Podcasts about wordsworth

Spoiler alert: this week we're analyzing the Twilight Zone episode “The Obsolete Man.” Romney Wordsworth enters a cold, dark courtroom What are the charges? One count of professing to the vocation of a librarian, and the more serious charge of being obsolete–no longer useful to the State. You see, if you can no longer be of service to the State, you can no longer be of service to anyone. But, despite the thundering of the Chancellor atop his pulpit of hate, Mr. Wordsworth will hold on to his integrity and keep his head high through his sentencing. He shall be liquidated at midnight, but how it happens is a bit of a mystery. However, it will be televised for the world to see. And when the Chancellor himself shows up to bid Mr. Wordsworth adieu, things get interesting. On this episode of KOI: A Twilight Zone Show, we're going to be discussing whether or not we are heading to a place where men shall be obsolete; we'll ask why it's so disturbing for the State that Wordsworth is a librarian; and I'll reveal my moment of awe, a look into why I avoid telling my students what to think. So, grab your keys, and let's open up this door to the fifth dimension. Want to support the KOI show, get extra content, and give money to two awesome charities at the same time? Consider becoming a member in one of our tiers. 50% of every dollar, after the platforms take their fees, will go to charity: 25% to the Rod Serling Memorial Foundation and 25% to the Gary Sinise Foundation. Our goal is to preserve a way of life that Rod Serling himself would be proud of. However, even by just watching the show, subscribing, commenting, giving it a thumbs up, and sharing it with friends, you are doing your part. Thank you. You can learn more about the monetization plan for this channel from this video, which I recorded live from Serlingfest 2025: https://www.youtube.com/watch?v=efhcWe1dK-8&t=89sPatreon account: https://patreon.com/TheKeyofImaginationShow?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLinkYouTube channel: https://www.youtube.com/@thekeyofimagination/joinWe're walking through Rod Serling's class Twilight Zone series and asking difficult questions about life. So, if you love The Twilight Zone, science fiction, or even just philosophizing about life, consider joining us on this journey. There's always room for more. Google form to rate this Twilight Zone episode: https://forms.gle/4Lhsxu1bQNRbHpLV9Patreon: https://patreon.com/TheKeyofImaginationShow?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLinkDiscord: discord.gg/QjNY9jcyFZX Handle: x.com/keyofishowYouTube Channel: https://www.youtube.com/@thekeyofimaginationHead over to thekeyofimagination.com to learn more about me, check out my Twilight Zone trinkets and collectibles, and to to continue the conversation. Episode outline:00:00 - Introduction00:42 - Plot03:14 - Episode Details03:48 - Episode Tidbits04:51 - Question 115:16 - Question 222:18 - Question 324:51 - Episode rating25:13 - Next episode and questions25:44 - Announcements and comments26:48 - How to support the showNo show did a better job than The Twilight Zone at generating awe and wonder within its audience. It just so happens that awe is exactly what we need in these difficult, divisive times. So, join me, Joe Meyer, and let's walk through the fifth dimension with Rod Serling. Along the way, we'll discuss big questions and relate them back to our Twilight Zone episodes.Background artwork by James Seehafer: https://pixels.com/profiles/j-mark?tab=artworkOpening and Ending theme: by Jacob Williams @jakeproduces on FiverrPictures not belonging to the Twilight Zone show generally come from Pixabay and are under the free use license.#twilightzone #rodserling #scifi #zone #outerlimits #sciencefiction

Episode 237: In this episode, Mark is joined by Hip Hop artist Gaine$. We talk about his new project "Mr. Gaine$", The growth he has taken as an artist and as a person, the idea behind incorporating a charachter from the TV series "A Diffrent World" as the title and cover of the album, working with Toney Boi and much more. Check out Gaine$ music here-https://gaines.bandcamp.com/musicWatch Mark on Wordsworth's podcast "What Words Are Worth" here- https://youtu.be/bpQCoe8NlkQ?si=ulr9Mr5WRIP9Th_PExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

Episode 236: In this episode, Mark is joined by actor, juggler and comedian Marcus Monroe! We talk about his viral videos, where he performs stand up, while  dressed as characters and doing jokes about those characters. We also discuss his stand up comedy, his start doing stand up, juggling, how he comes up with the concept to do stand up on trains, doing jokes based on Star Wars, Wrestling, political figures, making the costumes, his podcast-The Boyfriends Podcast, getting banned from Delta Airlines and much more. Check out Marcus Monroe for merch here- https://marcus-juggles-shop.fourthwall.com/Find the next comedy show with Marcus Monroe at- https://punchup.live/marcusmonroeMark also ranks his top 6 favorite train themed movies. Watch Mark on Wordsworth's podcast "What Words Are Worth" here- https://youtu.be/bpQCoe8NlkQ?si=ulr9Mr5WRIP9Th_PExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

Episode 236: In this episode, Mark is joined by actor, juggler and comedian Marcus Monroe! We talk about his viral videos, where he performs stand up, while  dressed as characters and doing jokes about those characters. We also discuss his stand up comedy, his start doing stand up, juggling, how he comes up with the concept to do stand up on trains, making the costumes, getting banned from Delta Airlines, doing jokes based on Star Wars, Wrestling, his podcast- The Boyfriends Podcast, political figures and much more. Check out Marcus Monroe for merch here- https://marcus-juggles-shop.fourthwall.com/Find the next comedy show with Marcus Monroe at- https://punchup.live/marcusmonroeMark also ranks his top 6 favorite train themed movies. Watch Mark on Wordsworth's podcast "What Words Are Worth" here- https://youtu.be/bpQCoe8NlkQ?si=ulr9Mr5WRIP9Th_PExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

Is digital media preventing us from accessing the most exciting part of culture? Final episode of the hiatus special series: it's a new era! It's a new episode structure with new segments!Find out more about:the unacknowledged difference between wonder and wander – wonderment: what is it?A poem by Wordsworth & Agnes Martin's writingsart etiquettethat time when I went viral and Snoop Dog (or his team) reposted my performance showand more... (author and podcaster Katy Hessel (Great Women Artists Podcast), author Lauren Elkin...)Visit Worlding online and sign up to our newsletter or follow us on Instagram: @worldingprojecthttps://www.worldingproject.comSmall donations are great! "Buys us a book": https://buymeacoffee.com/exhibitionistaDonate: https://exhibitionistaspodcast.com/support-usTo know more about our guests and our ideas → ⁠SIGN UP TO THE EXHIBITIONISTAS FILES.https://joanaprneves.substack.com/s/exhibitionistasMy definition of wonderment is actually taken from the noun ‘wonder': https://dictionary.cambridge.org/dictionary/english/wonder Hollis Frampton's text: Digression on the Photographic Agony, Artforum, November 1972: https://www.artforum.com/features/digressions-on-the-photographic-agony-209932/Agnes Martin's photo credits: Agnes Martin in the mesas near Cuba, New Mexico, 1974. Photo Gianfranco Gorgoni.Pliny the Elder's mention of the origin myth of art is in Natural History Book XXXVMy strange viral experience article Going Viral: if your exhibition is reposted by Snoop Dog, does it matter? https://substack.com/home/post/p-157358364The article where I mention Katy Hessel's strange Art Self Help Book, Art as Function, Automatic Education, and Self-Care: the Politics of Culture Replaced by the Commodification of Creativity: https://substack.com/@joanaprneves/p-190450394Find Walter Benjamin's first “read Walter Benjamin with me” here” https://joanaprneves.substack.com/s/your-crazy-aunt-book-shelfDiscover other podcasts regularly: https://www.womenwhopodcastmag.com/00:00 Introduction to Exhibitionistas and New Format01:30 Wonderment06:03 Reading Out Loud08:25 Agnes Martin on Joy12:58 Ekphrasis19:51 Digital Hygiene41:32 Build Exhibitionistas With Me!46:33 Brainstorm in a Teacup47:37 OutroFollow, Subscribe, Comment, or write joana@exhibitionistaspodcast.com

Waardeer je onze video's? Steun dan Café Weltschmerz, het podium voor het vrije woord: https://www.cafeweltschmerz.nl/doneren/Het is weer hip voor politici - die zelf nooit onder de wapenen vielen of zelfs maar in dienst zaten- om oorlog te hitsen. Daarom bespreken we vandaag twee klassiekers over hoe je als militair zo'n oorlog wint of juist verliest. Het 2500 jaar oude “De Kunst van het Oorlog voeren” van Sun Tzu en de klassieker van Carl von Clausewitz. (1831) In hun tijd kon je nog spreken van een ‘duel' tussen naties: de ‘absolute' oorlog was verschrikkelijk en dodelijk voor wie het treft, maar wel een gelijkwaardig treffen als in Martial Arts. Met moderne wapens en drones is toen gepromote ridderlijkheid onmogelijk geworden.Boeken van de week:Andrew W. Ziegler (vertaler) (2010): Sun Tzu's origional Art of War, Colors Network PublishingCarl von Clausewitz (1831, 1997) On War, Engelse vertaling Wordsworth classics of World LiteratureHoofdstuk 3 uit Liever dood dan Slaaf: “De Strijd om het Bestaan”Boek en StrijdT Bier bestellen viahttps://lieverdooddanslaaf.com/Volg Rypke ook dagelijks op https://www.interessantetijden.nl/ en wekelijks Interessante Tijden op Youtubehttps://www.youtube.com/@interessantetijden---Deze video is geproduceerd door Café Weltschmerz. Café Weltschmerz gelooft in de kracht van het gesprek en zendt interviews uit over actuele maatschappelijke thema's. Wij bieden een hoogwaardig alternatief voor de mainstream media. Café Weltschmerz is onafhankelijk en niet verbonden aan politieke, religieuze of commerciële partijen.Wil je meer video's bekijken en op de hoogte blijven via onze nieuwsbrief? Ga dan naar: https://www.cafeweltschmerz.nl/videos/Wil je op de hoogte worden gebracht van onze nieuwe video's? Klik dan op deze link: https://bit.ly/3XweTO0

Episode 235: In this episode, Mark is joined by Hip Hop icon Chill Rob G. We talk about his early days in Jersey, working with Mark The 45 King, The Flavor Unit, Queen Latifah, Lakim Shabazz, his debut album "Ride The Rhythm", and the story behind "The Power" record. We also discuss his new album, produced by C-Doc entitled "Survival Of The Better", plus Chuck D and Spit Slam Records reaching out to him to make new music and some funny takes on seafood and food choices. Check out Chill Rob G's music at- https://spitslamrecords.com/products/chill-rob-g-survival-of-the-better-cd-rMark also weighs in his expectations for the upcoming Star Wars movie- The Mandalorian and Grogu" and the return of the 1986 Transformers movie coming this Fall. Watch Mark on Wordsworth's podcast "What Words Are Worth" here- https://youtu.be/bpQCoe8NlkQ?si=ulr9Mr5WRIP9Th_PExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

How often have you heard someone say they aspire to be an ISO consultant? Likely not at all! That's not surprising as it's quite a niche world to find yourself in, yet despite that, there are still thousands of ISO professionals worldwide. We're continuing with our mini-series where we introduce members of our team, to explore how they fell into the world of ISO and discuss the common challenges they face while helping clients achieve ISO certification.   In this episode we introduce Steve Mason, a Principle isologist® at Blackmores, to share the journey of how he went from intern, to ISO Assessor, to ISO consultant and the challenges he's faced while working with clients. You'll learn ·      What is Steve's role at Blackmores? ·      What does Steve enjoy outside of consultancy? ·      What path did Steve take to become an ISO Consultant? ·      What is the biggest challenge he's faced when implementing ISO Standards? ·      What is Steve's biggest achievement?   Resources ·      Isologyhub ·      ISO 14001:2026 What's Changed And How to Comply Webinar Registration   In this episode, we talk about: [00:30] Episode Summary – We introduce Steve Mason, a Principle Isologist® here at Blackmores, to discuss his journey towards becoming an ISO consultant who specialises in ISO 27001, ISO 27701, ISO 27018, ISO 27017 and ISO 20000-1. [02:40] What is Steve's role at Blackmores? Her role primarily involves supporting clients in two key areas: maintaining and continually improving their existing ISO management systems and helping them establish and implement new standards. As part of that support, he: ·      Makes Standards understandable and accessible to clients ·      Conduct internal audits ·      Reviews and updates management system documentation ·      Facilitate management reviews ·      Train internal teams and prepare them for certification audits. Steve is the Standard champion for ISO 27001, ISO 27701, ISO 27017, ISO 27018 and ISO 20000-1 at Blackmores, but he also deals with ISO 9001, ISO 41001, ISO 22301 and ISO 42001 related projects and support. Steve's other main role at Blackmore's is as a Mental Health First Aider, which is shared with Minoo Agarwal. Together, they provide resources and offer support to the team. [06:00] The importance of Mental Health management in the workplace: Steve had faced bullying in previous roles, so preventing others from experiencing the same had become a big motivator for him taking on the role of Mental First Aider for Blackmores. He emphasizes it's importance, and highlights 2 key Standards that you can use to help support mental first aid within your business. This includes ISO 45003 Mental Health in the Workplace and BS 30480 Suicide and the Workplace. [09:10] What does Steve enjoy doing outside of consultancy?: Steve has a wide variety of interests and hobbies, including: Lay Minister: Steve is a Lay Minister in the United Reform Church and mainly based at the URC Chapel in Walkern, but can be found leading worship and preaching at Ashwell, Baldock, Stevenage and Knebworth chapels. Poetry: Steve enjoys writing poetry about anything and everything, racking up an impressive 190 poems so far. Some of his main inspirations include Wordsworth and Keats. If you ever see a poem on the Blackmores LinkedIn page, odds are, it was written by Steve! Classical Music: He's a fan of classical music, anything by Beethoven, Mahler or Shostakovich specifically. He likes these composers in particular due to their stretching of the rules of music for the time. Exploring hidden London: Steve often goes on hidden London tours which explore disused underground stations which may have been shut down as long as 100 years ago! Buses and Trains: Steve was lucky enough to drive a bus in his past, of which he has the licence plate of sitting in his office. He collects bus and train models and will go out to snap a photo or two of their real world counterparts when he comes across them. History: Steve is a huge mystery buff, with a particular fondness for Richard III and the War of the Roses and the Anglo Saxon period of history. Family Tree: Steve has been tracing his family tree back as far as he can on his mother's side, which extends as far back as 1547! Interestingly enough he found out that relatives from way back then got married in the church that he currently lives nearby and got qualified as a Lay Minister for the Church of England in Stevenage! Cats: He's owned his fair share of feline friends through the years, with one particular tabby holding the name 'Spartacus'. [22:35] What was Steve's path towards becoming an ISO Consultant?:  Steve was once told in the 1980s 'There is no future in Standards; find another career, perhaps in Sales or Purchasing'. How wrong that turned out to be! He's always worked with standards, from the first day he started work doing inspection in Goods Inwards, he was referring to them. The direction towards Management systems came in 1983 when he started implementing BS 5750. From that day onward he had been involved in Management Systems. Steve completed a management apprenticeship at Racal-Guardall where he was able to do 3 months' work experience in all departments, which helped him appreciate how companies function and how important it is to maintain good communication channels. He was at the end of this apprenticeship that the opportunity arose in the QA department to work on BS 5750. His career path has included other organisations such as Tektronix, BOC Ohmeda, Cirkit, Deta, TDK and BSI, all of which earned Steve a lot of experience in Manufacturing and Service and Distribution, mainly in Quality and Customer Service roles. Steve has always felt a bit like a closet consultant, even when he worked as an assessor at BSI. He feels as if Blackmores has enabled him to fully flourish and develop his portfolio of standards – not bad for a career where there was apparently no future in standards! [28:45] Born to be a consultant – Steve mentions that consultancy is a skill that many are born to be. You can train and learn the skills of course, but for some it comes very naturally and it can be hard to replicate that skillset in others. [30:15] What is Steve's favourite aspect of being a Consultant? Steve loves talking with clients and working with them to explore solutions that can address the requirements of the standards. His motto is 'Mould the Standard to the organisation and not the organisation to the standard' This means, always producing a management system that benefits the organisation first and then adjusting it to meet the requirements of the standard. Organisations that mould the business to the standard usually end up with a management system that is a 'bolt-on' and an uncomfortable, sometimes irrelevant, fit. Everyone in the organisation needs to feel that the management system is a natural fit to what they do. He also enjoys supporting his colleagues at Blackmores. We're a business built on knowledge sharing, and there's no point gatekeeping anything we've learned as a team. So consultants often get together to discuss lessons learned and ensure best practice is a shared experience. Ironically enough, one of Steve's least favourite aspects of being a consultant is auditing! Mostly since he's been doing it for some 40 years now, so he can be forgiven for finding the exercise a bit tedious at times. However, he never let's that affect the end result of an audit. [37:00] What Standards does Steve specilaise in and why? Steve initially started with ISO 9001 but was steered towards ISO 27001 and ISO 20000-1 during his time as BSI. This was based upon his career path up to the point he joined BSI as they align assessors to familiar business and technical environments. In Blackmores, he has been able to develop these areas of Quality, Service and Risk by adding standards related to Business Continuity, PII and Cloud Security, Facilities Management and AI Management. Steve's favourite standard is ISO 20000-1 which started off as an IT Service Management System but can also be used effectively for all services. He always refers to ISO 20000-1 as 'ISO 9001 on Steroids' because it is much more specific and focuses on the subject of service management. Sadly, ISO20000-1 is under rated, under sold and in some cases, never heard of – this is usually because contracts require IS O9001 but the people writing those contracts don't actually know or understand what they are asking for. In simple terms it is a Service Quality Management System and Steve has come across organisations which have shoe-horned ISO 9001 into the business instead of using the natural fitting standard ISO 20000-1. Steve would advise any company that is providing a service with helpdesk support to look at ISO 20000-1, especially if they find that ISO 9001 isn't working well for them. [43:00] What is the biggest challenge Steve had faced during a project and how did he overcome it?: Creating a management system in 10 days for a client which was due to lose a major contract because they had let their certification to ISO 9001 lapse between the 2008 and 2015 versions. Quite the undertaking in such a short amount of time! Steve refuses to claim full responsibility for the success however, as the client was totally invested in getting the system up and running and put in a lot of effort to work with Steve to get it done in time. If it had been any other standard, it would have been impossible, but because it was ISO 9001 and wthey were drawing on what had been in place previously it was possible. Generally, problems arise when there is limited or no Leadership support and commitment, because without this management systems can't be set up in a way that benefits the organisation. All management systems must align with the Business Strategy and should be used to ensure that the strategy is achieved. If you'd like to learn more about the importance of Leadership and aligning your management system with strategic direction, check out a few of our previous episodes. [50:10] What is Steve's proudest achievement?  Steve isn't really one to collect achievements, so he cites winning 1st Prize at 6 years old in a fancy-dress competition, dressed as a Snowman was a proud achievement for 6 year old him. He is also proud of becoming a Lay Reader initially in the Church of England at 37 and latterly in the URC. Another highlight is appearing on The Chase back in 2017, successfully passing the auditions which saw 40,000 applicants. If you want to go see him go up against the Chasers, he was in Series 10 episode 119. He can't point to any one ISO related project as he sees them all as an equal success. He puts all his effort into every project, and his success track shows this to be evident. [54:35] ISO 14001 Transition Webinar:  If you currently hold a 2015 certificate for ISO 14001, then the countdown has already started to transition to the latest 2026 version. We'll be covering the changes and what you need to do to comply and complete your transition in a webinar on the 29th May. You can register your place here.   If you'd like any assistance with implementing ISO standards, get in touch with us, we'd be happy to help! We'd love to hear your views and comments about the ISO Show, here's how: ●     Share the ISO Show on Twitter or Linkedin ●     Leave an honest review on iTunes or Soundcloud. Your ratings and reviews really help and we read each one. Subscribe to keep up-to-date with our latest episodes: Stitcher | Spotify | YouTube |iTunes | Soundcloud | Mailing List

‘Tam o' Shanter' first appeared as a lengthy footnote in Francis Grose's Antiquities of Scotland (1791) after Robert Burns convinced Grose to include the ruined Alloway Kirk in his volume, and its supernatural associations (invented by Burns). Its story of the drunken Tam's encounter with witches in the stormy Ayrshire landscape has served as both a celebration and chastisement of Scottish masculinity ever since its publication, but the attitude of its narrator remains elusive throughout. In this episode, Seamus and Mark discuss the poem's moral and stylistic turns, its influence on Wordsworth and Coleridge, and what it owes to the Augustan perfectionism of Pope. They then turn to a much darker example of Romantic narrative poetry, George Crabbe's ‘Peter Grimes' (published in his collection The Borough in 1810), and explore the bracing realism and psychological insight in the story of a cruel Suffolk fisherman who destroys the apprentices placed in his care. This episode also features a bonus conversation with Andrew O'Hagan, who reads extracts from 'Tam o' Shanter' and explains why the poem's reliably contradictory narrative voice is so useful for anyone learning to write stories. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applesignupnp Other podcast apps: https://lrb.me/scsignupnp Read more in the LRB: Karl Miller: Peeping Tam: ⁠https://lrb.me/npep501⁠ Neal Ascherson on Burns's life: ⁠https://lrb.me/npep502

Prinzessin der Haie: Fast ein richtiges Buch, findet Thomas mäkelig, auf jeden Fall einer der guten und interessanten Bände der Reihe. Thomas Burnett Swann lässt in der Karibik einen Delphin erzählen und viel Wordsworth und Browning zitieren - aber wieso nie Coleridge?

Prinzessin der Haie: Fast ein richtiges Buch, findet Thomas mäkelig, auf jeden Fall einer der guten und interessanten Bände der Reihe. Thomas Burnett Swann lässt in der Karibik einen Delphin erzählen und viel Wordsworth und Browning zitieren - aber wieso nie Coleridge?

My colleague Oliver Traldi recently published an essay called ‘Jane Austen's Virtuous Liberalism'. It's a very nice discussion of the ways in which Austen understand the challenges of character formation.Virtue, as Austen sees it, faces two tough challenges. First, people whose characters are not yet formed must see how to be virtuous rather than vicious. Then, the virtuous must somehow find a way to succeed in their struggles against the vicious without adopting vicious means.In this episode, Oliver and I discussed Austen's ideas of virtue, what that has to do with liberalism, the relationship between philosophy and literature more broadly, as well as poetry and ideas about the Great Books. We also talked about the Keira Knightly Pride and Prejudice. Yes, we both liked it. Here is why Oliver thinks Jane Austen is so popular among philosophers.TRALDI: And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.And here is an extract about Austen, Smith, and the wonderfully fertile period at the end of the eighteen century.TRALDI: But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—This was my favourite bit.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?Oliver is an analytical, political philosopher. You can find out more about his work here. Here he is on Twitter. His Substack is orting. You can watch the episode on YouTube here.TranscriptHENRY OLIVER: Today I am talking to Oliver Traldi. Oliver is an assistant professor of philosophy at the University of Toledo in Ohio. He is my colleague on the Emerging Scholars Program at the Mercatus Center, and he's written a book about political beliefs as well as many other articles for magazines, online.He's got a Substack. He's maybe the most prominent political and epistemological young philosopher of his generation. [laughter] But most importantly for us, he is interested in Jane Austen and the idea of virtue. Oliver, welcome.OLIVER TRALDI: Thank you so much for having me.Reading Austen as a PhilosopherOLIVER: Let's just start—before we get to this article you've written, tell me about being a philosopher but reading Jane Austen, because she's often read and commented on by people who are not philosophers or who are only philosophers by acquaintance or whatever.TRALDI: Right.OLIVER: Is it different reading as a philosopher, do you think?TRALDI: I think yes and no. One thing as a philosopher, there are—contemporary philosophy, we have very exacting standards of rigor and clarity. And when we look for a theory, we want something that's been improved by hundreds of people and thousands of journal articles.And so, if you were to simply extract a theory of virtue from a novel and say, “Does this—is this the end-all, be-all of moral thinking?” obviously you're going to be disappointed. So I think as a philosopher, you have to look for other types of things, other types of sensitivities rather than logical sensitivity.You have to say, how sensitive is the author to the different types of situations where people's virtue can be exhibited or challenged? Or how sensitive is the author to the different types of pressures that a character's convictions can be put under, or the different sorts of compromises that they might have to make, or the different sorts of people who might not be virtuous who they might have to interact with and sort of, you know, contract with or avoid? And what are going to be the impacts of different kinds of choices in those situations?So the novelists, I think, tend—if they do it well, a novelist who's interested in morality will understand living morally probably better than a philosopher, while maybe not understanding, say, arguments about whether morality supervenes on reality or vice versa, or what grounds morality, or different theories of meta-ethics or whatever.OLIVER: I mean, there are obviously some novelists who do have a better appreciation of those things than others, we should say.TRALDI: Yes, I think that's absolutely true. And as I wrote in my article, I do think Austen in particular had an appreciation for this issue that you might call moral disarming or unilateral disarming. You know, does the moral person put themselves at a disadvantage relative to the immoral person? And then how do we actually help—how does morality survive?So that's a kind of philosophical question, but I tend to think—I taught last year—I think we've talked about this a bit. I taught in a great books program at Tulsa.OLIVER: This is the Jennifer Frey program.TRALDI: This is the ill-fated Jennifer Frey program. Jennifer—I don't know if you've met her, but she's an incredibly charismatic person. But somehow the program, despite being enormously successful, did not survive. You know, I was there for a year, and they decided that was long enough.OLIVER: [laughs] You don't think your arrival was the—TRALDI: No, no. I hope not. I most certainly hope not.OLIVER: No. General problems of higher education prevailed. Yes.TRALDI: Yes, many, many problems of higher education these days. But yes, so I think—what was I saying?OLIVER: Well, I think we're getting to this question of, you are not just a philosopher; you teach the great books.TRALDI: Right, exactly. The great books. That's where I was. Yes.Philosophy and the Great BooksOLIVER: So, one thing I'm interested in is that, you know, reading as a philosopher, you get a slightly different perspective on Austen. When you read other fiction, poetry, whatever, is there a benefit to you as a philosopher? Does it broaden you in some way?TRALDI: Yes. I think absolutely, it's broadening, but it's also focusing in a different way. You know, contemporary philosophy is often described or captured with the word epicycles. So what we mean when we say epicycles is, you have some major theory, which is supposed to answer some big question. And then your career as a philosopher—you're like three layers deep in the theory, in some sub-debate, and you're making some really fine-grained distinctions.And if you can make those distinctions successfully, you've had a really great career. But I think it's easy to forget, why are we doing—you know, what attracted us to philosophy? Why are we doing this to begin with?And the great novels, great books in general—one example I always use is the Book of Job. It doesn't really—it's not doing clear philosophy on the question of why do bad things happen to good people. But when you read it, you feel the question, why do bad things happen to good people? You get it, you know? You get why this is a question that people have worried about for thousands of years. You get why it calls out for an answer.You know, there's a lot of truth out there. I'm looking at a set of coat hangers, and I could count the coat hangers. But if you were given the decision, would I rather have an answer to how many coat hangers are across the room from me, or why do bad things happen to good people? You'd probably go with the latter one. There's somehow some kind of depth or importance to that question, right?And I think there's—a great novelist can often generate some vividity to these questions. They can show how these questions are part of a good life, asking these questions, trying to have these questions answered—or a not-so-good life.Certainly in Austen there are a lot of characters who learn to be more virtuous. Probably Emma is the clearest example. But you might also think of Marianne Dashwood. Really—OLIVER: Lizzy Bennet.TRALDI: Lizzy Bennet really learns to be a better person. I actually think her character is rather close to Emma in a lot of ways.OLIVER: Yes, I think Emma's sort of a clear rewrite of Lizzy in some—yes, yes.TRALDI: Yes, and in some ways more evocative, actually. Yes. I mean, we can talk about all these books. But yes, I think there's these things, even—obviously qua literature, they have other virtues, right? Which much philosophy doesn't have; very little philosophy has the literary virtues.But the philosophical virtue that a lot of literature does have is you see, okay, these are the—this is what a life is like. This is what making choices is like. These are the big questions when you decide how to live your life and what kinds of choices to make.And I think Austen—these questions are all through Austen, even though nobody has to murder anybody in Austen. Nobody has to make decisions about war and peace or about, you know, civilizational decline or civilizational progress or anything like that. These people making these small choices in a lot of ways. But those are the lives that most of us lead. And when you read Austen, you think, “Oh, okay, there's a virtuous and a vicious way to lead this kind of rather normal life.”The Good LifeOLIVER: The question of what is a good life, or what is a good life in a commercial society, maybe, is the sort of bedrock of what she's doing.TRALDI: Yes, I think so. And that's why I think Austen—you know, Austen wasn't on our syllabus at Tulsa, but she was certainly discussed. And the “what is a good life” question—to me, it's the big question that a great books program for college students should always come back to.If I didn't know what else to talk about, I would just say, “Well, we just read this book.” You know, we read these old biographies of Charlemagne from, like, Einhard—Notker the Stammerer and Einhard, his adopted son or whatever. I don't remember. But this is like 800s. I'm sure you know more about this stuff than I do.And I wasn't quite sure what to do with them because what do I know about Charlemagne? So I just said, “Does it seem like Charlemagne lived a good life?” And you know, you're off to the races. And I think that's important at that age, because that's the age at which—OLIVER: For the undergraduates?TRALDI: Yes. I think that's the age at which you're starting to make your own big decisions about what sort of life to lead. And I think for me, looking back to myself at that age, I think one thing I did wrong—at Tulsa I was in some ways as much a student as a teacher. I was rereading a lot of this stuff for the first time in decades. And some of it I was reading for the first time. As I told you, I was reading a lot of Austen for the first time for this essay.OLIVER: Right, right.TRALDI: And yes, it was stuff that I had thought about at a theoretical level, you know, like what are the ins and outs of this theory or this philosophical move or something like that. But you feel the question a bit differently when you're like, “Okay, I'm an adult. I have to decide whether to live in this way or that way.”The world is open to you. You could convert to Thomism [laughter] like so many have tried to have me do, or you could become a merchant after reading The Wealth of Nations. Or you could become a revolutionary after reading Marx, or you could become a Nietzschean. You know, there are all these choices open to you.OLIVER: Please don't become a Nietzchean.TRALDI: No, no. That is, I'm a—OLIVER: Keep your children out of school if that's going to be the result. [laughs]TRALDI: Yes. I'm a committed moralist, so I cannot, but he is—he made a comeback, that's for sure.Philosophy and PoetryOLIVER: Now, there's this obviously sort of long-running question in philosophy about, what is the relationship between philosophy and poetry? Are they antagonists, or are they in some way, you know, twins, and each provides one half of what is needed for a complete way of understanding the world? Do you have a position on this?TRALDI: Yes, I mean, I think they're what the kids call twinning.OLIVER: Twinning? [laughs]TRALDI: I think they're twinning. No, no, I think that means something different. I think that means when you're wearing the same outfit or something like that.OLIVER: So we're almost twinning with our stripes—yes, I see.TRALDI: We're almost. We actually—we are stripes and blue. Yes, we're closer than I would've expected.I would say closer to twins. There are a lot of claims that philosophy is at odds somehow with this or that. There's also this—certain people will say, “Well, ever since Socrates, philosophy has been at odds with politics.” And a big part of philosophy is, how do you survive? Well, I don't know. Nobody's trying to kill me. I think of myself as a decently committed philosopher.OLIVER: It seems to me this changed fundamentally in the Enlightenment and with the Romantics, and they see it all much more joined up. It's a sort of ancient-and-modern dynamic.TRALDI: Yes, there may be an ancient-and-modern distinction there. But yes, for me I don't see any kind of contradiction. Now, there are—and I think this comes out of what I said before—philosophical attempts to understand poetry. And certain kinds of literary and aesthetic devices do sometimes fall a little flat.The philosophical literature on metaphor, for instance—I think some theories of metaphor really don't get why people use metaphors. [laughter] So one of the most important theories of metaphor is that they're all just false, that it's like everybody who uses a metaphor is lying. This isn't the full theory. There are bells and whistles added.OLIVER: Sure, sure.TRALDI: But yes, so I think there's no contradiction. But at the same time, they are different modes in some ways, and people who do the one are often trying to do something different than the other.I do think that the desire for rigor and precision and clarity that philosophers have can be a little maddening to nonphilosophers, who see the pull of philosophical questions like, “What sort of life I should lead?” and then see, what do philosophers actually do?And we're doing all this modal logic and all these truth tables and all this very technical stuff that looks like math. And they say, “That can't possibly be the right way to think about how to live.” And it's true that there are these studies of—that suggest ethicists aren't actually very good people and things like that, although you have to wonder what is the background ethical theory that went into evaluating them.So yes, I don't think there's really a contradiction between philosophy and anything else. But certainly, there was a point in my life where I always come back to trying to write poetry and do poorly and then stop. But it was always something where I would say, “Okay, if I'm doing philosophy in the afternoon, I better wait till the evening to write poetry.” You have to sort of reboot and get into a different mode.OLIVER: Iris Murdoch used to write philosophy in the morning and novels in the afternoon. That kind of thing.TRALDI: Yes, I think that's very sensible.OLIVER: And she was upstairs for the one and downstairs for the other.TRALDI: Yes. That's even better, you know?Favorite PoetsOLIVER: Which poets do you like?TRALDI: Geez, I guess for an American, I like Wallace Stevens. I wasn't expecting this question. For a Brit, you know, I actually like Philip Larkin a lot.OLIVER: Oh, yes?TRALDI: I know—what is the opinion of Larkin? Is he considered—OLIVER: Very high.TRALDI: Very high? Okay.OLIVER: Some—there are some dissenters, but basically he's the guy.TRALDI: He's the guy, okay. Yes.OLIVER: Twentieth-century English poetry is like Auden, Larkin, Betjeman.TRALDI: Yes, Auden is—actually, my friend Jane Cooper just wrote something about Auden.OLIVER: Yes, Jane is excellent.TRALDI: Yes, Jane is really great.OLIVER: That was in the New Statesman if you want to look it up.TRALDI: That was in the New Statesman. Yes, yes, yes. But Auden, I don't know quite as well.I mean, poetry is—I think it's interesting the way that we receive poetry now. I think you were talking about this a few days ago, about things like poems appearing as inspirational quotes on social media or something like that, and whoever is the most quotable. And you felt like maybe Dostoevsky is very quotable.OLIVER: Dostoevsky has a sort of screenshot quality.TRALDI: Yes, yes.OLIVER: As does Martin Amis.TRALDI: Yes. So I—OLIVER: Whereas Philip Larkin in a funny way—you know, he has very short poems. You can get the whole poem on Twitter. Like, Robert Frost has that. But something like “The Whitsun Weddings,” it's quite hard to just take three lines out. The whole thing works as a—and that, so that poem gets less—TRALDI: Yes. Which is what you would expect from a good poem, really, that it would form a kind of whole.OLIVER: Exactly. If it's a three-page ode, it should have a continuous quality.TRALDI: Yes, it should have a kind of internal structure. Yes.OLIVER: There are some one-line things and—but I think it's notable that a poet like Wordsworth doesn't seem to get a lot of social media play. And I think probably that's one reason.TRALDI: So yes, I think Larkin is somebody who, I did see some shorter references to him, and I thought I'd better just go and look up a ton of poems by this guy. And Stevens was the same way.Death and Philip LarkinOLIVER: So, which Larkin do you like?TRALDI: You're really putting me on the spot here. [laughter] It has been a little while.OLIVER: I lied to you and said it would be about Jane Austen.TRALDI: Yes, now I'm completely screwed. Well, he has a bunch about death. He has one where death is a ship following you. And he has one where death is, like, a fruit that gets picked or something.OLIVER: Apple?TRALDI: Might be an apple.OLIVER: He decides not to throw the apple.TRALDI: There's one with sweetbreads in it. And now I'm really—OLIVER: The ship one, “Next, Please”—that's excellent.TRALDI: Yes.OLIVER: He sees the—it's like hearing the music coming, and then the ship.TRALDI: I forgot that that was the title. I forgot that that was the title.OLIVER: And then as the ship goes past, it leaves nothing in its wake. It's very sort of—very gloomy.TRALDI: It's very gloomy, yes. I think I read Larkin in a gloomy phase; it was like Larkin and Radiohead or something.OLIVER: But he's a good example of what you were saying before, that he won't think propositionally. He's logical in the sense that he's sort of orderly, and he goes from one thing to the next. But he's not being a philosopher.TRALDI: No, of course. Yes.OLIVER: But he's very preoccupied with the sorts of questions that philosophers are probing, but has a sort of very meaningful treatment of them.TRALDI: Yes.OLIVER: And I think in a way, the sharp response that you want from the reader in those questions, Larkin is better at provoking than someone like Bertrand Russell or some other contemporary of his.TRALDI: Yes, yes.OLIVER: Bertrand Russell's a bit earlier, but you know what I mean.TRALDI: No, I think that's exactly right. And I think that is why I'm a fan of the great books pedagogically and not—I don't know if Larkin will be called a great, you know, like, who knows? I don't really understand that designation, but tings like poetry and novels.OLIVER: The biggest dissenter was Harold Bloom, who said Philip Larkin's just a period piece. And he doesn't understand why everyone likes him.TRALDI: Oh, yes, well, I'm not on board with everything. Oh, I've also been—OLIVER: No, you're not very Bloomian.TRALDI: I'm not very Bloomian, I don't think.OLIVER: Either Allan or Harold.TRALDI: Yes. Well, I actually—this is very embarrassing, but I've actually never read The Closing of the American Mind, which I know is—OLIVER: But why should you? I'm not sure it's retained its—TRALDI: Well, it's certainly been received into my circle. But it is like a classic of anti-ideological—OLIVER: Sure. Have you read Adler, How to Read a Book, that kind of great books stuff?TRALDI: No. There's so many things that I haven't read. I mean, I'm just learning how to read. I learned how to read in Tulsa last year, [laughter] in Oklahoma, which is not where most people would go to learn how to read.Jane Austen and the Problem of MoralityOLIVER: So let's move to Jane Austen. Your thesis basically is, many moral theories face this problem that if I believe XYZ theory and you don't believe it, you can get the advantage of me. Because I'll always stick to my principles and you can just be a bad guy.TRALDI: Yes.OLIVER: So is morality screwed? This is what people say about liberalism. This is what you're arguing. And you think Jane Austen's got an answer to that?TRALDI: Yes, I think she has a kind of answer. And again, one decision I had to make while writing the essay was, am I going to go super—this is a completely philosophically rigorous and respectable answer? Or am I just going to kind of sketch it?OLIVER: Slum it in literary criticism? [laughter]TRALDI: Yes, I wouldn't put it quite that way, but—and I think I went for the latter, where I just wanted to kind of evoke the answer. And I think the answer has something to do with living in a large enough society where—and Austen I think is not the only person to give this answer. But you live in a large enough society where, when people see you acting well and somebody else acting poorly, the disadvantage that you have in that one interaction is outweighed by the advantages you have from the society that you gain from being seen to act well by many others.So one thing I didn't mention here, but a connection I made when I was first coming up with this idea, is that it's actually a lot like what Martin Luther King Jr. says about civil disobedience. So he says, you might think, if you're out there and the police are coming at you with bats, or the white supremacists are coming at you with bats or whatever, weapons or whatever, you might think, “I'm on the losing end of this interaction.”But actually what will happen is that this interaction will be seen by many others. And you, by keeping your calm, will be seen to be the virtuous one, and they, by being violent, will be seen to be the vicious ones. And this can only help your political cause. I'm probably abstracting some of the details of King's presentation.OLIVER: In a vulgar sense, this is the sort of “be the change you want to see” approach.TRALDI: Yes, but also, be the change you want other people to see. You know? Because that's how it gets saved from—and again, one of the ways in which this is not quite philosophically rigorous is because the philosopher can say, “Well, what about an example where nobody's going to see it? Or what about an example where the situation is set up that in doing the right thing, you're perceived to have done the wrong thing?” And you get back into tough problems. And that's why we have philosophy. You know, there's always going to be these puzzles.OLIVER: But we don't get the—I think this is what the novelists are helpful for. We don't get to set the conditions in our lives. You know, when you're doing a philosophical problem, you can just say, “Well, these are the conditions. What happens then?” And what Jane Austen is so good at is saying, “I'm going to take her and drop her in this house, and that's life. And she's just going to—she won't even know what the conditions are for a long time.” That's the novelist's preoccupation.TRALDI: Yes. Yes. It's interesting what you said about not even knowing what the conditions are. It's one thing I love, which is there in, I think, a lot of Austen—and it's done by a lot of my favorite novelists. I think Kazuo Ishiguro is really good at this. It's just novels where you see the characters' growing awareness of their circumstances and—OLIVER: Like in Klara and the Sun or something.TRALDI: Yes, or I think certainly in Never Let Me Go and in Remains of the Day, a lot of the action is in a situation where you understand what's going on better than the characters do.Clues and GamesTRALDI: And I think we talked about this the other day. In Austen, Emma, for example, is this sort of, like, halfway detective where she sees a lot of clues that could help her understand the nature of the life she's leading and the circumstances she's in, but she always misinterprets the clues. But on the other hand, it's not like she misses them entirely. She's kind of on the right track, and at least she's trying.OLIVER: And what I think Austen does so well in that book—I think it's her most important book—is that by putting us, without quite realizing it, with Emma's blinkers on, as it were, and only allowing our perspective to be her perspective, she makes us the detective.But whereas in a detective novel, you know, there's a funny little man and he is a detective, and he says, “Oh, there's a clue in this novel,” the read of—on the first read very often goes straight past what they must later realize to be a clue. And that is such a normal condition of life, that, “Oh, actually, that was one of the conditions, but you couldn't have known it. Sorry.” And you can only work it out in retrospect.TRALDI: Yes. In modern love, these are sometimes called red flags. [laughter] I think it's not quite a precise analogy, but yes, I think it's right. And I certainly—I had read Emma years ago and didn't really notice. As you say, on my first read, I didn't really notice, even having watched—I think it was the, what is it, the Kate Beckinsale version maybe, from ITV in like 1996 or something.It was really in reading it for this essay that I noticed that this feature that, starting on page 30 or 40 or so, there's a—and they're often in games. The clues are often in games. So very early on, Elton is playing some sort of poem game with Emma.OLIVER: The riddles, yes.TRALDI: The riddle game. And you know, Emma already misinterprets his riddles as being about Harriet rather than about her. But then there's also—the riddles also have some relation to things that happen much later.OLIVER: Then there's the anagram game at the end.TRALDI: There's the anagram game at the end. Yes, it's the—and I don't think there are many games like that in any of the other Austen.OLIVER: People play games, but we're not taken into them and have them narrated in that way.TRALDI: And they're not word games in general. There's card games and things like that. And you know, in Pride and Prejudice, Wickham has all these gambling debts and things like that.OLIVER: Yes.TRALDI: You know, in—I don't know if you know Whit Stillman, but for the same magazine a couple years ago I wrote about Whit Stillman, who's a sort of conservative filmmaker who's a huge Austen fan and brings in Austenian themes to a lot of his movies, but writes them about characters in the 1960s and '70s. And one of them was called The Last Days of Disco, for example, about—and some of the broader social themes he talks about are also there in Austen.So one thing that was just on the edges of my consciousness as I read through the novels for this essay was the question of the noble man versus the working man, which I think is very present in Austen and has something to do with her conception of virtue: that the virtuous person will be engaging in commerce in some way.OLIVER: Those moments of the noble and the virtuous man or whatever often take place in a shop, like the drapier in Emma or the jewelry shop in Sense and Sensibility.TRALDI: That's interesting. That's interesting.OLIVER: She's very careful to take us into a commercial situation and contrast.TRALDI: See, that is the sort of detail that I think a philosopher—I think we—the mere—the vibe of, “You're in a shop, and this means something.” I think this is something philosophers are—we can watch for the action; we can judge the characters' actions. But then there are these questions of atmosphere and milieu. And certain things happen in a shop; certain things happen at the seaside. In Persuasion there's an injury by the seaside.OLIVER: Yes. That's one of the most exciting scenes in Austen. Very dramatic.TRALDI: Yes, yes. I think actually Persuasion in some ways is quite different than her other books. It has a sort of—you know, in some ways it feels a little more like Frankenstein or Wuthering Heights at points. There's a little bit of a windblown, dark quality to it at times. It's a little bit bleaker. It's a little hard to explain why, but that's just a feeling that I had reading it that maybe had changed with some of the other literary tastes of the time.Artlessness in Austen's HeroinesOLIVER: Now, the quality that you focus on in the heroines, in this question of virtue defending itself against bad actors who break the rules, is artlessness.TRALDI: Yes. So this is a term Austen uses quite a bit, and almost always, she very much picks and chooses the characters who are going to receive this term. And I thought that this is like—it's not only her artless characters who face this question about how can morality survive, or how can virtue prevail, but I think they're the limit point.Like, if you really are unwilling to use—and I mentioned in the essay, when Darcy describes—I forget what; maybe it's him describing how he found Lydia and Wickham, or it's something to do with Wickham—he said, “I had to resort to arts.” So it must be, the “arts” back then means—one of the meanings of the term is dishonesty or subterfuge or something.OLIVER: Yes, if someone was artful, it could have—TRALDI: Yes, like the Artful Dodger.OLIVER: Exactly. Could have negative connotations for sure.TRALDI: Yes. And so the artless one, you know, they're missing something.So it's the question of, if you view—morality in a way means you're missing something, right? You've taken arts out of your arsenal. You've taken tools that could deal with certain situations, and you've just decided not to use them. So the question is, how can it be an advantage to have less tools?You know, we're here at Mercatus; the economists would tell you it's never advantageous to have fewer choices, right? There's no paradox of choice. It's never advantageous to have fewer choices. And so I think this is the—if morality is a kind of unilateral disarmament, artlessness is the clearest case of that.OLIVER: And you're seeing that in Fanny Price, Elinor—TRALDI: You see that in Fanny Price. You see that in Elinor. Harriet Smith is described as artless over and over again. And then there are these other characters who are described as artful, or other things that are mentioned as arts.I think Harriet, in a lot of ways, is the one who's most often described this way. And it's interesting because you think of Emma changing a lot in Emma, but Knightley actually shifts in his evaluation of Harriet, who he thought of as sort of an unserious person. And Knightley himself comes to recognize her artlessness as a kind of seriousness which makes her a good match, not ultimately for him, but for his dude, Robert.OLIVER: The farmer.TRALDI: The farmer, yes.OLIVER: He doesn't change his view of her social position, though.TRALDI: No, certainly not. But he does change his view of her character, basically. You know, her artlessness is not silliness. It has a sort of depth to it.And yes, certainly Fanny. In the Whit Stillman movie Metropolitan that's part of what set me on this, there's this whole discussion of the book Mansfield Park and this old Lionel Trilling essay about it where he says, how is it—there's this question about how modern people can even like Mansfield Park because we've sort of lost the notion of virtue being exciting or something.One of the most provocative lines to me in Austen was in Sense and Sensibility where it says that Elinor glories in Edward's integrity, which is an odd thing to glory in. You don't glory—nobody is on Instagram showing off their integrity, you know?OLIVER: It's like that René Gerard quote people like to pass around: “Everyone is on diet pills and nobody wants to be a saint.”TRALDI: I like that. That is very Instagrammable.OLIVER: Exactly. Exactly.TRALDI: That's very good, actually. I like that. Yes, so there's something provocative about the notion that virtue can be exciting, and in particular can be romantically exciting.The Importance of IntegrityOLIVER: Or even less than that. One thing I think is difficult for people interpreting Austen today is that virtue, whether it's exciting or romantically exciting, or the notion of integrity is of interest for its own sake.There's a lot of—you know, we have integrity as an organization. It's very important for me to have integrity as a professional. But there's not as much a sense of, just having integrity is the good life. We don't need to be complicated about this. That's just—you should just do that. And Austen's very firm on that all the way through.And criticism wants to pull her towards sometimes feminism, sometimes discussions of slavery, sometimes various other things. And she's just constantly sort of resisting that by saying, “I like integrity. I like good people. I don't think it's that hard.” It's a good line you've picked up on, I think.TRALDI: There's a character in The Wire who says, “A man's gotta have a code.” I think he's Omar, who murders the drug dealers and steals from them.OLIVER: I haven't seen it.TRALDI: So he says, “A man's gotta have a code.” And I think there is a—even in a character who in some ways is bad, we admire the integrity of having a code and sticking to it.There is this debate, I guess in moral philosophy, or at least on the outskirts of moral philosophy, about, “Well, if your code is wrong, maybe it's better not to stick to it.” I don't share that perspective. I think part of the good life is holding yourself to certain standards. And if those standards turn out to be wrong, the holding yourself is still of moral value, right? Not allowing yourself—OLIVER: It doesn't mean they're not adjustable.TRALDI: Yes, no, of course. If you decide the standards are wrong, and in Austen—OLIVER: It's sort of implicit in the idea of having standards that you will be honest and therefore accept when your standards need to be improved or whatever. Right?TRALDI: Yes, I think that's absolutely right. And in Austen we certainly see people shifting their standards. And I think one thing that I—of course, modern readers and watchers of Austen do not quite understand some of these things. But I think in Pride and Prejudice in particular, we're supposed to feel that Lizzy Bennet is quite hard on people and has to learn to improve herself in that way.OLIVER: We're delighted with her when she does that because we think it's sassy.TRALDI: Yes, exactly. If you go on YouTube, you can see all these, like, “Lizzy Bennet owning people's lives for 50 minutes,” these compilations of clips from the various movies or whatever. And she's obviously very, very clever.But she realizes—after coming to understand who Wickham is and feeling that she might not have another chance with Darcy, she comes to realize that she has had certain prejudices, which have made her blind to the realities of the world and blind to what might be her best options.So yes, I was saying I believe in integrity; that's all I was saying. And integrity obviously is adjustable, but I tend to think that it's better—even if the rule is wrong, it's better for the person who has it to hold themselves to it, rather than to adjust to try to get an advantage.And in philosophy, we have all sorts of terminology for these sorts of questions: “Are you an internalist or an externalist about reasons or about rules or whatever?” I think the more literary way to say it would just be that integrity is a virtue. And people should stick to their codes unless they see a good reason to change them.Austen and Adam SmithOLIVER: Now, you have recently been reading Adam Smith.TRALDI: Yes, I did read a lot of Adam Smith for this debate we had last week. Although I did a poor job because I had forgotten that the debate was about whether Smith was a philosopher or an economist. [laughter] I thought it was simply, is he a philosopher or not? So I put myself in the odd position of arguing that Adam Smith is not an economist.But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—OLIVER: Primarily from Theory of Moral Sentiments.TRALDI: So I would say that the notion of sympathy as being fundamentally part of how you recognize a good person seems to me to be there in Austen. The characters are—OLIVER: And this is the thing about awareness of other people and learning from that awareness.TRALDI: Awareness of other people and learning from other people and feeling other people's emotions. One thing that is related to sympathy in an odd way—and I think actually Austen and Smith conceive of it a bit differently, but that is there for both of them, in particular in Sense and Sensibility—is this notion of self-control or self-command.OLIVER: Self command. Yes. Yes.The Importance of Self-CommandTRALDI: Now, Smith gives a really odd argument about self command, which is that if you don't have control over your emotions, you will end up feeling or expressing something that other people can't sympathize with. And this is bad because sympathy is good, or something like that. I actually think it's a rather confused argument.OLIVER: I think what he's saying is that if you display a lack of self-command, then no matter what you are feeling, people find it difficult to deal with that sort of uncontrolled behavior. It's not the particular expression of feeling; it's the fact that you are a little unstable or—TRALDI: Yes, I think that's right.OLIVER: —a bit extra.TRALDI: I think what Smith doesn't do is explain quite how that's bad. But what I think is that actually, in Sense and Sensibility, it's a little bit the reverse, where actually Elinor and their mother, they do sympathize with Marianne. They do feel what she's feeling after—who's the other, the w guy in Sense and Sensibility? They're all w's.OLIVER: Oh, Willoughby.TRALDI: Willoughby, right, right. Not Wickham, Willoughby. When Willoughby—OLIVER: You can just say “the cad.”TRALDI: The cad. There's always a cad. So when the cad leaves, Marianne has all these emotions, and you really feel them. And Marianne also has a lack of self-command when Willoughby is there. There's this whole episode, which I didn't quite make the most of but felt very important, where they go to the house of this woman. They just sort of barge into this house, Willoughby and Marianne.And this is really supposed to show something about the relationship. If you and your partner barge into somebody's house, it can't be a good relationship somehow because it's leading you into bad actions. That's my sense of what that episode is supposed to show from the highest possible remove.OLIVER: I think, yes, and I think there are several other instances of that: when they ride in the carriage together, unaccompanied.TRALDI: Right, right.OLIVER: And there's a sort of general consternation about this. And Marianne sort of says, “Oh, well, how can it be a problem?” And they—part of the consternation is, you're breaking the rules in a very flagrant way, but also that you are assuming that it's okay because you'll get married. And this assumption is a very big one.TRALDI: Yes. And obviously there is this assumption that—she doesn't recognize quite how—she thinks her position is much more secure than it actually is, which is how it turns out in the book. But I think we're supposed to think that even if she were right about Willoughby's affection, which in a sense, she—Willoughby—OLIVER: No. Even if they do get married, she's broken the rules in a way that—TRALDI: She's broken certain rules in a way that is—but I think what's different from Smith is, there is sympathy from her family even though she lacks self-command. But that is precisely—so it's sort of a different theory of why self-command is good. It's precisely because her emotional state is actually draining for her family.And then Elinor says—when she learns that Elinor has actually been going through something—OLIVER: The same.TRALDI: —very similar, and maybe even rougher, in this whole thing with Lucy Steele telling her about this, you know, blah, blah, blah.OLIVER: Which is a beautiful name—to steal. I mean, it's great.TRALDI: It's an amazing—honestly, in some ways Sense and Sensibility may have been my favorite. I think it's just lovely.OLIVER: If I just wanted to just read one for fun, that's what I go to. I do, yes.TRALDI: Yes. And there's a lot—none of these things are quite perfectly in there. But I think honestly, everything that's in the other novels has a little part to play in Sense and Sensibility. You know, I think if I were to recommend just one, if somebody was like, “I have time for just one,” I might recommend Sense and Sensibility.But in the end, Marianne says—again, it's one of these amazingly evocative lines. Elinor says, “You didn't act that badly. Do you compare your conduct with Willoughby's?” And she says, “No, I compare it with—Elinor, I compare it with your conduct. You have this self-command.”And it's precisely the fact—it's not—and I think this is why philosophers do like Austen, because it's not—it's still literary, but there is a precision to her moral evaluations. It's precisely the fact that Elinor knew that her family loved her and didn't want to burden—it's all quite conscious. She didn't want to burden her family with her emotions. But you actually see that Elinor has this family trait of having very strong sentiment, which Marianne does, and simply also has this virtue of self-command.And that is—there are film adaptations and TV adaptations that demonstrate self-command, but it's a very hard thing to film. It's something you feel inside. It's a very hard—the actors have to be very good for you to see—you see pieces of it in some of the adaptations of Persuasion and some of the adaptations of Sense and Sensibility, but self-command is very hard to find.Austen AdaptationsOLIVER: Which adaptations do you like the best?TRALDI: I'm forgetting—I often like the long ones that I think were for the British ITV. So I like the—I think Kate Beckinsale was in the Emma one. Although I think there was one of Persuasion, which was also quite good. I like the one of Northanger Abbey. I don't think it's that good, but it's kind of cute, which I think it's probably the cutest of her long novels.Whit Stillman did a very loose adaptation of Lady Susan, which is hilariously funny at times, and also has Kate Beckinsale and some other great actors in it.OLIVER: Did you see the new Persuasion on Netflix a couple of years ago?TRALDI: No. No.OLIVER: It has that—is it Dakota Johnson, the actress, who's famous for other non-Austenian—Fifty Shades of Grey or whatever.TRALDI: Yes, and isn't she one of the Avengers or something like that?OLIVER: Something like that. But everyone was very upset that it was this terrible adaptation.TRALDI: Oh, yes.OLIVER: Didn't—it sort of killed all of Austen's words. She looks at the camera; she drinks from the bottle. I actually thought it was quite fun. On the basis that all adaptations are bad—TRALDI: I think if you allow some looseness, it can be quite fun. So for example, the 2005 Pride and Prejudice, I think if you're just sort of like, “Well, this is just somebody who was inspired by Pride and Prejudice,” you can have a lot of fun with the movie.OLIVER: I think as an interpretation of the book, that film is quite bad.TRALDI: Oh, yes. I think it's absolutely missing the mark.OLIVER: But in terms of like, the countryside and the house and the geese and the food, it's fantastic.TRALDI: Oh, yes. It's lovely to look at.OLIVER: The dresses, right? The clothes are amazing.TRALDI: And a lot of the—and the cast is honestly like—OLIVER: Yes, it's great.TRALDI: The cast is really, really great. And the parts as they are—OLIVER: Rosamund Pike is maybe the best Jane on TV.TRALDI: She's terrific. And who's the one who plays Kitty?OLIVER: Yes.TRALDI: Who is in—and the father is the guy from The Hunger Games. I forget his name, but I think the father is excellent in that. But of course, it's not exactly the father from Austen.OLIVER: No, no, no.TRALDI: But as a movie itself—but yes, I like a lot of these longer TV versions.One odd thing—they make these choices. So there is some scholarly apparatus brought to bear on some of them. So I think maybe it's Persuasion that there were multiple versions of, and some of the adaptations use pieces from the unpublished version, which are interesting. And as I was reading it, I had to Google around a bit and figure out these things.Austen's Moral PrecisionTRALDI: I was going to say about Austen's moral precision, the other place where I think this comes in—and I wrote a bit about this in the essay—is near the end of Mansfield Park, when—the names are what I'm worst at—when Edmund, right, is finally disillusioned with—OLIVER: Mary.TRALDI: With Mary Crawford?OLIVER: Mm-hmm.TRALDI: It's because there was this affair. There's always a sibling or a cousin who makes some horrible mistake, you know? So there was this affair, and Mary Crawford can only criticize it by saying that they weren't very prudent, you know, in prudential terms. They took a big risk. They made a bad decision. You know, they really screwed themselves over.OLIVER: They could have made it work. Yes.TRALDI: Yes. And Edmund realizes that she lacks moral fervor because he thinks the appropriate criticism should be a moral one. And as a psychological matter, it shouldn't even enter your head, I think is the idea. I'm extrapolating a bit, but if you see somebody acting this badly, to then say, “Well, geez, you're doing something that isn't in your interest”—for that to be your first thought indicates that your priorities are highly misplaced in a way that, to him, is quite unattractive.And this also struck me as a moment of—this is something we philosophers talk about. What is the distinction between prudence and morality? They both tell you what you should do, in some sense, but there's different—the shoulds have different forces, right? So Edmund has a certain moral precision and sensitivity which, actually, Fanny is basically the only person he knows—not that everybody in the house is a bad person; his father is a decent guy, and one of the aunts is okay, I think.But yes, there's a real sophistication to this evaluation. And it's funny to me that she actually used this as the—I mean, I suspect that even at the time there were readers who were just like, “Wait, I really don't get what the nature of Edmund's problem is here,” because it's not like Mary—Mary's not like, “Oh, yes, I support infidelity.” You know? She's not like— it's if you blinked, you might miss it, the mistake that Mary has made.And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.Every Word MattersOLIVER: I mean, one way people talk about the great books is to say that every word matters. And a lot of novelists will say that about their own. Well, you know, Elizabeth Bowen used to say, “What you're doing is to make everything count.” Austen is one of the examples where it's actually true. Every word is being used carefully.TRALDI: Yes. It's funny, this bears on another Twitter argument I had recently about this phrase logographic necessity. Basically, every word in a great book is there for a reason. I think that's right. Although you have to be careful about—if you were to say, “Well, every word in Plato is there for a reason, so you can't really say he's wrong about every—” you would be kind of abandoning the philosophical mission.OLIVER: I mean it in the sense of what you might call the artistic or structural integrity of the book. Not everything has to tell in the meaning sense. But it all holds as a unit for some—TRALDI: Yes. I think everything is there—there is what we could call an internal reason for everything to be there. Everything is there to hold together—OLIVER: Like the making of a piece of furniture or something.TRALDI: And I think you hear—I think this is one thing that—and not all classical music, but I think it's one thing that distinguishes classical music even from very good contemporary pop music or jazz or rock music, is that you have this sense of, “Yes, every note I hear basically is holding up a larger structure of some sort.”OLIVER: Yes. And Jane Austen is very Mozart in that way.TRALDI: Yes, I think that's right. Yes.Austen's Place in Great Books ProgramsOLIVER: So should Jane Austen have a bigger place on great books programs, based on all these things you've said about her?TRALDI: Yes, this is—so, there was actually a debate—I did not write the piece in response to this debate, but this is—OLIVER: Tanner Greer.TRALDI: Yes, there was—Tanner Greer weighed in on this, and my friend Circe. I think—OLIVER: I think they're just desperately wrong.TRALDI: You think they don't—that she—OLIVER: I think Emma is obviously a book that should be on one of these syllabuses. Maybe Sense and Sensibility.TRALDI: Yes. I think the ones I would consider are Emma, Sense and Sensibility, Mansfield Park. I do think they're actually longer than I realized, which is always—I mean, there are these very practical concerns with putting together a syllabus.OLIVER: Sure, sure. Although I want to ask you about that, because my response to a lot of these debates, which is maybe just because of where I studied, but just make them read more. And if they don't do the reading, that's their, you know—TRALDI: That's true. Well, I don't want to get into this too much. We already make them read a lot compared to—so for example, a year ago, I had my students read two novels in a week, which is more than most courses make college students read.OLIVER: But that's by no means unreasonable.TRALDI: No, no, of course, of course.OLIVER: You know.TRALDI: Well, exigencies of the teenage mind aside—OLIVER: Because I often think this, when people debate how things should be taught and why it's so important to keep these programs, and they'll talk about the importance of writing essays. And then it turns out the students maybe write one essay a semester. And I sort of think, well, who cares? All this rhetoric for one essay.TRALDI: Yes. I don't know if I'm really ever going to assign essays again. It just is—the age of AI is upon us.OLIVER: Sure. But you see what I mean.TRALDI: No, yes, I know exactly what you mean. And I do think reading a lot is the main part of—and certainly, you know, when I read all seven of these in two weeks, that's much more reading than I normally do, as well, to write this essay.OLIVER: But you didn't have to lie on the sofa afterwards with a cold compress. You were fine.TRALDI: In a way it was a really good two weeks. If you get to read—I mean, this is why we have good lives, right? If you get to read Jane Austen and you call that work, it's a nice life.OLIVER: So yes, will you be putting Emma on your program?TRALDI: I would definitely consider Emma. I would definitely consider Sense and Sensibility. I would consider Mansfield Park. I think these are the ones that have—the moral element is very prominent. But it's obviously there in all of her books.OLIVER: You can have a really good moral discussion about Mansfield Park, which is a bigger, broader thing than Pride and Prejudice, for example.TRALDI: Yes, I think so. I would definitely consider—in the 1800s there were—obviously the British novel of the 1800s was a big deal, and there's—OLIVER: [laughs] We did quite well, yes.TRALDI: You all did quite well. So the ones we did at Tulsa—we had Frankenstein and Wuthering Heights and The Picture of Dorian Gray. And then we had one Irish, The Portrait of the Artist as a Young Man. And I don't think anybody—if you replaced one of those with Emma or Mansfield Park, I don't think anybody would say, “Oh, you made a horrible call.”OLIVER: I think Tanner's point was that you simply don't have that many slots for an English novel that deals with these sorts of ideas, and that it should obviously be Middlemarch because that is the bigger novel. It's about bigger questions of society. It's about the whole—it's got more greatness in it, whereas Austen is sort of more about the individual.TRALDI: So I do think that this question of greatness—I think there are some people who read Austen and they think, “Well, this is—obviously it has all these sorts of themes, but it's not great. It has this littleness to it. It has this smallness to it.”OLIVER: It's domestic.TRALDI: That is not my reading of it. I think if that's the question, I don't feel that way. I think it pulls out these great themes about the nature of virtue and the nature of moral learning, becoming a better person, the nature of love. We read Sappho. We read the Symposium.To me, you read Wuthering Heights and you say, “Oh, this is a really big book because it's about society and how trauma gets passed down, and it has these horror elements, and it's very dark.” But actually, it's quite hard to figure out, how do we turn Wuthering Heights in a discussion about how to live? With Austen, it's just completely straightforward.OLIVER: [laughs] How not to live, maybe.TRALDI: Yes. In Austen, it's just completely straightforward. This is the discussion. This is what she had in mind as well, this question of how to live. So to me, Austen is completely—in terms of her successes as an artist, she belongs. In terms of her themes, she belongs. So I would not rule her out. I think she is absolutely a great, and who knows what that means, but I think she would be completely appropriate on any of these syllabi.Reading PlansOLIVER: Very good. And what will you read next?TRALDI: What will I read next? I mean, our—from the beginning, I'm thinking I should read some more poetry. It's been a while. Actually, speaking of—this is funny. Well, I want to get into William Empson. He had an odd life, which I think somebody should do like a movie about him or something.OLIVER: Yes, he'd make a great movie.TRALDI: I think Empson would be a good movie. So that might be—OLIVER: Are you going to read the poems or the criticism?TRALDI: Probably a little of both, but that's for a while from now. I think, you know, at the moment I'm back to reading philosophy. So what novel will I read next? That's a good question. What should I read next?OLIVER: If you like Jane Austen?TRALDI: Yes.OLIVER: Maybe read one of the people that she admired, like Samuel Richardson or Fanny Burney, someone like that.TRALDI: You know, I do think—you saying Samuel Richardson reminded me, I've read very little Samuel Johnson. I think reading some of the great critics, I think, writing this piece—OLIVER: Oh, Johnson, yes. You would like Johnson.TRALDI: I think I would like Johnson. I think I would like Empson. The history of literary criticism is something I have very, very little idea of.OLIVER: Oh, well, then, Johnson. I mean, he's the best.TRALDI: Yes, I think I should, I should definitely read Johnson.OLIVER: English literary criticism begins and ends with Samuel Johnson.TRALDI: You know what, this is a little different, but—I might have talked about this with you a little bit—I want to read The Fable of the Bees, Mandeville, because reading about Smith—a lot of the ideas that we think of as Smithian are actually Mandevillian, and he kind of moderated them.OLIVER: Well, he hated Mandeville.TRALDI: Yes.OLIVER: Very hard on him.TRALDI: Yes. So a lot—like the invisible hand, it's only a small part of Smith's thinking, but it was like the entirety of Mandeville's thinking, this sort of dynamic.OLIVER: Well, I think it means different things for them. I think Mandeville, in a funny way, is more philosophical in the sense you were saying, and trying to make these propositions. And Smith was saying, “Well, what about feelings? What about all these funny things that we can't account for? Like, look around. It's too messy.”TRALDI: No, that makes sense to me. Yes, I think between Mandeville and Smith, Mandeville is somebody who thought virtue was sort of like a con.OLIVER: A fool's game.TRALDI: Exactly. You're sort of a sucker if you try to be virtuous.OLIVER: I think he also just assumed that if you were commercial, you were obviously on the get.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?In philosophy, we do ask, what is a good character and what is the good action in this sort of situation? What is the bad action in this sort of situation? But it's not for the philosopher to say, “Okay, in the sorts of situations you're likely to be in, what do you pay—where do you direct your attention to try to figure out these things about?”And it's not—I don't think Austen—it's not super subtle either. In Persuasion—I mentioned in the essay—in Persuasion, it starts out by saying Anne really cared about paying off the family's debts, and the rest of her family didn't give a s**t, you know? And it's sort of like, okay, so we just immediately are like, Anne's the sort of person who you might want to have a business transaction with because if she has a debt to you, she might actually pay it. And I forget if that's the exact detail, but it's something like that, you know?OLIVER: And there's also the novelist—Jane Austen is very good at what you don't see, which aga

Mrs Ravenscroft and Ms Yemenakis discuss 'Report to Wordsworth'. Don't forget to download the handout here.

Full show: https://kNOwBETTERHIPHOP.com Artists Played: The Beat Ministry, Wordsworth, WordChemist, MurDoc, Marz Mello, conshus, Okito, fabric, Thee Sacred Souls, Bop Alloy, Substantial, Marcus D, One Be Lo, Les Imprimes, DIRT E DUTCH, Jalen Ngonda, John Sarastro, Sankofa, Zilla Rocca, EDS, Jose Gonzalez, B Dolan, MyGrane McNastee, Fantastic Negrito, MRKBH, Rico James, Sosyete 25, OutKast, GOODie MOb, IMAKEMADBEATS

What if poetry is not optional to human flourishing, but essential to it? In this second dialogue, John Vervaeke and Adam Walker explore poetry as a way of knowing reality rather than merely describing it. Their conversation moves through imagination, inexhaustible meaning, beauty, sacredness, freedom, embodiment, and the possibility of a new renaissance in culture. Along the way, they discuss voluntary necessity, spiritual senses, participatory knowing, and why modern notions of freedom can become hollow when detached from gratitude, devotion, and love. This is a rich and wide-ranging episode for listeners interested in philosophy, literature, spirituality, and the future of meaning. Adam Walker is a public scholar and recent Harvard PhD graduate whose work explores the spiritual dimensions of poetry. After stepping away from the traditional academy, he founded Versed, a platform devoted to making serious literary study accessible to everyday readers through teaching, close reading, and conversation. Adam Walker Website: https://www.adamgagewalker.com/ YouTube: https://www.youtube.com/@closereadingpoetry Versed: https://versedcommunity.mn.co/ Support The Lectern Patreon: https://www.patreon.com/johnvervaeke Teachable: https://lectern.teachable.com/p/lectern-lounge Follow John Vervaeke Website: https://johnvervaeke.com/ X: https://x.com/DrJohnVervaeke YouTube: https://www.youtube.com/@johnvervaeke/videos Timecodes 00:00 Introduction 01:27 "The imaginal is not about entertainment. It's about attainment." 02:20 Poetry as a practical path to meaning 04:40 Why poetry is quietly subversive 05:30 Inexhaustible meaning and the sacred 08:20 Is imagination a way of knowing reality? 12:40 Why great poetry turns toward infinity 15:00 The landscape of intelligibility 20:20 Can poetry educate wisdom? 21:30 Coleridge and the power of symbol 24:20 Voluntary necessity explained 30:20 The modern misunderstanding of freedom 31:30 How digital culture exploits the will 34:40 The advent of the sacred 36:20 Wordsworth and awakening through nature 41:20 What are the spiritual senses? 52:20 Beyond the religion vs. secular binary 58:20 Why renaissances need shared language 1:02:20 Symbolic thought and Meditations on the Tarot 1:16:20 Meaning crisis, madness, and sanity 1:18:30 Closing reflections

Can reclaiming poetry spark a second renaissance and wake us from our digital slumber? John welcomes Adam Walker to the Lectern dialogue series, praising his balanced critique of higher education and his work on poetry as a spiritual practice and the possibility of a second renaissance. Adam, an English PhD from Harvard, explains he developed a critical vocabulary for "spiritual poetics" (using Wordsworth) and now teaches public literature courses outside the academy to bridge the widening gap between universities and the public. They discuss causes of the chasm: humanities shifting from teaching to research, insular theory-driven discourse, rising college costs, and market pressures that displace a "hermeneutics of beauty." They argue imagination has been reduced to entertainment, digital media erodes attention, and art is evolutionarily vital. Adam describes his dialogic, analytic-spiritual-creative classes (e.g., Eliot's Four Quartets) and concludes with hope that cultural "turns" and renaissances can emerge from dark periods through renewed engagement with beauty and art.   Adam Walker is a public scholar and recent Harvard PhD graduate who specializes in the spiritual dimensions of poetry. After stepping away from the traditional academy , he founded the Versed community, a platform dedicated to making university-level literature accessible to everyday readers. Through his teaching and growing YouTube channel , Adam advocates for the close reading of poetry as a transformative spiritual practice. He believes that engaging with art and beauty is essential to awakening from our modern "materialist slumber" and actively champions the arrival of a "Second Renaissance". Website Substack YouTube Versed Resources: Rainer Maria Rilke Abigail Adams Institute William Wordsworth Timecodes: 00:00 Welcome to the Lectern 02:30 Adam's background and mission 05:30 Why the chasm exists  13:30 Hermeneutics of beauty  16:00 Imagination and spirituality  21:30 Digital age attention crisis  23:30 Art is not optional  33:30 Inside the Verse classroom  38:30 Dialogue and Platonic loop  41:30 Poets as presence  42:30 War poems and culture  43:30 Credibility and imitation  46:00 Translucent language  48:00 Theosis and greatness  49:40 "The encounter with the angel doesn't leave you the same. You walk away with a limp for the rest of your life, and you have to be okay with that". 51:30 Spinoza aspect shift  54:00 Poetry as transformation  55:30 Embodied confirmation  57:00 Returning to the cave  01:04:00 Wordsworth awakens spirit 01:07:30 Next talk questions  01:09:30 Hope and renaissance Explore courses and teachings from The Lectern https://lectern.johnvervaeke.com/ Support the Lectern and join a growing community of wisdom seekers https://www.patreon.com/johnvervaeke Follow John Vervaeke: Website | Twitter | YouTube | Patreon   Thank you for watching!    

Episode 230: In this episode, Mark is joined by Hip Hop artist Ullnevano. We talk about his latest project "Playground Legend". We discuss, the concept of the album, how it is has a basketball theme and references "And 1". The discussion also includes his coming up on The Baltimore scene, the influence of Nas, how basketball helped transition him to doing music, the 90's era, sports and wearing comfortable shoes. Check out Ullnevano on Bandcamp- https://magnetikmoments.bandcamp.com/album/playground-legendMark also talks about his recent trip to DC & Baltimore, his daughter's dismissal of 3rd Bass and a preview of his appearance on Wordworth's podcast "What Words Are Worth". Watch Mark on "What Words Are Worth" here- https://youtu.be/bpQCoe8NlkQ?si=ulr9Mr5WRIP9Th_PExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

durée : 00:55:18 - Very Good Trip - par : Michka Assayas - Au menu de ce Very Good Trip, la voix d'une femme qui ne ressemblait à aucune autre. Michka Assayas consacrait cette émission à Marianne Faithfull à l'occasion de la sortie d'un album ou elle ne chantait pas mais récitait ses poèmes anglais préférés, Tennyson, Wordsworth, Keats et Byron. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comMichael is quite simply one of the best nonfiction writers out the planet: a real role model. He's been a contributing writer to the New York Times Magazine since 1987, and he's the bestselling author of many books, including How to Change Your Mind — which I reviewed in 2018 — and its sequel, This Is Your Mind on Plants, which we discussed on the Dishcast in 2021. This week we covered his new book, A World Appears: A Journey Into Consciousness.For two clips of our convo — on the magic of spontaneous thoughts, and the consciousness of kids — head to our YouTube page.Other topics: toasters and other things that don't have consciousness; Thomas Nagel's bat; panpsychism; Francis Crick trying to solve consciousness; the global neuronal workspace theory; how brains are not like computers; AI and consciousness; Proust; James Joyce; Wordsworth and the Romantics; William James and stream of consciousness; Lucy Ellmann's Ducks, Newburyport; words on the tip of your tongue; phenomenology; letting your mind wander; Addison's Walk at Oxford; how smartphones distract from thinking; Trump taking up our headspace; Oakeshott and “the deadliness of doing”; AI and UBI; Allison Gopnik's lantern vs spotlight consciousness; how a child's brain resembles an adult's on psychedelics; ego death; the default mode network; meditation; the flow state of deep reading; the benefits of boredom; habit and ritual; my 10-day silent meditation retreat; the sentience of plants; Buddhism and Matthieu Ricard; the soul; the film Into Great Silence; and the disenchantment of the Enlightenment.Browse the Dishcast archive for an episode you might enjoy. Coming up: Jeffrey Toobin on the pardon power, Derek Thompson on abundance, Matt Goodwin on the earthquake in UK politics, Jonah Goldberg on the state of conservatism, Tom Holland on the Christian roots of liberalism, Tiffany Jenkins on privacy, Adrian Wooldridge on “the lost genius of liberalism,” Tom Junod on his memoir and masculinity, and Kathryn Paige Harden on the genetics of vice and virtue. As always, please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

How can Michael and his companions hope to cross the mile wide Yenisei River, with no boat, raft or ferry? Jules Verne, today on The Classic Tales Podcast.   Welcome to The Classic Tales Podcast, where we use an audiobook format to give you an immersive experience in classic literature. You can get friendlier with the classics you know, and discover new favorites. I'm your host BJ Harrison. I'm a professional audiobook narrator, and I'm glad you could join us.   With the Audiobook Library Card, you gain access to everything I've personally curated from the public domain and recorded over the past 18 years. Every title was chosen with intent because it was calling to me for some reason. I needed to record it. After 18 and a half years of doing this, we're still winning awards and turning heads.     Subscribe for the Audiobook Library Card for $9.99 a month and get access to it all. Thousands of hours of content at your disposal. It's the best audiobook deal on the internet.   Go to audiobooklibrarycard.com or follow the link in the show notes, and download and listen all you want.   I've discovered a new and easier way to listen to the audiobooks downloaded from the store, through the Audiobook Library Card or otherwise – it's the PocketBook App. It's just a little more intuitive than the KyBook app, and it's available for iPhone and Android. Links can be found in the show notes. I've also made a new video walkthrough so you can see how easy it is to download and listen using Pocketbook. Feel free to check it out.   Before we dive into today's story, I want to start a new little feature called the Word for the Week. Each week, we'll have a definition from the Devil's Lexicographer himself – Ambrose Bierce. Over the course of 30 years, Bierce nearly weekly wrote a cynical definition of a common word, sometimes consisting of poems, which he sold to various newspapers and periodicals. After 30 years, he collected all of these into one volume which came to be called The Devil's Dictionary. In keeping with the spirit of its creation, we'll hear one of his jocular definitions before we begin today's show.   So, the Word for the Week is Infancy, and here to read it is Ambrose Bierce himself:   INFANCY, n. The period of our lives when, according to Wordsworth, "Heaven lies about us." The world begins lying about us pretty soon afterward.   Thank you Mr. Bierce.   And now, Michael Strogoff, Part 8 of 9, by Jules Verne.   Follow this link and watch the new video walkthrough using PocketBook.   Follow this link to get The Audiobook Library Card for a special price of $9.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Poetic Keys An Ode to County Clare - The Prelude [Wordsworth] by Clare FM

Thank you to Massachusetts' own Hip-Hop producer Stu Bangas for coming on my show for an interview! Stu discussed his new album Chemistry with Wordsworth, attending West Virginia, and receiving support from DJ Premier. He talked about his friendship with Chino XL, Cannibal Hulk with Ill Bill charting on Billboard, and his son Young Bangas following in his footsteps. Stu also spoke about his upcoming projects, wanting to produce music for TV shows, and more. Stay tuned! Stu Bangas & Wordsworth's new album Chemistry is available on all platforms, including Apple Music: https://music.apple.com/us/album/chemistry/1872582335. Follow Stu Bangas on Instagram and X: @stu_bangas Follow me on Instagram and X: @thereelmax Website: https://maxcoughlan.com/index.html. Website live show streaming link: https://maxcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg. Stu Bangas on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=JOq8cqkAmv8. 

BANG! @southernvangard radio Ep462! Groundhog Day vibes are abound Vangardians, and even if that little furry animal said 6 more weeks of winter, we gonna keep it warm and toasty for you until we hit spring time. This weeks episode is also the debut of EDDIE MEEKS upcoming single with the homies AOS and DJ POCKET, make sure you cop it at DJPOCKET.COM when it drops ‘cause that's the only place you gonna get it other than here. OUI OUI #YOUWAAAAALCOME and it's forever that #SMITHSONIANGRADE! // southernvangard.com // @southernvangard on all platforms #hiphop #rap #undergroundhiphop #boombap ---------- Recorded live February 1, 2026 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks ---------- Pre-Game Beats - Noisy Neighbor Talk Break Inst. - “Aquarius” - Apollo Brown “Southern Vangard Radio Theme Song” - Bobby Homack & The Southern Vangard All-Stars “La Bandera” - Doza The Drum Dealer & Spit Gemz “People In The Neighborhood” - Stu Bangas & Wordsworth ft. Masta Ace “Hunting Season” - Duck City Music ft. The Hoodies (prod. Young Bangas, cuts Tone Spliff) “Divide & Conquer” - DNTE & Ché Uno "Grand Priests” - Squeegie Oblong ft. Seemore Bluntz (prod. TrueCipher) "New World” - Born Allah ft. Blu & Lakim Shabazz (prod. Apakalips) Talk Break Inst. - “Hold On” - Apollo Brown “God Level” - Wounded Buffalo Beats & Ruste Juxx “Prime Time” - YBG “Crom! (Beatminerz Remix)” - Krohmefeat. Vast Aire, Breez Evahflowin & Empuls “Rakim Scheme” - Squeegie Oblong (prod. Unknown Spook) “Brick and Mortar” - Black Thought x 9th Wonder “Slick Talkin” - Imported Goodz x Rome Streetz “A Brooklyn Tale Part 1” - Wounded Buffalo Beats & Ruste Juxx “Username” - Stu Bangas/Wordsworth “Already” - Khrysis & Pete Rock Talk Break Inst. - “Moon At Midnight” - Apollo Brown “Assassination Day '25" - Squeegie Oblong (prod. Unknown Spook) “Keepers Of The Culture” - Amadaye The Apostle ft. Ill Conscious “Spoon & Razor” - Bub Rock ft. Rome Streetz “Respectfully Disrespectful" - Rufus Sims & Machacha ft. Knowledge The Pirate & Jae Haze “Give Em Hell” - Recognize Ali & D-Styles “Under The Floor” - Imported Goodz x Rome Streetz “Lord Protect Me” - The Alchemist & Budgie ft. Roc Marciano “Still I Rise (Dr. Maya Angelou C.R.T. Remix)” - Eddie Meeks ft. AOS (prod. DJ Pocket) ** WORLD EXCLUSIVE ** Talk Break Inst. - “Opulence” - Apollo Brown

Good Morning. ‘Speak about hope:' I hear those words everywhere in these frightening times At synagogue, we've just read the Ten Commandments, beginning with ‘I am your God.' Two rabbis whose teachings I admire experienced those words very differently. The struggle for hope lies in the tension between their explanations. Hugo Gryn, whose warm voice, often heard on radio, I hugely miss, survived Auschwitz. He wrote: Auschwitz-Birkenau was the … perversion of all the Ten Commandments… God was replaced by a Fuehrer and his minions who claimed for themselves the power of life and death… Murder was at the heart of that culture and killers were promoted and honoured… That's what ‘I am your God' reminded him of. Nazism is gone, but tyranny, killing and contempt are at large in our world, threatening our freedoms and future. Rabbi Yehudah Aryeh-Leib of Ger, who died last century, intuited a very different voice in the Commandments. He wrote: When God said, ‘I am,' the world fell silent; every living being listened. They heard the words not from Heaven, but within themselves. They felt: “This is about who I truly am. The life-force which flows through everything is speaking to me.” In that moment, a deep awareness connected all existence, humans, animals, every breathing being, and cruelty and hatred vanished. I believe that may be what we feel when humbled by some act of kindness; when touched by closeness to another person; when silenced by listening to the birds; when we sense in woodlands: ‘These trees – some hidden life-force connects us.' A consciousness infinitely greater than ‘Me, me, me,' flows through us then. It's what Wordsworth called: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things.Here lies a quiet, but powerful, antidote to the horror Rabbi Gryn was forced to experience, when tyrants replaced god, dictating who must live or die. Here is an understanding that motivates us to love and give. I think of my Israeli friend, who despite the violence afflicting both peoples, supported her Palestinian colleague who bravely made soup in Gaza for hungry children. I'm mindful of the Ukrainian grandma, since killed, who refused to leave her front-line home in Kherson and, despite the bombing, sent me a gift of honey. What makes people do that? I believe it's the deeper voice that calls us, beyond all differences and hatreds, to care for each other and our world. In that voice lies our hope.

Episode 226: In this episode, Mark talks with Hip Hop artist Wordsworth. We discuss his new project with Stu Bangas entitled "Chemisty". We also talk about his early days working on songs with "Black Star" and "A Tribe Called Quest", as well doing freestyle sessions, linking up with Stu Bangas, finding ways to branch out as an artist into new ventures, appearing on "Mr. Peabody and Sherman" show with Prince Paul, being self relaint on recording music videos, his podcast- "What Words Are Worth", working on books and his memories of the recently passed Mr. Complex. Find Wordsworth and Stu Bangas album "Chemistry" at- https://brutalmusicstore.ecwid.com/STU-BANGAS-AND-WORDSWORTH-CHEMISTRY-c193928536Check out Wordsworth's book "Socks" - https://www.amazon.com/Socks-Mr-Vinson-Jamel-Johnson/dp/B0BHCFJ7L9Mark also talks about The Super Bowl and the halftime show, as well as his silly thoughts on going to CostcoExclusive deal for listeners of The Infinite Banter Podcast, get a discount for Circle House Coffee. A great deal on your entire order when you use the link- http://circlehousecoffeeonline.com/discount/mark10Watch "Things and Stuff” where Mark reviews collectibles on The Infinite Banter Youtube channel. Direct link for current video- https://youtu.be/TvQro7ftL7Y?si=ZNyFYV7n_UHj78kOCheck out our sponsor Super 7, for the latest in action figures and merch featuring pop culture icons. Click the link for the latest figures and more- https://super7.com/INFINITEBANTERPODCAST

Full show: https://kNOwBETTERHIPHOP.com Artists Played: MyGrane McNastee, Erykah Badu, conshus, The Commission Beer Chamber, E-Turn, Sean Shakespeare, Soy Is Real, LEclair, Erin Kimberly, Stu Bangas, Wordsworth, James Alexander Bright, Faye Meana, J.PERIOD, Lauryn Hill, Antonio Carlos, Jocafi, Adrian Younge, Ali Shaheed Muhammad, Gabriel Teodros, Odell, Julianna Barwick, Mary Lattimore, Rasheed Chappell, DJ Dolo76, Kurious, K-Rec, Shannon and The Clams, Ill Conscious, Jake One, DOOM, MidaZ The BEAST, Girl Talk, T-Pain, Yaeji, Dillon, Paten Locke, Wordsworth, Black Sheep Dres, Kumail, OutKast, GOODie MOb, IMAKEMADBEATS

BANG! @southernvangard radio Ep460! Meeks and Doe return after a brief scare - Meeks thought Doe had been abducted. The good news is - he wasn't - and the better news is, this episode gonna get you right with all kinds of new joints including a WORLD EXCLUSIVE from our good friend SUPASTITION, who has a project dropping with the one and only RJD2 very very soon. Oh boy #YOUWAAAAALCOME for this #SMITHSONIANGRADE! // southernvangard.com // @southernvangard on all platforms #hiphop #rap #undergroundhiphop #boombap |:::::::::::::::::::::::::::::| Recorded live January 18, 2026 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks |:::::::::::::::::::::::::::::| Pre-Game Beats - Ill Conscious “Southern Vangard Radio Theme" - Bobby Homack & The Southern Vangard All-Stars Talk Break Inst. - “Open Until” - K-Def “Don't Get In The Way” - Stu Bangas & Wordsworth “Top Tier” - Shabaam Sahdeeq ft. General Steele (prod. ES-K) “Genuine Article (K-Kruz Remix)” - Nowaah The Flood x Bad News “Spells” - Hus Kingpin (prod. PA Dre) “Aqua Blue Camo” - Shottie ft. Swab “Perpetual Stew” - Recognize Ali & D-Styles Talk Break Inst. - “Mystery In The Mansion” - K-Def “Nominated” - Stu Bangas & Wordsworth ft. DJ Jon Doe “Kingdom” - Bald Halfwit ft. Bobby J from Rockaway & J57 “Back Talk” - RJD2 & Supastition ** WORLD EXCLUSIVE ** “Machines Like Us” - RJD2 & Supastition “How Ya Light It Up” - DJ Dremond “Parle Vous” - Aktu El Shabazz ft. Ilajide “Murky Depths” - Nowaah The Flood & X-Ray “Beast Mode” - Blu & Kev Brown ft. Cashus King, Shawn Jackson, Yamin Semali & Local Blac Talk Break Inst. - “My Beat Inspo 1” / “No More Love” - K-Def “Fred Fenster” - TrueCipher ft. Doza The Drum Dealer “Men Over Mice” - CERTAIN.ONES “Pot Of Gold” - Kut One ft. Reek Osama & Flee Lord “Tsunamic Styles” - Oh No ft. Al.Divino “Waxy Gordon” - Eff Yoo & Rob Viktum ft. DJ Jon Doe “ArtistOfficial Intelligence” - Mic Bles x Maniac ft. God´s Gift, Nemesis & Tone Spliff “Bust Down Rollie” - BoneWeso ft. Codenine “Woolworths” - Eff Yoo & Rob Viktum ft. DJ Jon Doe Talk Break Inst. - “Pondering The Next Move” - K-Def ** TWITCH ONLY SET - Lisbon Vinyl - DJ Jon Doe **

BRRRR!!! It's a cold world as the QUANTUM LEAP crew turns up the heat! The internet has Common in a comparison that is not comparable. another platform pledges against A.I. music and a new record has been set for Oscar nominations. New music from Mic Handz, Stu Bangas & Wordsworth and more... Click play and take the leap!!!Follow us NOW on YouTube, iHeartRadio, Apple Podcasts, Google Podcasts, Spreaker, and more...!!You like what hear..? PROVIDE a donation on @kpft.org (DONATE button)QUANTUM LEAP RADIO broadcasting and streaming live from #HUEston T.X.Every Saturday from 4-6p.m. CST (90.1FM KPFT Houston in HD2) & Thursday 1-3a.m. CST (on the F.M. dial)Worldwide@kpft.org/listen & KPFT APP

A scrap of Coleridge's handwriting. The sugar that Wordsworth stirred into his teacup. A bracelet made of Mary Shelley's hair... In this episode, Jacke talks to award-winning scholar and literary sleuth Mathelinda Nabugodi (The Trembling Hand: Reflections of a Black Woman in the Romantic Archive) about what she found in the Romantic archive - and why it matters. PLUS Richard Kopley (Edgar Allan Poe: A Life) stops by to discuss his choice for the last book he will ever read. Will this biographer of Edgar Allan Poe choose one of Poe's works? Or opt for something else? Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act soon - there are limited spots available! 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

“Who is the happy Warrior? Who is he/That every man in arms should wish to be?” In today's poem, Wordsworth asks unfamiliar questions. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Tracklist: Slik Jack & Vincent Pryce - The List feat. Bub Styles & Grea8Gawd Hus Kingpin - Black Mirror feat. MF Grimm (prod. by OneSession) M.A.V. - Mickey Blue Eyes feat. Crimeapple & Rome Streetz Eddie Kaine & Wavy Da Ghawd - 98 (Feat. Indigo Phoenyx) DeAngelo Xavier & Malinisoundz - Bag Back feat. Mondo Slade Andy Savoie - Purple Face Emoji Click Erg One x BoneWeso - Madden 96 feat. The Hidden Character & Estee Nack Nas & DJ Premier - NY State Of Mind Pt. 3 Eddie Kaine & Wavy Da Ghawd - By The Window Foul Mouth - Lucky Number (Feat. DJ Clay, J-Classic, Choke Uno, Metasyons, Tru Klassick & Isaac Castor) Mikey Strange - Perception (Feat. Jamar Equality, Garcia Vega & Mr. Muthafuckin' eXquire) Recognize Ali & Anu EL - Word Is Bond Substance810 & Big Trip - Stone Cold (Prod. By J Quest) Big L - Stretch & Bob Freestyle ('98) Hus Kingpin - Percentage feat. Tritty (prod. by Relense) Nas & DJ Premier - Pause Tapes Slik Jack & Vincent Pryce - Katch Me If You Kan feat. Bub Styles & Daniel Son Westside Gunn - Free Roleys feat. Benny The Butcher (prod. by Crucial The Guillotine & Cee Gee) A-F-R-O - Da Dungeon (Feat. Felcon, CanonMouz, Pulse Reaction & Emsee Prospekt) Nowaah The Flood & X-Ray - Murky Depths G.Dep - You Ain't Me Skyzoo - Pardon Me (prod. by Tuamie) A-F-R-O - Neck Broken Skit (Feat. Wordsworth, John Jigg$, Emsee Prospekt & George Paez) Al Skratch - Go Off Nas & DJ Premier - Madman August Fanon - Severe Punishment feat. U-God, GZA, Raekwon, RZA & Masta Killa

BANG! @southernvangard radio Ep458! Here we are, the last episode of 2025 - 10 years of Southern Vangard Radio is in the books. See y'all in January 2026 - our ELEVENTH YEAR and the beginning of our SECOND decade. Best believe it's that #SMITHSONIANGRADE and #YOUWAAAAALCOME // southernvangard.com // @southernvangard on all platforms #hiphop #rap #undergroundhiphop #boombap |----------| Recorded live December 14, 2025 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks |----------| Pre-Game Beats - Sol Messiah, John Robinson & Invizible Handz “Southern Vangard Radio Theme Song” - Bobby Homack & The Southern Vangard All-Stars Talk Break Inst. - “Down With Us” - Key-Kool & Rhettmatic “Madman” - Nas & DJ Premier "Sidewalk Executives” - Erick Sermon ft. M.O.P. “Sure Shot” - Key-Kool & Rhettmatic “Voices” - NapsNDreads x Wordsworth (prod. Jacques Retro) ”Hillz Have Eyes" - A-F-R-O ft. Illa Ghee & Rim “Hope & Pray" - Skyzoo (prod. DJ Manipulator) “Natural High” - DJ Pocket & Eddie Meeks Talk Break Inst. - “The Big Bang Intro” - Key-Kool & Rhettmatic “GiT Ready” - Nas & DJ Premier “Down With Us” - Key-Kool & Rhettmatic feat The Visionaries “Writers” - Nas & DJ Premier “Catchin You Off Guard” - Key-Kool & Rhettmatic “Nautical Lanes” - Ill Conscious ft. Debonair P “Folk Song” - Homeboy Sandman (prod. Ciao Ciao Marigold) “No Waiting List” - NapsNDreads x Wordsworth (prod. Dub Z) Talk Break Inst. - “Reconcentrated 2.0” - Key-Kool & Rhettmatic “NY State Of Mind Pt. 3” - Nas & DJ Premier “Mahogany Walls” - Conway The Machine (prod. Conductor Williams) “Basically” - The Bad Seed (prod. Murda Megz) “Blood In The Wifi” - J. Arrr & BP Infinite ft. Ransom “Blap Jazz” - Ill City ft. Gunsmoke & Spoda “Free Dope” - XP The Marxman ft. DoamPeace & ethemadassassin “Never Sleep” - Conway The Machine (prod. Apollo Brown) Talk Break Inst. - “Quite Unique” - Key-Kool & Rhettmatic ** TWITCH ONLY SET ** “It's Time” - Nas & DJ Premier ft. Steve Miller Band “Nasty Esco Nasir” - Nas & DJ Premier “Pause Tapes” - Nas & DJ Premier “Natural High” - DJ Pocket & Eddie Meeks

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

Welcome to Episode 51 of “The 2 View,” the podcast for EM and urgent care nurse practitioners and physician assistants! Segment 1 Rodríguez, M. Á., Quintana-Cepedal, M., Cheval, B., Thøgersen-Ntoumani, C., Crespo, I., & Olmedillas, H. (2025, October 7). Effect of exercise snacks on fitness and cardiometabolic health in physically inactive individuals: Systematic review and meta-analysis. British Journal of Sports Medicine. Advance online publication. https://doi.org/10.1136/bjsports-2025-110027 Rodgers, L. (2025, October 17). As pickleball continues to gain players, injuries are increasing. JAMA. https://doi.org/10.1001/jama.2025.18833 Segment 2 Baos, S., Lui, M., Walker-Smith, T., Pufulete, M., Messenger, D., Abbadi, R., Batchelor, T., Casali, G., Edwards, M., Goddard, N., Abu Hilal, M., Alzetani, A., Vaida, M., Martinovsky, P., Saravanan, P., Cook, T., Malhotra, R., Simpson, A., Little, R., Wordsworth, S., Stokes, E., Jiang, J., Reeves, B., Culliford, L., Collett, L., Maishman, R., Chauhan, N., McCullagh, L., McKeon, H., Abbs, S., Lamb, J., Gilbert, A., Hughes, C., Wynick, D., Angelini, G., Grocott, M., Gibbison, B., & Rogers, C. A. (2025). Gabapentin for pain management after major surgery: A placebo-controlled, double-blinded, randomized clinical trial (the GAP Study). Anesthesiology, 143(4), 851-861. https://doi.org/10.1097/ALN.0000000000005655 NEJM Journal Watch. (2024, December 30). Growing evidence of harms associated with gabapentinoid drugs. JWatch. https://www.jwatch.org/na58203/2024/12/30/growing-evidence-harms-associated-with-gabapentinoid-drugs Moeindarbari, S., Beheshtian, N., & Hashemi, S. (2022). Cerebral vein thrombosis in a woman using oral contraceptive pills for a short period of time: A case report. Journal of Medical Case Reports, 16, Article 260. https://doi.org/10.1186/s13256-022-03473-w Peckham, A. M., Evoy, K. E., Ochs, L., & Covvey, J. R. (2018). Gabapentin for off-label use: Evidence-based or cause for concern? Substance Abuse: Research and Treatment, 12, 1178221818801311. https://doi.org/10.1177/1178221818801311 The 2 View: Emergency Medicine PAs & NPs. (2025, January 22). 41 – RCVS and CVT, CPR care science, prehospital tourniquets, blood pressure [Audio podcast episode]. Fireside. https://2view.fireside.fm/41 Strahan, A. E., Rikard, S. M., Schmit, K. M., Zhang, K., Guy, G. P., Jr., & [Additional Authors]. (2025). Trends in dispensed gabapentin prescriptions in the United States, 2010 to 2024. Annals of Internal Medicine. Advance online publication. https://doi.org/10.7326/ANNALS-25-01750 Segment 3 Brown, R. F., Lopez, K., Smith, C. B., & Charles, A. (2025). Diverticulitis: A review. JAMA, 334(13), 1180-1191. https://doi.org/10.1001/jama.2025.10234 Carr, S., & Velasco, A. L. (2024, July 25). Colon diverticulitis. In StatPearls [Internet]. StatPearls Publishing. https://www.ncbi.nlm.nih.gov/books/NBK541110/ Bob Tubbs on Emergency Radiology: https://youtu.be/Jg1JG67eoJQ Our social media: TikTok: https://www.tiktok.com/@ccmecourses Instagram: https://www.instagram.com/ccmecourses Facebook: https://www.facebook.com/CenterForMedicalEducation LinkedIn: https://www.linkedin.com/in/rickbukata Our podcasts: The 2 View Podcast (Free): Subscribe on Apple Podcasts https://apple.co/3rhVNZw​ Subscribe on Google Podcasts: http://bit.ly/2MrAHcD​ Subscribe On Spotify: http://spoti.fi/3tDM4im Risk Management Monthly Podcast (Paid CME): https://www.ccme.org/riskmgmt ** The information in this video is not intended nor implied to be a substitute for professional medical advice, diagnosis or treatment. All content, including text, graphics, images, and information, contained in this video is for general information purposes only and does not replace a consultation with your own doctor/health professional. emergencymedicine #cme

Aram Scaram began his DJ journey in Toronto's late-90s underground, spinning at house parties and one-off club events before landing weekly residencies at the beloved lounges Ciao Eddie and Alto Basso. It was at Ciao Eddie where he met Sassa'le, founder of the influential Version Xcursion radio show on CKLN 88.1 FM — a connection that would shape the next chapter of his career. Scaram soon joined Version Xcursion as co-host and co-producer, helping transform the show into a staple of Toronto's music landscape. Their weekly broadcasts championed dub, downtempo, trip-hop, reggae, and emerging Canadian talent, establishing the program as a go-to platform for genre-bending sounds. Over the years, Scaram has brought his signature style to major stages, including the Du Maurier Jazz Festival, the first Virgin Festival on the Toronto Islands (2006), and an opening slot for Massive Attack at The Carlu. He also founded Dub & Beyond, a hugely popular monthly club night at Andy Poolhall, broadcast live-to-air on CKLN 88.1 FM. Running for seven and a half years, it became a cornerstone of the city's dub and bass culture. His international appearances include performing at the Shatter The Hotel release event in London and playing the legendary Dub Chamber party at OT301 in Amsterdam. As a producer with Version Xcursion, Scaram released two full-length albums and three singles, including the cult classic Moments featuring Treson — widely regarded by tastemakers as one of Canada's standout tracks of the early 2000s. In 2010, he launched his solo project Citizen Sound, releasing a full-length album that featured the award-winning single Reggae Is Her Name with Blessed, which earned the Canadian Reggae Music Award for Best Male Single. A second Citizen Sound album followed in 2014, along with numerous singles and EPs. Throughout his production career, he has collaborated with many of Canada's premier reggae and dub artists, including Ammoye, Blessed, Chester Miller, Treson, Dubmatix, and Prince Blanco. After a 14-year break from radio, Scaram returned in 2025 with Sound So Nice, co-hosted with Eddie Go Boom on CFRU 93.3 FM in Guelph, Ontario. The weekly show explores the deep roots of sound system culture — from Jamaica's foundational influence to its global evolution — guiding listeners through reggae, dub, electronic, drum & bass, house, afrobeats, downtempo, and beyond. Driven by an electrifying musical selection, the show blends minimal commentary with occasional interviews featuring artists, producers, and organizers shaping today's scene. Links: https://www.instagram.com/citizensoundmusic https://www.instagram.com/soundsoniceradio https://www.mixcloud.com/scaram/ https://m.soundcloud.com/aramscaram PLAYLIST Thievery Corporation - Waiting Too Long feat. Notch Stephen Marley - Don't Let Me Down Salmonella Dub - Rhythm & Pattern The Nomad - Open Your Eyes Boztown - Instant Playa Boogie Belgique - Every Time Flowering Inferno & Quantic - Make Dub Not War Gregory Isaacs - Number One Prince Fattty - Roof Over My Dub feat. Little Roy Sugar Minott - Rockers Master Cornell Campbell - Boxing Around Augustus Pablo - Rockers Magic John Holt - Ali Baba Keznamdi - Pressure Asa - Jailer Little Simz - Point and Kill feat. Obongjayer Chronixx - Keep On Rising Bunny Rugs - Rumours feat. Sly & Robbie Quakers - Approach with Caution feat. Sampa The Great Super Beagle - Dust A Sound Boy Yeza & Rorystonelove - Road Runner Lauryn Hill - So Much Things To Say Bob Marley - Roots Rock Reggae feat Steven Tyler & Joe Perry De Lata - Breathe Major Lazer - Can't Stop Now feat. Mr. Vegas & Jovi Rockwell Jada Kingdom - Budum DJ Vadim, Kathrin deBoer & Belleruche - Black Is The Night Pt. 3 Damian “Jr. Gong” Marley - Hey Girl feat. Stephen Marley Red Astaire - Dum Dum A Tribe Called Quest - Rock Rock Y'all feat. Punchline, Wordsworth, Jane Doe & Mos Def Charles Wright & The Watts 103rd Street Rhythm Band - What Can You Bring Me

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

Full show: https://kNOwBETTERHIPHOP.com Artists Played: Mugs and Pockets, conshus, DJ Dolo76, Sleep Sinatra, Maze Overlay, Victoria Port, De La Soul, Westbound Train, TOBi, Real Bad Man, Oliver Night, Kaya Fyah, Zetas, The Rebel, Amable, The Commission Beer Chamber, AMiAM, SoyIsReal, Inkswel, Brad Strut, Colonel Red, The Altons, Bizarre, Cassidy, Cydney Poitier, Wordsworth, Prolific Wone, Manage, Skirmish, Big Zoo, Kit Sebastian, M-Dot, Method Man, Soulplusmind, OutKast, GOODie MOb, IMAKEMADBEATS

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Hunter Thompson of the 19th Century, de Quincey is best known for his Confessions of an English Opium Eater (an activity shared with his hero, Samuel Coleridge, much to Wordsworth's dismay). However, de Quincey's literary genius is best captured in his essays, which, according to Wikipedia: His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow and Charles Baudelaire, but even major 20th century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work.This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their 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

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Ronan Wordsworth addresses a persistent recruitment and retention crisis in Five Eyes militaries, spanning decades. Younger generations, particularly Gen Z, favor STEM careers offering flexibility and better pay over military discipline. Militaries are responding with increased advertising, flexible service models, lateral entry for skilled professionals, and significant pay raises and bonuses. Low morale, stemming from unpopular past wars and perceived institutional guilt, also significantly impacts retention rates. 1870 GARDE NATIONAL

Welcome back to another Seerine Tarot daily collective for Tuesday, July 29th, 2025. Let me tell you—this one's layered like a 10-card spread and Nova's chew toy drama. Today's message? That remote work blessing you've been praying on might just be knocking… but it's holding hands with extra tasks. Is it really a perk if the pay raise comes prepackaged with more stress? Hmmm. The King of Pentacles got love for you (Ace of Cups energy strong), but don't sleep—the Queen of Swords sees through it all. This reading is giving:

My friend Simon Curtis, who has died aged 70, was one of the small band of people who work tirelessly, for no pay and few thanks, to promote poetry. An excellent poet himself, he edited two magazines and helped many struggling writers into print.His heroes were Wordsworth, Hardy and Causley. His own poetry, which rhymed and was perfectly accessible, was distinguished by, in his words, its "shrewd, ironic and Horatian tone". It ranged from accomplished light verse, which was often very funny, to deeply affecting poems about family bereavement. He appeared in the Faber Poetry Introduction 6 (1985).Simon was born in Burnley, Lancashire, the son of Susan, an English teacher, and the Rev Douglas Curtis, a vicar, and grew up in Northamptonshire. Armed with an English degree from Cambridge University, and a PhD from Essex, on Darwin as writer and scientist, he became a lecturer in comparative literature at Manchester University. He was active in the Hardy Society, editing the Thomas Hardy Journal for several years, worked quietly for the Campaign to Protect Rural England, and spent a lot of time caring for his mother, who lived to a great age.Eventually, he moved to Plymouth and in 2010 took over from me as the editor of the little magazine The Interpreter's House, which he made, in Hardy's phrase, "a house of hospitalities". We were both determined that it shouldn't be just a platform for the editor's friends but should be open to good poets of all stripes.But early in 2013 all plans had to be shelved as this active outdoor man was diagnosed with incurable cancer. Though paralysed below the waist, he remained positive, continued to watch the yellowhammers outside his window and never allowed his many visitors to feel downhearted. Shoestring Press rushed out a volume of his new and selected poems, Comet Over Greens Norton, which contains all his best work.Simon was old-fashioned in the best kind of ways, a former 1960s student who canvassed for Labour but who dressed conservatively and retained a stiff upper lip and immaculate manners. He hated pollution, literary infighting, and public greed and waste. He loved bird-watching, football, woodcuts and the Lake District.-bio via Merryn Williams' 2014 Obituary for Curtis in The Guardian This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

This week, Andy Zaltzman is joined by elite-tier Bugler and guest producer Belinda (as well as Nish Kumar and Tom Ballard) delivering a show so saucy it might get you banned from the Vatican gift shop.