Podcasts about woolf

In this episode of Biographers in Conversation, Mark Hussey chats with Gabriella Kelly-Davies about Mrs Dalloway: Biography of a Novel. Here's what you'll discover in this episode: Mrs Dalloway: Biography of a Novel was published exactly 100 years after Virginia Woolf's famous novel appeared. Why Mark Hussey portrayed Virginia Woolf's novel Mrs Dalloway as a living subject with its own life story. Why Mrs Dalloway: Biography of a Novel is considered as an object biography. Mrs Dalloway: Biography of a Novel follows Woolf's story chronologically from its first creative stirrings in her diary through conception, writing, drafting, revision, publication, early reviews, and onward throughout its extraordinary afterlife, which continues today. How Woolf's earliest notes from 6 October 1922 reveal she knew from the outset that ‘all must converge upon the party at the end'. How Mrs Dalloway inspired creative works such as novels set on a single day, films, an opera, plays, cartoons, memes, tattoos and songs.

In this episode of Climate Positive, Gil Jenkins speaks with Malcolm Woolf, President and CEO of the National Hydropower Association (NHA). They discuss the current state of the U.S. hydropower industry, its role in providing carbon-free electricity, and the challenges and opportunities facing the sector. A central focus of the conversation is the hydropower relicensing process -- how it works, where projects can stall, and how lengthy reviews can delay investment, upgrades, and in some cases lead facilities to shut down.Malcolm shares real-world examples to illustrate what's at stake, while also exploring the potential to add generation to non-powered dams, the role of pumped storage in supporting grid reliability, and emerging marine energy technologies.Links:NHA WebsiteMalcom Woolf LinkedInNHA on LinkedInPress Release: The Hydropower Foundation and NHA Align to Strengthen Workforce Development EffortsArticle: US hydropower is at a make-or-break momentArticle: Google to buy up to 3 GW of hydro power from BrookfieldVideo: Whooshh Innovations' "Salmon Cannon" Gives Fish A Boost Over Dams Email your feedback to Chad, Gil, Hilary, and Guy at climatepositive@hasi.com.

California is not only the largest agricultural state, but it's also the most diverse, with several hundred crops grown. There may be a new major crop in the Golden State – agave.Stuart Woolf heads a large family farm in Fresno County, and has seen excellent agronomic success growing 450 acres of agave. The crop uses a small fraction of the water when compared to many other crops, and it has intriguing market potential for spirits and as a sweetener. This crop may turn into an excellent option especially for farmers in the San Joaquin Valley, who routinely face limited water supplies. Woolf has extensively studied agave production in Mexico and is a licensed nurseryman that has sold tens of thousands of plants to other California growers. U.C. Davis has several years of ongoing research on agave viability, and industry influencers are looking into the feasibility of this fledgling crop being distilled into a high-quality spirit. 

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Marina Bassani"Rosa la Rossa"la vera storia di Rosa LuxemburgMonologo con Marina BassaniTesto di Marina Bassani - Produzione Teatro SeligCineteatro BarettiVia Baretti, 4 - Torino11, 12, 13   febbraio  2026 ore 20.45Dall'11 al 13 febbraio 2026 alle ore 20.45, al Teatro Baretti di Torino, ritorna Marina Bassani con la prima del monologo Rosa la Rossa. La vera storia di Rosa Luxemburg. Sul palco, ad accompagnare l'artista, ci saranno il musicista Nunzio Barbieri, chitarrista di Paolo Conte   e Francesco Django Barbieri con il suo clarinetto. Per tutta la sua vita Rosa attende  il momento in cui i lavoratori prenderanno coscienza della loro condizione e faranno la rivoluzione.A 17 anni  scrive: “Il mio ideale è un regime sociale in cui si possano amare tutti”. Un giorno trova un libro, Il Capitale di Karl Marx. Dice esattamente quello che pensa lei. Ha solo sedici anni quando tiene una lezione ai suoi fratelli su concetti come  profitto e  plusvalore e, come se fosse un gioco, inventa un grazioso teatrino dove i personaggi sono operai e padroni, sfruttatori e oppressi.Partita da Zamosh per studiare botanica ed economia all'università di Zurigo, la sola università che accolga le donne, si stabilisce a Berlino nella città più industrializzata di Europa e qui entra a far parte del partito socialdemocratico. Ma presto si trova in dissenso. Contraria alla guerra (la prima guerra mondiale è alle porte), ne denuncia gli abusi e le torture,  e si schiera contro  molti suoi compagni di partito che  hanno votato l'aumento delle spese di guerra. Più di una volta viene rinchiusa in carcere per disobbedienza e per incitamento allo sciopero generale. Ma, incurante della sua miserabile condizione, dal carcere detta il manifesto della Lega  Spartachista.Abbandonata dal partito socialista , sempre più sola, ha bisogno di un filo rosso per uscire dal labirinto soffocante, fatto di divieti, sfruttamento, schiavitù, colonie, guerra. Lo trova, oltre che nella lotta politica, nel suo amore per la natura. La natura rimane l'oasi in cui il suo pensiero si rifugia. Nella prigione di Wronki, in Polonia, ha il permesso di curare un piccolo giardino: “ogni mattina ispeziono accuratamente lo stato dei boccioli di tutti i miei cespugli, e ogni giorno visito una coccinella rossa con due macchie nere sul dorso”. Le mura del carcere non le impediscono di continuare a lottare per un mondo libero. È quando abbiamo di fronte un muro, che conosciamo davvero la libertà.  Per tutta la sua vita Rosa ha cercato di abbattere questo muro. La sua compassione l'ha condotta a combattere per proteggere la natura, i fiori, gli uccelli e gli esseri umani.  Ma fino a dove poteva spingersi la sua passione? Rosa ha tenuto sempre in mano il filo rosso, ma questo filo rosso alla fine è diventata la sua trappola. Rivoluzione o riforma? Passione o ragione? Rosa ha scelto la passione a costo della sua stessa vita.In scena i suoi ultimi giorni , in attesa di venire arrestata, ha solo il cielo sopra di sé e la musica che le tiene compagnia. Non ha paura e continua a gioire di ogni piccolo segno che venga dal mondo di fuori. Marina Bassani, attrice e regista,  è nata a Milano  e vive  a Torino. Si è diplomata all' Accademia dei Filodrammatici di Milano, medaglia d'oro ex aequo con Lella Costa,  e si è laureata in filosofia. Si è specializzata in  monologhi  e dialoghi  teatrali. Allieva di Ernesto Calindri e del maestro russo Jurji Alschitz. Ha fondato a Torino  Teatro selig, nel 1996, inaugurando come attrice  una lunga serie di ritratti  femminili . Ha messo in scena alcuni  ritratti esilaranti di donne   tratti dai Talking heads di Alan Bennett, ha recitato  Ho volato con l'angelo, il monologo sulla scrittrice  Karen Blixen, ha scritto e recitato al teatro Astra  il  monologo  sulla nobile Costanza d'Azeglio, ha scritto e recitato la storia  della partigiana Ada Gobetti, e il monologo  sulla cantante francese Barbara ( in cui la Bassani canta  e racconta la sua bio).  Al Teatro Parenti a Milano ha recitato Yossl Rakover si rivolge a DioIn cui vestiva i panni di un uomo).Ha messo in scena al Teatro Baretti di Torino il monologo  La Madre,  tratto dall'opera Vita e Destino di Vassilij Grossman. Ha messo in scena al teatro Baretti  il dialogo Ay Carmela!,di Sanchis Sinisterra,  ambientato nella Spagna franchista, uno spettacolo con due attori (M.Bassani e L.Bartoli)Ha messo in scena come regista e attrice   Battaglie di J M Ribes , con tre attori,  e ha scritto e recitato Orlando, tratto da V.Woolf. Ha scritto  Mia madre non è una cocotte,  storia di Romain Gary e  Amava il Chelsea hotel, storia di Leonard Cohen.Tra i suoi recitals , ha scritto e  recitato Pensare con le mani, un testo ispirato a  La Chiave a stella di Primo Levi, Dal corpo all'anima,  storia di Etty Hillesum, Viaggio a Gerusalemme sulla figura del Cardinal Martini. È l'autrice   delle fiabe Zefirino collo lungo e Ombretta Camilla,  illustrate da Lele Luzzati. 11,12,13   febbraio 2026 ore 20:45Cineteatro Baretti, via Baretti 4con Marina Bassaniscrittura scenica e regia Marina Bassaniconsulenza artistica Serenella di Michelechitarra Nunzio Barbiericlarinetto F. Django Barbieriluci e fonica: Luca ScicchitanoDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

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Arthur Marchetto e Cecilia Garcia Marcon discutem Mrs. Dalloway, de Virginia Woolf. A apresentação do livro inclui pontos de seu contexto de publicação, situando a obra dentro do modernismo e do período entreguerras.A conversa analisa os principais temas da narrativa, como a experiência subjetiva do tempo, a investigação da consciência através do fluxo de pensamento e as tensões sociais e psicológicas da Inglaterra pós-Primeira Guerra. O episódio também comenta o livro e o filme "As Horas", que dialogam diretamente com a obra de Woolf. Então, aperta o play e conta pra gente: já leu o livro? vai ler? VOCÊ TEM MEDO DE VIRGINIA WOOLF?

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Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

In this episode, Word&Way President Brian Kaylor talks with American Baptist ministers Anna Piela and Michael Woolf on Islamophobia, immigration, and how Christians can better engage with interfaith efforts. Anna and Michael are coauthors of the new book, Confronting Islamophobia in the Church: Liturgical Tools for Justice. Watch a video version of this conversation here. Here are a few pieces related to the episode: Brian wrote about Michael's advocacy outside an ICE facility in Illinois Michael wrote for Unsettling Advent about Advent in a time of soldiers in the streets Brian recently testified against anti-Sharia law legislation in Missouri Brian wrote about Franklin Graham preaching at the Pentagon Note: Don't forget to subscribe to our award-winning e-newsletter A Public Witness that helps you make sense of faith, culture, and politics. And order the new book by Brian Kaylor, The Bible According to Christian Nationalists: Exploiting Scripture for Political Power.

Art Woolf, former Vermont State Economist and Sub Stack columnist, joins Anthony & Dan to talk about his latest column on the Median Income in VT. Link: https://artwoolf.substack.com/

Ep 401: I chat with Watford and England fan Rio Woolf (@Rio_Woolf) who also plays amputee footballer for Chelsea. I also pay my tributes to former Three Lions Colin McDonald and Martin Chivers who both recently passed. Running time 41:53 Join the debate in our Facebook group at http://bit.ly/2hnHBzi http://www.threelionspodcast.com http://www.Twitter.com/3LionsPodcast http://www.Twitter.com/Russell_Osborne

Virginia Woolf war eine der bedeutendsten Schriftstellerinnen des 20. Jahrhunderts und eine zentrale Stimme der literarischen Moderne. Ihr avantgardistisches Werk veränderte Erzählformen – und prägte das Denken über Geschlecht, Kreativität und Autorschaft. Ihre Geschichte ist bis heute relevant, weil sie Literatur und Frauenbewegung dauerhaft miteinander verband. Diese Folge richtet den Blick auf Haltung, Wirkung und Brüche. Geboren 1882 in London, entwickelte Woolf eine radikal neue literarische Sensibilität, während sie zugleich immer wieder von schweren Depressionen heimgesucht wurde. Mit A Room of One's Own formulierte sie eine der einflussreichsten Thesen feministischer Theorie: die Notwendigkeit materieller und geistiger Unabhängigkeit für weibliches Schreiben. Gemeinsam mit ihrem Mann Leonard führte sie einen Verlag und förderte moderne Literatur – während Krieg, Krankheit und gesellschaftliche Enge ihre Arbeit zugleich bedrohten. Ihr Tod 1941 markiert keinen Abbruch, sondern die Fortsetzung ihrer Wirkung. In dieser Episode sprechen wir über literarische Innovation ohne Mythos, über Kreativität unter Verletzlichkeit und darüber, warum Virginia Woolfs Denken weit über das 20. Jahrhundert hinaus Bedeutung hat. Diese Folge steht im Zusammenhang mit unserer Reihe zu prägenden Denkerinnen und Künstlerinnen der Moderne. ––––– SERVICE & TRANSPARENZ ––––– Werbepartner: FORMEL+SKIN Code: STARKEFRAUEN Link: https://i.formelskin.de/StarkeFrauen -40% auf die ersten zwei Monate: 26€/Monat statt 44€/Monat im 2-Monats-Set; gilt nur für Neukund:innen. CHEEX CODE: STARK7 Link: https://social.getcheex.com/influencer/starke-frauen/ Weitere Infos & Kontakt: https://linktr.ee/starkefrauen https://www.podcaststarkefrauen.de/ Team: Hosts & Redaktion: Kim Seidler & Cathrin Jacob Recherche & Script: Daniel Jacob Schnitt: Kim Seidler Quellen & weiterführende Links (Auswahl): https://www.biography.com/authors-writers/virginia-woolf https://campuspress.yale.edu/modernismlab/virginia-woolf/ https://www.dhm.de/lemo/biografie/virginia-woolf https://www.deutschlandfunk.de/virginia-woolf-ein-leben-100.html https://www.fembio.org/biographie.php/frau/biographie/virginia-woolf/ https://www.srf.ch/kultur/literatur/literatur-virginia-woolf-episoden-einer-viktorianischen-kindheit https://www.theguardian.com/books/booksblog/2015/dec/08/best-british-novel-of-all-time-international-critics-top-100-middlemarch George Spater, Ian Parsons: Porträt einer ungewöhnlichen Ehe. Frankfurt am Main 2002, S. 205 f. https://www.br.de/radio/bayern2/sendungen/zuendfunk/ein-zimmer-fuer-sich-allein100.html Bild: Autor/-in unbekannt - Harvard Theater Collection, Wikimedia Commons

Being a widow is complicated. On top of the earth-shattering grief you experience, there's a huge societal pressure to be the perfect image of a grieving partner, missing the love of your life. But what if the person who died was actually kind of a huge jerk? How do you take care of someone who doesn't really deserve it? And what does it mean to be a good woman or a good widow? All of This: A Memoir of Death and Desire by Rebecca Woolf The Widow's Guide to Dead Bastards by Jessica Waite Watch us on YouTube here! Get this episode ad-free here! Listen to Geoffrey's album on Spotify and Apple! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sophie B. Hawkins performs “Not Beating Around the Bush” (recording of her original song made exclusively for “This Way Out”) and reads an excerpt from “Mrs. Dalloway” by Virginia Woolf. SOPHIE B. HAWKINS is a U.S.-born singer-songwriter whose commercial success has been matched by her passionate advocacy for animal rights, and the equality of women and the queer community. In 1925, VIRGINIA WOOLF introduced the world to “MRS. DALLOWAY”, a groundbreaking novel that explores a single day in the life of an upper-class woman in post-World War I England. With its innovative stream-of-consciousness narrative, “Mrs. Dalloway” remains a landmark in modernist literature. In “NewsWrap” 106 people are roughly arrested in a late December raid on a gay nightspot in Baku, the capital city of Azerbaijan; ten people in France are convicted of online bullying for “maliciously” claiming that First Lady Brigitte Macron is transgender; a U.S. federal judge rules that teachers or other school officials can out trans students to their parents without their consent; while a different federal judge decides that “devoutly Christian” parents can prevent their children from learning about the mere existence of LGBTQ people in school; under pressure from the Trump administration and a lawsuit filed by “devoutly Christian” foster parent applicants, Massachusetts replaces policies specifically requiring foster parents to support LGBTQ children in their care with the more innocuous “based on their individual identity and needs”; and her wife Becca remembers Renee Nicole Good (written this week by GREG GORDON, edited by TANYA KANE-PARRY, produced by BRIAN DeSHAZOR, and reported by RET and MARCOS NAJERA). (written this week by GREG GORDON and TANYA KANE-PARRY, reported by RET and MARCOS NAJERA, and produced by BRIAN DeSHAZOR).

Happy 2026! Or rather- 12,026. At least, according to one interpretation. It has been suggested that the Anno Domini/Common Era system of timekeeping has some limitations. So, Cesare Emiliani created a calendar in 1993 to combat these issues. Get ready to discuss a calendar which begins when human civilisations and farming did- at midnight, 1st January, 10,000 BCE. After that, we'll take you on a whistlestop and incomplete tour of what some of human history might look like represented in that calendar.Sources for this episode:Bevan, E. R. (1902), The House of Seleucus (Volume I). London: Methuen Publishing Ltd.Clayton, P. A. (2006), Chronicle of the Pharaohs. London: Thames & Hudson Ltd.Emiliani, C (1993), Calendar reform. Nature 366: 716.Emiliani, C. (1994), Calendar reform for the year 2000. Eos, Transactions American Geophysical Union 75(19): 218.Goldsworthy, A. (2023), The Eagle and the Lion: Rome, Persia and an Unwinnable Conflict. London: Head of Zeus Ltd.Humprehys, C. J. and Waddington, W. G. (1983), Dating the Crucifixion. Nature 306: 743- 746.Kelly, J. N. D. (1996), Oxford Dictionary of Popes. Oxford: Oxford University Press.Littlewood, I. (2002), The Rough Guide History of France. London: Rough Guides Ltd.Marks, A. and Tingay, G. (date unknown), Romans. London: Usborne Publishing.Matyszak, P. (2008), Chronicle of the Roman Republic. London: Thames & Hudson Ltd.Paludan, A. (1998), Chronicle of the Chinese Emperors. London: Thames & Hudson Ltd.Scarre, C. (2012), Chronicle of the Roman Emperors. London: Thames & Hudson Ltd.Shepard, J. (ed.) (2019), The Cambridge History of the Byzantine Empire c.500- 1492. Cambridge: Cambridge University Press.Warnes, D. (2009), Chronicle of the Russian Tsars. London: Thames & Hudson Ltd.Weir, A. (1996), Britain's Royal Families: The Complete Genealogy. London: Pimlico.Woolf, A. (2014), A Short History of the World. London: Arcturus Publishing Ltd.Author unknown (date unknown), Genealogy of the Emperors of Japan. Kunaicho: Japanese government webpage.

Keynes. Woolf. Hitchens. The New Statesman has an illustrious history and editor Tom McTague is the latest custodian of that grand tradition.But how does a centre-left magazine pitch itself in the ferocious world of social media and hot takes?What's its relationship with the Labour Party?How does it handle disagreements on the Left?And, more importantly, what does Labour need to do to win next time?THE POLITICAL PARTY LIVE26 January: Special VIP Guest16 February: David Miliband9 March: Zack Polanski30 March: Lisa Nandyhttps://nimaxtheatres.com/shows/the-political-party-with-matt-forde/ SEE Matt's brand new stand-up tour 'Defying Calamity' across the UK:https://www.mattforde.com/live-shows Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:33 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - "Mrs Dalloway" ou comment Virginia Woolf critique subtilement les conventions sociales de la petite bourgeoisie et la société londonienne, à travers la journée d'une femme de la haute société, dans l'Angleterre de l'après Première Guerre mondiale. Une évocation de l'œuvre avec Belinda Cannone. - réalisation : Nicolas Berger - invités : Belinda Cannone Docteur en littérature comparée, romancière et essayiste

Did you think we already knew everything there was to know about Virginia Woolf? Think again! In this episode, Jacke talks to scholar and editor Urmila Seshagiri about The Life of Violet: Three Early Stories, which presents three interconnected comic stories chronicling the adventures of a giantess named Violet, which Woolf wrote in 1907, eight years before she published her first novel. The story of Seshagiri's discovery is nearly as fantastical as the stories themselves. PLUS literary biographer Jake Poller (Christopher Isherwood: A Critical Life) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠⁠⁠⁠⁠ at ⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1908, Virginia Woolf wrote that she hoped to revolutionise the novel and ‘capture multitudes of things at present fugitive'. ‘To the Lighthouse' (1927) marks perhaps her fullest realisation of the novel as philosophical enterprise, and not simply because one of its central characters is engaged with the problem of ‘subject and object and the nature of reality'. In the final episode of their series, Jonathan and James consider different ways of reading Woolf's great novel: as a satirical portrait of her father through Mr Ramsay, as a study of creative expression through Lily Briscoe, or as a mystical, Platonic quest in which form and style respond to philosophical propositions, and the truth of human experience is to be found in movement, conversation and laughter. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrcip⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingscip⁠ Read more in the LRB: Jacqueline Rose: Where's Woolf? https://lrb.me/cipep13woolf1 Virgina Woolf: The Symbol https://lrb.me/cipep13woolf2 John Bayley: Superchild https://lrb.me/cipep13woolf3

California agriculture is facing unprecedented challenges, from water scarcity to rising production costs. Yet innovators like Stuart Woolf of Woolf Farms and Processing are finding ways to adapt and thrive. In a recent AgNet News Hour interview with host Nick Papagni and Ag Meter Lorrie Boyer, Woolf shared insights into family farming, water management, policy advocacy, and his pioneering work with agave cultivation. A Family Farming Legacy in Fresno County Stuart Woolf's family farming journey began in 1974 when his father purchased farmland on the west side of Fresno County at age 57. The family prioritized vertical integration from the start, particularly in tomato processing. They co-founded Los Gatos Tomato Products, which continues to operate today. Approximately 30 years ago, the Woolf's expanded into almonds with Harris Woolf California Almonds, moving from brown skin almonds to value-added products like almond paste, oil, and de-fatted flour. Woolf Farms combines both farming and processing, creating a diverse agricultural operation that has spanned multiple generations. Water Challenges and Political Engagement Woolf recalls arriving in the business in 1986, when water availability was more reliable. Over time, securing cost-effective water has become a central concern, requiring ongoing political advocacy. He explains that a large portion of California water has been diverted for environmental purposes, raising costs for farmers and complicating operations. Despite these obstacles, Woolf emphasizes that farmers continue to act as stewards of the land, producing substantial crops while managing limited resources. Regulatory Pressures and Rising Costs California's regulatory environment has significantly increased the cost of farming. Woolf cites a Cal Poly study showing that production costs have risen by around $1,600 per acre over the past decade—a 25% increase. While California offers fertile soil and a favorable climate, political and regulatory pressures threaten the state's natural agricultural advantages. As chairman of Western Growers, Woolf notes that some farmers are relocating to other states or countries due to high costs and regulatory challenges, putting multi-generational family farms at risk. Labor restrictions, trucking regulations, and rising operational expenses further complicate farming in California. Public Understanding and Agricultural Metrics Woolf stresses that the public often underestimates the pressures on modern farmers. Many consumers take grocery availability for granted, unaware of increasing costs and shrinking family farms. He critiques state agencies, such as the Department of Pesticide Regulation, for prioritizing process over practical outcomes and failing to include farmers' perspectives in decision-making. He argues that removing essential tools like pesticides can increase costs and reduce efficiency without measurable environmental benefits, highlighting the need for metrics that reflect the realities of agriculture. Innovating with Agave: A Sustainable Crop for California Woolf has turned to agave cultivation as a low-water solution for farmland with limited irrigation. Agave requires only 5–10% of the water compared to traditional crops. Inspired by Mexico's dry-farming practices, Woolf began experimenting with 12 agave varieties, eventually expanding to 450 acres over three years. His vision is to create a California agave industry akin to Napa Valley's wine culture, supporting small distilleries and building a local supply chain. Marketing, Distribution, and Crop Management California is the largest consumer market for agave-based spirits, making it ideal for local production. Woolf emphasizes: Partnering with craft distillers and larger distillation companies Raising awareness through highway visibility and marketing campaigns Carefully managing supply and demand to avoid overproduction Agave matures over 5–7 years in California, shorter than Mexico's typical 7–9 years due to hotter summers and drip irrigation. Woolf plans a rotational planting and harvesting schedule to maintain continuous production. Water Management and Land Optimization Agave cultivation is part of a larger strategy to optimize water-limited farmland: Installing solar panels on non-irrigated land Creating water banks to recharge aquifers during rainfall Adjusting crop profiles to maximize efficiency with available water This approach preserves family farmland while adapting to California's ongoing water scarcity. Policy, Advocacy, and the Future of California Agriculture Woolf underscores the importance of political engagement to improve water infrastructure and maintain a sustainable agricultural sector. He calls for: Reinvestment in state water systems Policies that balance environmental goals with productive agriculture Proactive solutions rather than relying solely on regulatory changes Woolf's long-term vision includes expanding agave production and continuing innovative strategies that combine environmental stewardship, economic viability, and community-focused farming. Conclusion Stuart Woolf's work exemplifies how innovation, adaptability, and policy advocacy can address California agriculture's modern challenges. From almonds and tomatoes to low-water crops like agave, Woolf Farms is pioneering sustainable solutions while preserving family farming traditions. For more insights on California agriculture, visit AgNet West, follow them on Facebook, Instagram, and X, and subscribe to the AgNet West podcast.

This week we welcome back Prof. Alex Woolf (University of St. Andrews) to the podcast to question whether ‘the Vikings' is a useful concept that helps us understand history. We explore why certain people left Scandinavia in the late 8th century and what they were called in the various places they raided and eventually settled. Alex warns us against the telescoping of medieval history and argues for more nuance and specificity when dealing with the Scandinavian diaspora in so-called 'Viking Age Ireland'. He explains that the variety of activities by people we refer to as 'vikings' across the centuries in places like Ireland, England, Scotland and Francia cannot be reduced to one simple narrative.Suggested reading:Alex Woolf, 'The Viking Paradigm in Early Medieval History' Early Medieval England and its Neighbours. 2025;51:e2. doi:10.1017/ean.2024.3Colmán Etchingham, Vikings in Early Medieval Ireland: Church-Raiding, Politics and Kingship (Boydell Press, 2025)Regular episodes every two weeks (on a Friday)Email: medievalirishhistory@gmail.comProducer: Tiago Veloso SilvaSupported by the Dept of Early Irish, Maynooth University & Taighde Éireann/Research Ireland.Views expressed are the speakers' own.Logo design: Matheus de Paula CostaMusic: Lexin_Music

Art Woolf, former Vermont State Economist, joins Anthony & Dan to talk about the demand for housing in VT. Check him out on Substack, https://artwoolf.substack.com

In part two of our TellyCast MIPCOM special, Justin Crosby dives deep into the creator economy — the fastest-evolving part of the global content industry. Guests include Gerrit Kemming of Quintus Studios, Paul Telner from Viral Nation, Matt Gielen — digital media entrepreneur and former CEO of Electric Monster, Tobias Hoss from Lunar X, ITV Studios' Cecilie Olsson, Spirit Studios' Matt Campion and All3 Media International's Gary Woolf.They discuss how traditional media is finally embracing YouTube, how creators are becoming full-scale studios, what investors are looking for in digital IP, the rise of micro-drama, and how AI is reshaping factual production. Recorded on the Croisette during MIPCOM 2025, this episode captures the energy of a TV industry in transition — from broadcast to social-first and beyond.Sponsored by ITV Studios Sign up for The Drop newsletterSupport the showBuy tickets for the TellyCast Digital Content Forum Buy tickets for NEXTWAVE - NEXTWAVE: The Digital-First Production Summit Subscribe to the TellyCast YouTube channel for exclusive TV industry videosFollow us on LinkedInConnect with Justin on LinkedINTellyCast videos on YouTubeTellyCast websiteTellyCast instaTellyCast TwitterTellyCast TikTok

How the interwar servant shortage changed detective fiction. This episode marked the beginning of the Shedunnit Pledge Drive. Support the podcast by joining the Shedunnit Book Club and get extra Shedunnit episodes every month plus access to the monthly reading discussions and community: shedunnitbookclub.com/pledgedrive. Books mentioned in this episode:— Mrs Woolf and the Servants by Alison Light— The Psychology of the Servant Problem by Violet M Firth— Trent's Last Case by EC Bentley— The Mysterious Affair at Styles by Agatha Christie— "The Invisible Man" by G.K. Chesterton, collected in The Innocence of Father Brown— Three Act Tragedy by Agatha Christie— "Miss Marple Tells a Story" by Agatha Christie, collected in Miss Marple: The Complete Short Stories— The Murder of Roger Ackroyd by Agatha Christie— "The Case of the Perfect Maid" by Agatha Christie, collected in Miss Marple: The Complete Short Stories— "The Dream" by Agatha Christie, collected in The Regatta Mystery and Other Stories— "Greenshaw's Folly" by Agatha Christie, collected in Miss Marple: The Complete Short Stories— The Wintringham Mystery by Anthony Berkeley— Why Shoot A Butler? by Georgette Heyer— Frequent Hearses by Edmund Crispin— The Unpleasantness at the Bellona Club by Dorothy L Sayers— Who Killed the Curate? by Joan Coggin— The Hollow by Agatha Christie— A Murder is Announced by Agatha Christie— Mrs McGinty's Dead by Agatha Christie— After the Funeral by Agatha Christie— A Pocket Full of Rye by Agatha Christie— 4.50 from Paddington by Agatha Christie— Simisola by Ruth Rendell NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge. To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chyba każdy choć raz w życiu marzył, by na chwilę, na dzień, na tydzień stać się osobą płci przeciwnej. Będąc kobietą, stać się mężczyzną, poznać różnicę społeczną, emocjonalną, fizyczną, seksualną na własnej skórze. A nawet więcej, pozwolić swojej drugiej, skrywanej, nieodkrytej lub stłumionej naturze dominować. Tak fantazjuje narratorka-pisarka powieści Jacqueline Harpman „Orlanda”, która właśnie ukazała się w polskim przekładzie. Autorka: Maria Fredro-Smoleńska Artykuł przeczytasz pod linkiem: https://www.vogue.pl/a/orlanda-jacqueline-harpman-recenzja

Free SEO Audit HereTrendiiAaron Woolf - LinkedinWhat if your products could appear next to premium content your ideal customers already engage with?In this episode, Ryan sits down with Melbourne based founder Aaron Woolf, creator of Trendii, a product discovery and advertising platform that helps eCommerce brands connect with shoppers through lifestyle content, blogs, and even TV.Instead of interrupting customers with ads, Trendii integrates directly into the content they're already consuming, making it easier for people to discover, click, and shop products that match what they're seeing. Whether it's a celebrity wearing a certain outfit or a home styling article featuring a particular aesthetic, Trendii bridges the gap between inspiration and purchase.What Trendii actually is and how it functions as a discovery channel, not a search or intent-based tool.How Trendii partners with publishers (like Elle, Marie Claire, Nine and more) to embed shoppable links directly into content.Why fashion, homewares, and lifestyle brands are seeing strong results from this integrated approach.How Trendii uses AI to match retailer product feeds with relevant content in real time.Real world examples: From a small fashion brand getting featured next to a celebrity look, to Freedom using Trendii to align with The Block coverage.Why 85% of Trendii's traffic is new customers, and what that means for growing DTC brands.eCommerce brand owners looking to diversify their marketing mix.Marketers who want to reach customers earlier in their buying journey.Retailers seeking alternatives to traditional paid ads that still drive qualified traffic.

In 1907, eight years before she published her first novel, a twenty-five-year-old Virginia Woolf drafted three interconnected comic stories chronicling the adventures of a giantess named Violet—a teasing tribute to Woolf's friend Mary Violet Dickinson. But it was only in 2022 that Woolf scholar Urmila Seshagiri discovered a final, revised typescript of the stories. The typescript revealed that Woolf had finished this mock-biography, making it her first fully realized literary experiment and a work that anticipates her later masterpieces. Published here for the first time in its final form, The Life of Violet blends fantasy, fairy tale, and satire as it transports readers into a magical world where the heroine triumphs over sea-monsters as well as stifling social traditions.In these irresistible and riotously plotted stories, Violet, who has powers “as marvelous as her height,” gleefully flouts aristocratic proprieties, finds joy in building “a cottage of one's own,” and travels to Japan to help create a radical new social order. Amid flights of fancy such as a snowfall of sugared almonds and bathtubs made of painted ostrich eggs, The Life of Violet upends the marriage plot, rejects the Victorian belief that women must choose between virtue and ambition, and celebrates women's friendships and laughter.A major literary discovery that heralds Woolf's ambitions to revolutionize fiction and sheds new light on her great themes, The Life of Violet: Three Early Stories (Princeton UP, 2025) is first and foremost a delight to read. This volume features a preface, afterword, notes, and photographs that provide rich historical, literary, and biographical context. Urmila Seshagiri is Distinguished Professor of Humanities and Professor of English at the University of Tennessee, Knoxville. She is the author of Race and the Modernist Imagination, the editor of the Oxford World's Classics edition of Virginia Woolf's Jacob's Room, and a contributor to the Los Angeles Review of Books. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1907, eight years before she published her first novel, a twenty-five-year-old Virginia Woolf drafted three interconnected comic stories chronicling the adventures of a giantess named Violet—a teasing tribute to Woolf's friend Mary Violet Dickinson. But it was only in 2022 that Woolf scholar Urmila Seshagiri discovered a final, revised typescript of the stories. The typescript revealed that Woolf had finished this mock-biography, making it her first fully realized literary experiment and a work that anticipates her later masterpieces. Published here for the first time in its final form, The Life of Violet blends fantasy, fairy tale, and satire as it transports readers into a magical world where the heroine triumphs over sea-monsters as well as stifling social traditions.In these irresistible and riotously plotted stories, Violet, who has powers “as marvelous as her height,” gleefully flouts aristocratic proprieties, finds joy in building “a cottage of one's own,” and travels to Japan to help create a radical new social order. Amid flights of fancy such as a snowfall of sugared almonds and bathtubs made of painted ostrich eggs, The Life of Violet upends the marriage plot, rejects the Victorian belief that women must choose between virtue and ambition, and celebrates women's friendships and laughter.A major literary discovery that heralds Woolf's ambitions to revolutionize fiction and sheds new light on her great themes, The Life of Violet: Three Early Stories (Princeton UP, 2025) is first and foremost a delight to read. This volume features a preface, afterword, notes, and photographs that provide rich historical, literary, and biographical context. Urmila Seshagiri is Distinguished Professor of Humanities and Professor of English at the University of Tennessee, Knoxville. She is the author of Race and the Modernist Imagination, the editor of the Oxford World's Classics edition of Virginia Woolf's Jacob's Room, and a contributor to the Los Angeles Review of Books. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In 1907, eight years before she published her first novel, a twenty-five-year-old Virginia Woolf drafted three interconnected comic stories chronicling the adventures of a giantess named Violet—a teasing tribute to Woolf's friend Mary Violet Dickinson. But it was only in 2022 that Woolf scholar Urmila Seshagiri discovered a final, revised typescript of the stories. The typescript revealed that Woolf had finished this mock-biography, making it her first fully realized literary experiment and a work that anticipates her later masterpieces. Published here for the first time in its final form, The Life of Violet blends fantasy, fairy tale, and satire as it transports readers into a magical world where the heroine triumphs over sea-monsters as well as stifling social traditions.In these irresistible and riotously plotted stories, Violet, who has powers “as marvelous as her height,” gleefully flouts aristocratic proprieties, finds joy in building “a cottage of one's own,” and travels to Japan to help create a radical new social order. Amid flights of fancy such as a snowfall of sugared almonds and bathtubs made of painted ostrich eggs, The Life of Violet upends the marriage plot, rejects the Victorian belief that women must choose between virtue and ambition, and celebrates women's friendships and laughter.A major literary discovery that heralds Woolf's ambitions to revolutionize fiction and sheds new light on her great themes, The Life of Violet: Three Early Stories (Princeton UP, 2025) is first and foremost a delight to read. This volume features a preface, afterword, notes, and photographs that provide rich historical, literary, and biographical context. Urmila Seshagiri is Distinguished Professor of Humanities and Professor of English at the University of Tennessee, Knoxville. She is the author of Race and the Modernist Imagination, the editor of the Oxford World's Classics edition of Virginia Woolf's Jacob's Room, and a contributor to the Los Angeles Review of Books. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In 1907, eight years before she published her first novel, a twenty-five-year-old Virginia Woolf drafted three interconnected comic stories chronicling the adventures of a giantess named Violet—a teasing tribute to Woolf's friend Mary Violet Dickinson. But it was only in 2022 that Woolf scholar Urmila Seshagiri discovered a final, revised typescript of the stories. The typescript revealed that Woolf had finished this mock-biography, making it her first fully realized literary experiment and a work that anticipates her later masterpieces. Published here for the first time in its final form, The Life of Violet blends fantasy, fairy tale, and satire as it transports readers into a magical world where the heroine triumphs over sea-monsters as well as stifling social traditions.In these irresistible and riotously plotted stories, Violet, who has powers “as marvelous as her height,” gleefully flouts aristocratic proprieties, finds joy in building “a cottage of one's own,” and travels to Japan to help create a radical new social order. Amid flights of fancy such as a snowfall of sugared almonds and bathtubs made of painted ostrich eggs, The Life of Violet upends the marriage plot, rejects the Victorian belief that women must choose between virtue and ambition, and celebrates women's friendships and laughter.A major literary discovery that heralds Woolf's ambitions to revolutionize fiction and sheds new light on her great themes, The Life of Violet: Three Early Stories (Princeton UP, 2025) is first and foremost a delight to read. This volume features a preface, afterword, notes, and photographs that provide rich historical, literary, and biographical context. Urmila Seshagiri is Distinguished Professor of Humanities and Professor of English at the University of Tennessee, Knoxville. She is the author of Race and the Modernist Imagination, the editor of the Oxford World's Classics edition of Virginia Woolf's Jacob's Room, and a contributor to the Los Angeles Review of Books. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Más allá de las precisiones clínicas, la vida de Woolf estuvo marcada por la melancolía, el agotamiento, las sensaciones de ahogo, la inconformidad, la falta de apetito y la frustración

We made it to our 50th episode, so what keeps us going? In a word, YOU. From our listeners to invited guests, to family members who helped with tech and made suggestions--to everyone who graced us with their time, support and expertise, we want to say THANK YOU. And that's why we are offering a great giveaway--two of Debie Frable's Skellie Kits will be awarded to two randomly selected subscribers to our newsletter--if you don't subscribe, it's easy to sign up through our website bootieandbossy.com. Please subscribe by October 7th, 2025 to be entered into the drawing. Thank you, Debie, for providing the fabulous Skellie kits!"What is the meaning of life? That was all--a simple question; one that tended to close in on one with years. The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one."Virginia Woolf, To the LighthouseWhen we first embarked on this great podcast adventure, we had no idea how meaningful it would become, offering us a series of "little daily miracles, illuminations, matches struck in the dark," as Virginia Woolf wrote in her novel, To the Lighthouse. Woolf herself was an avid knitter and wrote to her husband in 1912 that "Knitting is the saving of life." Her sister Vanessa Bell even painted a portrait of her knitting quietly in a chair. The opportunity to connect with others, hear their stories and learn tidbits of history (like the whereabouts of Napoleon's penis . . . ) and share our mistakes and missteps as well as those little daily miracles, has propelled us through 50 episodes. Along the way listeners in 44 of the 50 states (time to step up, you knitters in Utah, Oklahoma, Tennessee, Wyoming, Montana and North Dakota!) and in 17 countries abroad have joined us.And a good drink has helped too--try our celebratory Kir Royal--a nice glass of sparkling white wine with a splash of liquor. And then grab your pointed sticks and tune in to hear us reminisce because, well, like Mom setting off to marry Dad, we "thought that would be fun," and frankly, that's as good a reason as any to do anything.

Whether you've loved Mrs. Dalloway forever or Woolf is new to you, there's nothing more satisfying than thinking about this book for 45 minutes. We do a quick bio, a little chunk on modernism then a deep dive into the SEXY parts of the book. Indulge now and come away a little smarter.

In this episode of The Balance, I talk with Shira Woolf Cohen, co-founder of Innovageous and author of Leading Future-Focused Schools: Engaging and Preparing Students for Career Success. With nearly three decades in education and workforce development, Shira shares why the gap between what students learn in school and the skills needed in today's workplace demands urgent attention. We explore what it means to cultivate a future-focused mindset, why every teacher is a “career teacher,” and how schools can embed career-connected learning across grade levels and subject areas. Shira offers strategies for building on student strengths, examples of what this work looks like in practice, and actionable steps leaders can take to begin designing future-focused schools. Connect with Shira Woolf Cohen and learn more about her work. Leading Future-Focused Schools: Engaging and Preparing Students for Career Success http://innovageous.com https://www.instagram.com/innovageous/ https://www.linkedin.com/company/innovageous https://www.facebook.com/InnovageousSolutions/

How does literature enrich our understanding of ourselves and of others, in ways that STEM fields and other forms of knowledge cannot? What is contained within the language of reading that you don't encounter with other art forms like painting or film?Arnold Weinstein is a Professor Emeritus of Comparative Literature at Brown University and the author of several books. His latest two publications are The Lives of Literature: Reading, Teaching, Knowing and Morning, Noon, and Night: Finding the Meaning of Life's Stages Through Books.Greg and Arnold discuss how literature offers unique and invaluable insights into the human experience, bridging historical and cultural divides. Their conversation examines the connections between literature and self-discovery, the challenges of teaching literature in a contemporary academic setting, and the enduring relevance of classic works from authors like William Faulkner, William Shakespeare, and Mark Twain. *unSILOed Podcast is produced by University FM.*Episode Quotes:Life doesn't come in disciplines01:02:54: Literature helps you see history. That philosophy, et cetera, needs a good dosage of literature, which is why we created that course and let the disciplines—not the people, the disciplines themselves—do battle with each other. And there's no obvious answer here. There's no winner or loser. But the students were confused. They wanted to get what's the right take on this. Well, has anybody ever offered the right take on reality? Universities come packaged in disciplines. Life doesn't. It doesn't. All of our major problems cannot be solved with any single discipline, including economics and, you know, and coding.Literature makes us more human09:25: It's a good workout to read literature. It makes us more generous, as being able to award the notion of humanity to other people. Because I do not think you can kill them. You cannot stamp them out if you do not think back.Why great books leave you uneasy30:13: We are supposed to exit literature course, not exactly being more confused, but more embattled in a sense to see that other ways of being, as well as other ways, other values that people might have, is a kind of absolutely basic "meat-and-potatoes" element of human life. You cannot just live in your own silo, in your own scheme, even though you are locked in it. That's the point. We cannot exit ourselves.History isn't a fairy tale40:51: If we read the books, it only tells us what we want to know, which is what we are headed towards in this society today with the current political scene. Any text that is critical of American history is considered broke and therefore removed. And I'm worried that we are going to get a generation of people who think that American history is a fairy tale, which it is not, and no amount of rhetoric can change that. That we can police and prohibit these certain kinds of texts can take over the Kennedy Center, but we cannot, in fact, change what all of that is about, which is that we are still paying the bill for the history of racism and slavery in this country. It is not solved. We can just try to put it under the rug, but it is not solved by any means. So it is in that sense that the discomfort is required. If it simply massages us, say, "oh, this is terrific," then I think we are reading the wrong book.Show Links:Recommended Resources:Harold BloomFranz KafkaThe MetamorphosisSøren KierkegaardWilliam FaulknerMark TwainAdventures of Huckleberry FinnJamesBenito CerenoBlaise PascalWilliam ShakespeareKing LearHamletOthelloIagoToni MorrisonNaked LunchGuest Profile:Profile at Brown UniversityWikipedia PageProfile at Roundtable.orgGuest Work:Amazon Author PageThe Lives of Literature: Reading, Teaching, KnowingMorning, Noon, and Night: Finding the Meaning of Life's Stages Through BooksNorthern Arts: The Breakthrough of Scandinavian Literature and Art, from Ibsen to BergmanA Scream Goes Through the House: What Literature Teaches Us About LifeRecovering Your Story: Proust, Joyce, Woolf, Faulkner, MorrisonNobody's Home: Speech, Self, and Place in American Fiction from Hawthorne to DeLilloThe Great Courses - Classic Novels: Meeting the Challenge of Great Literature

Welcome to the latest episode of the Sky Blues Extra Podcast! Dean is joined by Ross Spence as the guys dissect the transfer deadline day for the Sky Blues. They also look back at the 2-2 draw at Oxford and discuss the start to the season the Sky Blues have made.This podcast is sponsored by the Sky Blue Tavern. Let's all sing together... Don't forget to follow us on all of our social channels, just search 'SkyBluesExtra'. Hosted on Acast. See acast.com/privacy for more information.

A 20- to 30-year life expectancy gap between neighborhoods just miles apart reveals the brutal reality of health inequity in the United States. In this episode, Dr. Steven Woolf, physician and public health expert, explains how U.S. health disparities are driven more by social determinants, like education, income, housing, and systemic racism, than by access to care, with COVID-19 worsening these gaps for marginalized communities. He calls for bold investments in economic and educational equity to reverse these trends, warning that without political will, systemic health inequities and poor outcomes will persist. Tune in and learn how economic policy, not just medicine, could be the key to saving lives! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michelle de Kretser was born in Sri Lanka and lives in Australia on unceded Gadigal land. She writes fiction but has also published a short book about Shirley Hazzard's work. Theory & Practice, her seventh novel, recently won Australia's Stella Prize for writing by women. Theory and Practice is set in 1986, when “beautiful, radical ideas” are in the air. Its narrator is a young woman originally from Sri Lankan who arrives in Melbourne for graduate school to research the novels of Virginia Woolf. In the bohemian neighborhood of St. Kilda she meets artists, activists, students—and Kit. He claims to be in a “deconstructed relationship.” They become lovers, and the narrator's feminism comes up against her jealousy. Meanwhile, an entry in Woolf's diary upends what the narrator knows about her literary idol, and throws her own work into disarray. What happens when our desires run contrary to our beliefs? What should we do when the failings of revered figures come to light? Who is shamed when the truth is told? Michelle de Kretser's new novel offers a spellbinding meditation on the moral complexities that arise in the gap between our values and our lives. 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

Michelle de Kretser was born in Sri Lanka and lives in Australia on unceded Gadigal land. She writes fiction but has also published a short book about Shirley Hazzard's work. Theory & Practice, her seventh novel, recently won Australia's Stella Prize for writing by women. Theory and Practice is set in 1986, when “beautiful, radical ideas” are in the air. Its narrator is a young woman originally from Sri Lankan who arrives in Melbourne for graduate school to research the novels of Virginia Woolf. In the bohemian neighborhood of St. Kilda she meets artists, activists, students—and Kit. He claims to be in a “deconstructed relationship.” They become lovers, and the narrator's feminism comes up against her jealousy. Meanwhile, an entry in Woolf's diary upends what the narrator knows about her literary idol, and throws her own work into disarray. What happens when our desires run contrary to our beliefs? What should we do when the failings of revered figures come to light? Who is shamed when the truth is told? Michelle de Kretser's new novel offers a spellbinding meditation on the moral complexities that arise in the gap between our values and our lives. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this sidebar episode Garth and special guest host Sue Frantz interview Linda Woolf from Webster University in St. Louis, MO. Linda is a candidate for APA President, and their discussion centers around Linda's extensive history and contributions to the American Psychological Association, her vision for the future, and her motivations for running for the presidency. Linda emphasizes the importance of unity within the field of psychology and addresses critical issues such as anti-science sentiment, the role of AI in therapy, and her commitment to human rights and social justice. They also delve into Linda's leadership style, her extensive service to the profession, and her transformative work, including work with others to draft an Offer of Apology for the APA's historical wrongdoings. The episode encourages listeners to get involved and vote in the upcoming APA elections. http://linda4apa.com/ [Note. Portion of the show notes were generated using Descript AI.]  

“Mrs. Dalloway said she would buy the flowers herself”: So reads one of the great opening lines in British literature, the first sentence of Virginia Woolf's classic 1925 novel, “Mrs. Dalloway.”The book tracks one day in the life of an English woman, Clarissa Dalloway, living in post-World War I London, as she prepares for, and then hosts, a party. That's pretty much it, as far as the plot goes. But within that single day, whole worlds unfold, as Woolf captures the expansiveness of human experience through Clarissa's roving thoughts. On this week's episode, Book Club host MJ Franklin discusses it with his colleagues Joumana Khatib and Laura Thompson.Other books mentioned in this episode:“The Passion According to G.H.,” by Clarice Lispector“A Girl Is a Half-Formed Thing,” by Eimear McBride“The Lesser Bohemians,” by Eimear McBride“To the Lighthouse,” by Virginia Woolf“Orlando,” by Virginia Woolf“A Room of One's Own,” by Virginia Woolf“The Hours,” by Michael Cunningham“Headshot,” by Rita Bullwinkel“Tilt,” by Emma Pattee Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

durée : 02:40:02 - Les Matins - par : Guillaume Erner, Isabelle de Gaulmyn - - réalisation : Félicie Faugère

durée : 00:37:48 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - "Mrs Dalloway" a cent ans. Dans ce roman phare, Virginia Woolf nous entraîne le temps d'une journée dans l'existence d'une femme de la haute société londonienne, Clarissa Dalloway. - réalisation : Félicie Faugère - invités : Nathalie Azoulai Traductrice, romancière.; Marc Porée Angliciste, professeur émérite de l'ENS

With her bewitching and beautiful novel NEVERMORE (Seagull Books, translated from French by Tess Lewis, who joins our conversation), Cécile Wajsbrot takes us on a tour of Chenobyl's Forbidden Zone, the High Line in NYC, Dresden, Paris, under the shadow of the Time Passes section of Virginia Woolf's To The Lighthouse. We talk about the challenges of writing a first-person novel about translation, the strange ways Woolf has followed Cecile throughout her careers as author & translator, and how it felt to see her novel about translating Virginia Woolf into French get translated into English. We get into her literary career, how Time Passes became a stand-in for her fascination with destruction, why she's translated Woolf's The Waves three times over thirty years (and whether the first one got her into the bad graces of the editor of Le Monde de Livres), what it was like to subvert the translator's typical role of invisibility with this novel, and the language she wishes she had. We also discuss mourning and the ways we try to keep conversation alive with those we've lost, the time I impressed the Princess of Yugoslavia by transliterating the Cyrillic on her family's jewels, and more. More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

From To The Lighthouse to Mrs Dalloway, the writing of Virginia Woolf shook up literary norms and challenged societal ideas about what it meant to be a woman. In this 'life of the week' episode, Francesca Wade discusses the impact of Woolf's work, and the key moments of her life – from her late-night soirées with the Bloomsbury Group and love affair with Vita Sackville-West, to her long struggles with her mental health. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices