admirer, Jabez Jarber, and her servant, Trottle, to discover what is happening within. (Adapted from Wikipedia.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Tonight's sleep story is the opening of the classic novel by Wilkie Collins. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.

Wilkie Collins (1824 - 1889)Translated by August KretzschmarAlle halten die Gesellschafterin Sara Leeson für eine rätselhafte Person. Nach dem Tod ihrer Herrin Mistreß Treverton versteckt sie einen Brief im unbewohnten Flügel des Herrenhauses und verschwindet spurlos.15 Jahre später ist die Tochter von Mistreß Treverton frisch verheiratet. Als sie erkrankt, wird eine Pflegerin aus der Nachbarschaft engagiert. Dieses macht sich durch ihr seltsames Verhalten und die übergroße Anteilnahme an ihrem Pflegling verdächtig. (Zusammenfassung von Hokuspokus)Genre(s): Crime & Mystery FictionLanguage: German

This time on The Horror, The Weird Circle brings us an adaptation of the Wilkie Collins story, Mad Monkton. This episode originally aired September 22, 1944. Listen to more from The Weird Circle https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/TheHorror1239.mp3 Download TheHorror1239 | Subscribe | Spotify | Support The Horror If you enjoy The Horror and would like to help support it, visit donate.relicradio.com for more information. Thank [...]

Send us a textWelcome to Season 6, Episode 1 of That Pretentious Book Club! In the first episode of season 6, Spoons, Wheezy, and Gino join The Teacups to discuss ethereal classic mystery The Woman in White by Wilkie Collins. Heralded as one of the first detective novels (despite the absence of any licensed detective), this book ranges from spooky to intensely intriguing, heart-wrenching, and back again. Also up for debate, is Marian Halcombe a feminist icon or a cringe-worthy pick-me girl?Don't forget to pour yourself a cup of tea, raise a pinky, and join the club for this discussion of The Woman in White!Reserve your spot at the Story Sirens Studio Fall Writing Retreat now! https://storysirensstudio.com/retreatsHelp Ash launch her bookstore! https://www.ifundwomen.com/projects/story-emporium-bookshopSupport the show with merch and more at storysirensstudio.com!Find this episode's book and more by shopping at https://bookshop.org/shop/storysirensstudio to support the club AND local bookstores!Visit us at storysirensstudio.com or find us on social media @thatpretentiousbookclub.Check out sister podcast The Scripturient Society for writers and join our Story Sirens writing group on Facebook!Find Space Aliens, Southerners, and Saving the World by Ash Leigh O'Rourke on Amazon.Support the showFind this episode's book and more by shopping at https://bookshop.org/shop/storysirensstudio to support the club AND local bookstores!Visit us at storysirensstudio.com or find us on social media @thatpretentiousbookclub.Check out sister podcast The Scripturient Society for writers and join our writing group on Facebook! Find Space Aliens, Southerners, and Saving the World by Ash Leigh O'Rourke on Amazon.

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereThis concludes our reading of The Woman in White. Thank you for listening! Next up: Summer Session!Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereThis concludes our reading of The Woman in White. Thank you for listening! Next up: Summer Session!Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading Hartright 1-3Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading FoscoSupport the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading Hartright 7Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading Hartright 5-6Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading Hartright 3-4Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time, we'll be reading Hartright 1-2Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 11 & CatherickSupport the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 10Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 9Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 8Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 7Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 5-6Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 3-4Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Hartright 1-2Support the show

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Several Narratives (part 2)Support the show

We say goodbye to Herbert Marshall - one of the most frequent guest stars on Suspense. Marshall logged twenty appearances on "radio's outstanding theatre of thrills" between 1944 and 1959. He also starred in the 1940 audition show that helped to get Suspense a slot on the schedule. We'll hear him in a pair of those shows - an adaptation of Wilkie Collins' "The Dead Alive" (originally aired on CBS on March 9, 1953) and "The Long Shot," the story of a very deadly road trip (AFRS rebroadcast from February 9, 1958). Plus, we'll hear Marshall in his own radio series as The Man Called X - a debonair, globetrotting secret agent - in a pair of adventures (originally aired on NBC on January 13, 1951 and February 17, 1951).

Welcome to season 3 of Storytime for Grownups! We are reading The Woman in White by Wilkie Collins, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereNext time, we'll be reading Michelson's Narrative 2 (part 2) & Several Narratives (part 1)Support the show

On The Horror this week, an adaptation from The Weird Circle of the Wilkie Collins story, A Terribly Strange Bed. This episode was originally heard July 29, 1943. Listen to more from The Weird Circle https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/TheHorror1215.mp3 Download TheHorror1215 | Subscribe | Spotify | Support The Horror If you enjoy The Horror and would like to help support it, visit donate.relicradio.com for more [...]