Hot Takes on the Classics

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore Isak Dinesen’s “Babette’s Feast,” a story about beauty, sacrifice, holiness, and the demanding vocation of the artist. In a quiet Norwegian religious community shaped by austerity, Babette arrives as a refugee and spends twelve years serving two aging sisters before using her entire lottery fortune to prepare one magnificent French feast. Tim and Emily consider how the meal restores memory, fellowship, delight, and spiritual vision to the community, and how Babette brings material beauty and spiritual devotion together rather than setting them against one another. The episode closes by considering the artist as a formidable figure whose devotion to a vision can require radical sacrifice.

Episode Outline

• Adulthood, middle age, and Aristotle’s picture of maturity between youthful rashness and old age
• Isak Dinesen, the Scandinavian setting, and the story’s life in fiction, film, and theater
• Martine and Philippa, the Dean’s religious community, and a sincere holiness shaped by austerity and renunciation
• Lorenz Loewenhielm and Achille Papin as two encounters with beauty, love, music, and unrealized possibility
• Babette’s arrival from France after the Paris Commune and her twelve years of quiet service in Berlevaag
• The lottery fortune and Babette’s request to prepare a French feast for the centenary of the Dean’s birth
• The feast as a transformation of the community from pettiness, old grievances, and restraint toward memory, joy, and reconciliation
• General Loewenhielm’s recognition of the meal and his renewed encounter with the spiritual vision awakened in his youth
• Babette’s revelation that she spent all ten thousand francs and that she is a great artist who created the feast also for herself
• The artist at work: beauty as vocation, artistic vision as demanding discipline, and the union of material delight with spiritual reality

Key Topics & Takeaways

• Holiness and Earthly Beauty: The story begins with a community that associates holiness with refusal, restraint, and the negation of earthly desire. The feast does not simply reject their devotion. Instead, it reveals that beauty, pleasure, food, memory, and fellowship can participate in spiritual life rather than compete with it.
• Piety, Pettiness, and Renewal: After the Dean’s death, the community retains the forms of its religious life but begins to lose the charity that once animated them. Babette’s feast loosens old resentments and allows the guests to remember why they loved one another before their disagreements hardened.
• The Artist as Giver and Maker: Babette’s sacrifice is generous, but she refuses to describe the feast only as an act of service to others. She spends her fortune because she is an artist and needs to create something worthy of her powers. Her gift to the community and her fulfillment as an artist are inseparable.
• Beauty as Transformation: Martine’s beauty, Philippa’s voice, and Babette’s cooking repeatedly awaken people to realities they had forgotten or resisted. Beauty does not merely decorate life in the story. It changes desire, calls people beyond themselves, and opens possibilities for conversion and reconciliation.

Questions & Discussion

• Does Babette’s feast correct the sisters’ spirituality or complete it?
  Consider whether Dinesen presents austerity and renunciation as mistaken, or whether Babette supplies a missing dimension of beauty, embodiment, and delight that allows their genuine devotion to become more fully human.
• Why does the feast heal the community when argument and moral effort have not?
  Discuss how taste, memory, music, wine, conversation, and shared pleasure work beneath the guests’ conscious resistance and restore their ability to forgive and enjoy one another.
• Why is General Loewenhielm important to the meaning of the feast?
  Explore how his recognition of Babette’s artistry connects the remote Norwegian village to Paris and how the meal reawakens the spiritual longing first stirred by Martine decades earlier.
• What does Babette mean when she says she made the feast for herself?
  Ask how artistic creation can be both self fulfillment and gift. Does her statement make the feast less sacrificial, or does it reveal a deeper understanding of vocation and generosity?
• Why does the episode describe the true artist as formidable?
  Consider the comparison with Dorothy L. Sayers and the idea that an artist may endure deprivation, misunderstanding, and conflict in order to remain faithful to a vision of what is true and beautiful.

Suggested Reading & Resources

• Babette’s Feast by Isak Dinesen translated by Karen Blixen
• Out of Africa by Isak Dinesen translated by Karen Blixen
• The Unsolved Puzzle of the Man with No Face by Dorothy L. Sayers
• Frank Mahilich and New Threads Theater
• Classical Learning Test
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this special spouses episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda are joined by Gaelyn Hurd and Mark Maeda to ask two deceptively simple questions: What is classical education, and what convinced each of them that it was worth pursuing? Their answers range across the great conversation, the classical canon, grammar, dialectic, rhetoric, Latin, history, virtue, wonder, and the relationship between curriculum and method. Along the way, they reflect on their own schooling, homeschooling and hybrid school experiences, memorable encounters with poetry and great books, and the importance of helping students see knowledge as an interconnected whole. The episode closes by surveying the rapid growth of the classical education movement and asking whether the renewal is moving from a pioneering phase into a new institutional era.

Episode Outline

• Why this meta episode: four perspectives on what classical education is and why it matters
• Gaelyn Hurd's definition through guideposts: historical context and a shared cultural language, virtue and whole person formation, awe before great thinkers and works, and confidence in rhetoric, dialogue, and debate
• Tim McIntosh's definition: a method that engages the best that has been written and said, assumes an underlying and understandable logos, and orders education toward right action and virtue more than the accumulation of knowledge
• Mark Maeda's definition: leading students into the great conversation through time tested works in literature, history, science, math, and Latin, using grammar, logic, and rhetoric to cultivate love of the good, true, and beautiful
• Emily Maeda's definition: an education centered on the great conversation, including the best ideas, words, and artistic creations, approached primarily through grammar, dialectic, and rhetoric
• Curriculum and method: the shared canon, Latin and foundational studies, and the goal of teaching students how to learn
• Common misconceptions: classical education as merely old, impractical, elitist, overly rigorous, or disconnected from contemporary life
• Conversion moments and synthesis: Classical Conversations, the CiRCE Conference, embodied poetry, great books, and the work of connecting history, literature, science, philosophy, and language
• The growth of the classical renewal and the possible transition from a pioneering movement into a new institutional phase

Key Topics & Takeaways

• Classical Education Is Ordered Toward a Good Life: Across the four definitions, knowledge is not treated as an end in itself. History, books, languages, and intellectual skill are meant to form judgment, virtue, responsible action, and a capacity to love what is good, true, and beautiful.
• The Great Conversation Requires Both Content and Method: The episode resists reducing classical education either to a list of old books or to a teaching technique. A shared inheritance matters, but so do the habits by which students receive, question, synthesize, speak about, and eventually inhabit that inheritance.
• Foundations Create Freedom: Grammar, timelines, Latin, phonics, and other elemental skills can look restrictive or old fashioned, but the speakers repeatedly describe them as scaffolding. Mastery of basic structures gives students a framework for later independence, synthesis, and confident learning.
• Education Should Reconnect the Parts to the Whole: A recurring criticism of modern schooling is fragmentation: history, science, literature, philosophy, and language are often taught as separate domains. Classical education is presented as repeatedly moving between particular knowledge and a larger pattern so that students understand how ideas and disciplines shape one another.
• The Classical Renewal Is Entering a New Phase: The closing statistics are offered as snapshots rather than a definitive census, but they support the speakers’ sense that classical education has moved far beyond a small pioneer movement. The central question is becoming not only how to recover classical education, but how to sustain and institutionalize it without losing its animating vision.

Questions & Discussion

• Is classical education primarily a curriculum or a method?
  Consider what would be lost if classical education were reduced either to a canon of texts or to the grammar dialectic rhetoric sequence. What combination of content, pedagogy, and disposition seems essential?
• What makes a work “classical” rather than simply old?
  Discuss the role of time, critical consensus, enduring human questions, artistic excellence, and cultural inheritance in deciding which works belong in the great conversation.
• Why should education aim at virtue rather than knowledge alone?
  Explore the claim that the goal of education is not simply to know more, but to act well. How should a school cultivate virtue without turning moral formation into slogans or compliance?
• How much foundational structure is necessary for genuine intellectual freedom?
  Use the episode’s examples of grammar, Latin, phonics, historical timelines, memorization, and rhetoric. When does structure become liberating, and when can it become merely mechanical?
• What could be gained or lost as the classical education movement becomes more institutional?
  If the movement is shifting from a pioneering phase into a period of larger schools, graduate programs, testing systems, publishers, and organizations, what practices or convictions most need to be protected?

Suggested Reading & Resources

• Climbing Parnassus by Tracy Lee Simmons
• The Lost Tools of Learning by Dorothy Sayers
• The Complete Works of Francis Schaeffer by Francis Schaeffer
• Leaves of Grass by Walt Whitman
• The Iliad and The Odyssey by Homer
• The Sonnets and a Lover’s Complaint by William Shakespeare
• Classical Learning Test (CLT)
• CiRCE Institute
• Classical Academic Press 
• Classical Conversations
• Great Hearts America
• Great Hearts Academies
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore James Baldwin’s “Sonny’s Blues,” a story about two brothers trying to understand one another across the distance created by responsibility, suffering, addiction, and art. They discuss Baldwin’s lyrical prose, his Harlem upbringing and life in Paris, the tension between the older brother’s dutiful path and Sonny’s vocation as a jazz musician, and the way music gives form to experiences that ordinary speech cannot contain. The episode culminates in the jazz-club scene, where listening becomes an act of recognition and the narrator finally begins to understand why music is necessary to Sonny’s life.

Episode Outline

• Adulthood as the season of responsibility, consequence, restraint, and accumulated burdens
• James Baldwin’s family background, early preaching, literary vocation, experiences of racism, and years in Paris
• Baldwin’s lyrical prose: metaphor, rhythm, juxtaposed images, and writing that unfolds with a musical quality
• The story’s opening shock: Sonny’s arrest for using and selling heroin and the narrator’s attempt to understand his brother
• Harlem, inherited suffering, and the older generation’s effort to shelter children from burdens they will eventually have to carry
• The older brother as teacher, husband, father, and responsible provider versus Sonny as sensitive dreamer and aspiring musician
• Classical music and jazz as contrasting images of structure, improvisation, establishment, and artistic freedom
• The brothers’ conflict as a struggle between the call of duty and the call of beauty
• Addiction, intoxication, and music as different attempts to escape, endure, or transform suffering
• Sonny’s return, his invitation to the jazz club, and the older brother’s willingness at last to listen
• The final performance: jazz as communal creation, triumph over suffering, and a language beyond words
• The episode’s closing interpretation of Sonny as a returning younger brother and its comparisons with A River Runs Through It, It’s a Wonderful Life, and biblical sibling stories

Key Topics & Takeaways

• Music as Life and Order: Baldwin presents music as more than entertainment. Sonny’s playing gives shape to suffering and draws something ordered and communicable out of experiences that otherwise threaten to remain chaotic, private, or destructive.
• Responsibility and Beauty: The brothers embody different responses to adulthood. The narrator chooses duty, stability, work, and family; Sonny is drawn toward artistic freedom and beauty. The story refuses to make either impulse sufficient by itself and instead exposes the resentment and incomprehension that arise when each brother judges the other’s path.
• Listening as Reconciliation: The narrator spends much of the story trying to manage, correct, or interpret Sonny. Only when he enters Sonny’s world and listens to him play does he begin to understand what Sonny has been trying to say and why music is necessary to him.
• Addiction and Counterfeit Transcendence: The discussion contrasts the “flow” of musical performance with the altered states sought through drugs or alcohol. Sonny’s art becomes a way of facing and transforming pain rather than merely escaping it, even though his history of addiction remains part of what gives the performance its urgency.
• Inherited Suffering and Adult Burden: Baldwin places the brothers within a family, neighborhood, and racial history larger than either of them. Adulthood means receiving burdens from the past and deciding whether those burdens will be repeated, resisted, carried for others, or transformed into something new.

Questions & Discussion

• Why does the older brother have such difficulty understanding Sonny?
  Consider how responsibility, fear, judgment, jealousy, and genuine love become entangled in his attempts to protect his younger brother.
• What can Sonny communicate through music that he cannot communicate directly in conversation?
  Discuss Baldwin’s idea that music can impose order on experiences too deep or painful for ordinary words and can make private suffering intelligible to other people.
• Is the conflict between the “call of duty” and the “call of beauty” a genuine opposition?
  Ask whether the brothers represent incompatible ways of living or whether the story ultimately suggests that responsibility and beauty need one another.
• How does Baldwin make the prose itself feel musical?
  Look at rhythm, repetition, metaphor, shifts in memory, and the story’s movement toward the final performance. Consider how form reinforces the story’s subject.
• What changes when the narrator finally hears Sonny play?
  Explore whether the climactic performance produces forgiveness, admiration, grief, understanding, or some combination of these, and why listening succeeds where advice and control have failed.

Suggested Reading & Resources

• Sonny’s Blues by James Baldwin
• Notes of a Native Son by James Baldwin
• James Baldwin: The Last Interview: and other Conversations by James Baldwin
• A River Runs Through It by Norman Maclean
• It’s a Wonderful Life a film directed by Frank Capra
• The Parable of the Prodigal Son: Luke 15:11–32
• Mary and Martha: Luke 10:38–42 
• Works by Zora Neale Hurston
• Hemingway: The Paris Years by Michael S. Reynolds
• The Christopher Perrin Show
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore Ernest Hemingway’s “Hills Like White Elephants,” a story in which the most important subject is never named. At a Spanish train station, an American man and a young woman called Jig wait for a train to Madrid while circling around a “simple operation” that will determine the future of their relationship. Tim and Emily discuss Hemingway’s iceberg theory, the story’s compressed setting and dialogue, the unequal pressure between the couple, and the way Jig sees possibility where the man sees a threat to freedom. They close with Tim’s Hot Take and a discussion of what the story reveals about the difficult passage from adolescence into adulthood.

Episode Outline

• “Hills Like White Elephants” as a difficult bridge from adolescence into adulthood
• Why the story is best encountered before the reader knows what the couple is discussing
• Hemingway in Paris in 1927: rising fame, The Sun Also Rises, Hadley Richardson, and Pauline Pfeiffer
• A radically compressed story: one train station, two central characters, and almost nothing but dialogue
• The unnamed pregnancy and abortion and Hemingway’s iceberg theory of omission
• Jig, “the girl,” and “the American”: naming, age, and the unequal pressure within the conversation
• The white elephant image, the surrounding landscape, and Jig’s attentiveness to the world
• The train station as a liminal setting and the approaching train to Madrid as a deadline for decision
• The couple’s sticker covered suitcases and a life of travel, mobility, and limited responsibility
• The child as possibility for Jig and as a threat to freedom for the man
• Hemingway’s biography, the temptation to read the story autobiographically, and the likely future of the relationship

Key Topics & Takeaways

• The Iceberg Theory and the Unspoken Center: The story never uses the words “baby,” “pregnant,” or “abortion.” Hemingway leaves the decisive reality beneath the surface, forcing the reader to infer it from pressure, repetition, gesture, and what the characters avoid saying.
• Power and Persuasion: The conversation is not simply a balanced exchange between two people weighing options. The man repeatedly reassures, minimizes, and pushes, while Jig keeps asking whether doing what he wants will restore the relationship they once had. The imbalance becomes part of the story’s emotional force.
• Liminal Space and a Closing Deadline: The train station holds the couple between places and between possible futures. Madrid is approaching with the train, so a story in which almost nothing physically happens nevertheless carries the pressure of an imminent decision.
• Freedom, Responsibility, and Adulthood: The couple’s luggage records a mobile life of travel and relative freedom. The pregnancy introduces a responsibility that cannot be treated as another destination, and the episode uses that conflict to mark a harsh transition from youthful freedom toward adulthood.
• Perception and Possibility: Jig notices hills, landscape, and possible futures; the man narrows his attention to one desired outcome. Their different ways of seeing expose how far apart they already are and why returning to the relationship “as it was” may no longer be possible.

Questions & Discussion

• Why does Hemingway refuse to name the procedure directly?
  Consider what the omission requires from the reader and how the story would change if the central subject were stated plainly.
• How does the train station shape the drama?
  Discuss the importance of waiting, transit, limited time, and the knowledge that the train to Madrid is carrying the couple toward a decision.
• How much freedom does Jig actually have in the conversation?
  Look closely at the man’s reassurances, repetitions, and promises. When does persuasion become pressure, and how does the story communicate that distinction without explaining it?
• What do you think happens after the story ends?
  Consider whether the couple proceeds with the operation, whether the relationship survives, and whether the story gives enough evidence to favor one future or deliberately leaves the choice unresolved.

Suggested Reading & Resources

• Hills Like White Elephants by Ernest Hemingway
• The Sun Also Rises by Ernest Hemingway
• Ernest Hemingway: A Biography by Mary V. Dearborn
• Hemingway: The Paris Years by Michael S. Reynolds
• Where Are You Going? Where Have You Been? by Joyce Carol Oates
• Short stories by Flannery O’Connor
• The Christopher Perrin Show
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore Flannery O’Connor’s “Everything That Rises Must Converge,” a story of young adulthood, race, pride, dependence, and painful moral awakening. Set largely on a city bus, the story brings Julian, a self-consciously progressive college graduate, into collision with his cheerful but deeply prejudiced mother as the changing South forces people who would rather remain separate into uncomfortable proximity. Along the way, Tim and Emily consider O’Connor’s grotesque humor, her idea of dark grace, the story’s title from Pierre Teilhard de Chardin, and the devastating moment when Julian’s superiority gives way to guilt and sorrow.

Episode Outline

• Young adulthood and the idea that adulthood begins when other people can depend on you
• The bus as a confined social space where strangers, classes, and racial tensions are forced together
• Flannery O’Connor’s Georgia upbringing, Iowa Writers’ Workshop years, illness, and return to Andalusia
• O’Connor’s mastery of the short story, grotesque imagery, and moments of “dark grace”
• Recurring O’Connor figures: dependent mothers, educated young adults, racial conflict, and moral self-deception
• Pierre Teilhard de Chardin and the phrase “everything that rises must converge”
• Julian as an educated, progressive, frustrated young writer who still depends on his mother
• Julian’s mother as cheerful, sacrificial, socially proud, and deeply shaped by racist assumptions
• The extravagant hat as a symbol of distinction that unexpectedly reveals common humanity
• Julian’s performative solidarity on the integrated bus and his mother’s condescending friendliness
• The matching hats, the penny, the blow from the purse, and the story’s violent moment of convergence
• Julian’s final dark grace: the collapse of superiority and his entry into “the world of guilt and sorrow”

Key Topics & Takeaways

• Adulthood as Dependability: Julian has graduated from college and thinks of himself as intellectually mature, yet he still lives with and depends upon the mother he treats with contempt. The episode’s opening definition of adulthood shifts attention from independence alone to becoming someone on whom others can depend.
• Convergence and Common Humanity: The bus, the shared stop, and especially the identical hats repeatedly collapse the distinctions the characters try to preserve. O’Connor turns Teilhard de Chardin’s hopeful image of convergence into a painful encounter with the fact that human beings share a nature even when social habits, prejudice, and resentment keep them apart.
• Prejudice and Performative Progressivism: Julian correctly recognizes the injustice of his mother’s racism, but his own moral posture is compromised by vanity and resentment. Sitting beside a Black passenger becomes partly a performance aimed at humiliating his mother rather than an act of genuine friendship or solidarity.
• Dark Grace: O’Connor’s moments of grace are not soothing. They arrive through shock, humiliation, violence, or loss. Julian’s awakening comes only when his mother collapses and the categories through which he has judged her are overwhelmed by the reality that he may be losing her.
• O’Connor’s Unsparing Moral Vision: The story refuses to let either the progressive son or the traditional mother hide behind the right ideas, social manners, or inherited identities. As Tim and Emily observe, O’Connor’s moral imagination subjects everyone to judgment, including positions and weaknesses she may have recognized in herself.

Questions & Discussion

• Is Julian actually more mature than his mother?
  Compare his education, political awareness, dependence, resentment, and treatment of his mother with the episode’s definition of adulthood as becoming someone others can depend upon.
• Why is the bus such an effective setting for the story?
  Consider how a bus removes control over who shares one’s space and forces racial, class, generational, and personal differences into physical proximity.
• What does the matching hat reveal?
  Discuss how the hat begins as the mother’s attempt to appear distinctive and becomes a visual sign that the people she places beneath herself are not as separate from her as she imagines.
• How does O’Connor transform Teilhard de Chardin’s idea that “everything that rises must converge”?
  Explore the difference between an uplifting vision of spiritual convergence and the painful, humiliating, even violent convergence that occurs in the story.
• What is Julian’s moment of dark grace?
  Consider whether the ending represents punishment, awakening, the beginning of repentance, or all three as Julian enters what O’Connor calls “the world of guilt and sorrow.”

Suggested Reading & Resources

• Wise Blood by Flannery O’Connor
• A Good Man Is Hard to Find by Flannery O’Connor
• Good Country People by Flannery O’Connor
• Parker’s Back by Flannery O’Connor
• The Sound and the Fury by William Faulkner
• The Love Song of J. Alfred Prufrock by T. S. Eliot
• “Faith in Man,” in The Future of Man by Pierre Teilhard de Chardin
• The Habit of Being: Letters of Flannery O’Connor edited by Sally Fitzgerald
• Iowa Writers’ Workshop - O’Connor’s graduate writing program
• Andalusia Farm - Flannery O’Connor’s home in Milledgeville, Georgia
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore T. S. Eliot’s “The Love Song of J. Alfred Prufrock,” a poem that captures the uncertainty and self-consciousness of adolescence and early adulthood. They consider Prufrock’s anxious journey through the modern city, his inability to act or speak decisively, and Eliot’s use of jarring images, near rhymes, and the dramatic monologue to make interior experience visible. Along the way, Tim and Emily discuss why modernist writers broke with inherited forms, how Eliot remained deeply engaged with the tradition he challenged, and why Prufrock’s fear of embarrassment, wasted possibility, and an ordinary adult life remains so recognizable.

Episode Outline

• T. S. Eliot’s American origins, Anglophilia, move to Britain, and conversion to Anglicanism
• “Prufrock” as a poem of adolescence, young adulthood, and the fear of never fully becoming young
• Eliot’s argument that modern writers must force and dislocate language to represent modern experience
• Modernism’s challenge to inherited artistic forms without necessarily abandoning the tradition behind them
• The opening image of the evening sky as a patient “etherized upon a table”
• Eliot’s unusual similes and the “objective correlative” as a way of making interior experience concrete
• Prufrock’s journey into the city and the repeated frustration of expectations for romance, conversation, and possibility
• The dramatic monologue tradition inherited from Robert Browning and Eliot’s reversal of its confident speaker
• Equivocation, social anxiety, near rhyme, and Prufrock’s repeated inability to “dare”
• The unanswered “you,” the unasked “overwhelming question,” and the poem’s atmosphere of paralysis
• The poem’s three movements from invitation, to social paralysis, to longing for mythic grandeur
• “Prufrock” as an early expression of modernism and the broader conflict between inherited form and a rapidly changing world

Key Topics & Takeaways

• Young Adulthood and Social Paralysis: Prufrock embodies the acute self-consciousness of early adulthood, when social situations seem full of possibility but every word and action can also feel subject to judgment. His endless qualifications and hesitations turn ordinary social encounters into moments of existential anxiety.
• Breaking Form from Within the Tradition: Eliot challenges conventional poetic language because inherited expressions seem inadequate to modern experience. Yet Tim and Emily emphasize that Eliot knows, values, and remains in conversation with the classical forms he disrupts rather than simply discarding the past.
• Making the Interior World Visible: Images such as the etherized patient and the yellow fog translate Prufrock’s inward condition into physical images. The discussion of Eliot’s “objective correlative” centers on art’s ability to make an intangible emotional state present through concrete realities.
• A Life of Deferral: Coffee spoons, drawing rooms, repeated questions, and Prufrock’s continual “Do I dare?” create the sense of a life measured out in small acts rather than decisive commitments. The poem’s tragedy lies not primarily in catastrophe but in possibility continually postponed.
• Modernism and the Loss of Certainty: Eliot’s poem belongs to a larger cultural moment in which artistic forms, social hierarchies, and inherited ways of seeing were being unsettled. Modernist experimentation becomes not merely stylistic novelty but an attempt to find forms capable of expressing a fragmented modern world.

Questions & Discussion

• Why is Prufrock unable to act decisively?
  Consider whether his paralysis comes primarily from insecurity, fear of judgment, excessive self-awareness, dissatisfaction with his social world, or some combination of all four.
• Who is the “you” in “Let us go then, you and I”?
  Explore the possibilities raised in the episode: a romantic companion, a friend, the reader, or Prufrock speaking encouragingly to himself. How does each interpretation change the poem?
• What is Prufrock’s “overwhelming question”?
  Discuss why Eliot never states it directly and whether the unanswered question concerns love, meaning, purpose, identity, or the courage to participate fully in life.
• Why does Eliot deliberately make some of the poem’s images and rhymes feel slightly “off”?
  Consider how the etherized patient, the yellow fog, and near rhymes create beauty while also reproducing Prufrock’s discomfort and the dislocation of modern life.
• Can breaking an inherited artistic form actually help preserve a tradition?
  Reflect on Tim and Emily’s discussion of Eliot as a writer who disrupts conventional forms because he knows and values them. What distinguishes creative renewal from simply abandoning the past?

Suggested Reading & Resources

• The Love Song of J. Alfred Prufrock by T. S. Eliot
• The Waste Land by T. S. Eliot
• “Banquet Speech” by T. S. Eliot, Nobel Prize, 1948 Nobel Prize banquet speech by T. S. Eliot
• The Use of Poetry and the Use of Criticism by T. S. Eliot
• The Book of Nature: Wordsworth's Poetry on Nature by William Wordsworth
• Howards End by E. M. Forster
• My Last Duchess by Robert Browning
• Finnegans Wake by James Joyce
• Sold a Story podcast by Emily Hanford
• My Name is Søren Kierkegaard by Tim McIntosh
• Devotchka
• Substack 
• Instagram

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore Jon Fosse’s Trilogy, the work of a Norwegian novelist and playwright whose spare, musical prose gives voice to experiences that resist ordinary explanation. Focusing primarily on “Wakefulness,” they follow the young lovers Asle and Alida as they wander through cold and rain searching for shelter before the birth of their child, while memories of music, love, rejection, and the past flow through the present. Along the way, Tim and Emily consider Fosse’s use of repetition and stream of consciousness, the story’s echoes of the Nativity, the self-giving character of young love, and the way his writing holds together harsh physical realities with a sense of mystery and transcendence.

Episode Outline

• Jon Fosse’s international reputation as a novelist and playwright and his 2023 Nobel Prize
• Fosse’s use of Nynorsk and the cultural and linguistic world of western Norway
• Trilogy and its three parts: “Wakefulness,” “Olav’s Dreams,” and “Weariness”
• Asle and Alida as young, unmarried lovers searching for shelter before the birth of their child
• Biblical and Nativity echoes in the couple’s wandering, rejection, and need for a home
• Fosse’s fluid treatment of memory, present experience, dreams, and indeterminate time
• Music as the language through which Asle and Alida first recognize their love
• Self-giving love and the couple’s devotion to the good of one another
• The arrival of their son Sigvald and the temporary resolution at the end of “Wakefulness”
• Repetition, limited punctuation, and the musical rhythm of Fosse’s prose
• The fiddle as a symbol linking love, music, family, and generations across the trilogy
• Fosse’s religious background, Catholic conversion, and combination of bleak reality with transcendence

Key Topics & Takeaways

• Giving Voice to the Unsayable: Fosse’s prose attempts to express experiences that ordinary analytical language cannot fully capture. Music, love, memory, grief, and religious mystery are communicated through rhythm, repetition, and image rather than extensive explanation.
• Love as Self-Gift: Asle and Alida’s relationship is presented as more than youthful attraction. Each recognizes love through an increasing concern for the other, and Asle explicitly understands his love through the fact that he thinks more about Alida than about himself.
• Time, Memory, and Myth: Fosse allows present action, memory, and interior experience to move into one another without clear boundaries. The uncertain historical setting also gives the couple’s story a mythic quality, allowing their search for shelter to resonate with the story of the Holy Family without becoming a simple allegory.
• Prose as Music: Repetition functions like a musical refrain, creating a continuous forward movement that Emily compares to the Baroque principle of Fortspinnung, or “spinning forth.” The effect is cumulative rather than episodic, with resolution arriving only after sustained rhythmic movement.
• The Physical and the Transcendent: Fosse keeps his characters rooted in hunger, cold, exhaustion, pregnancy, shelter, and bodily need while simultaneously opening those experiences toward love, beauty, religious symbolism, and transcendence.

Questions & Discussion

• Why does Fosse leave the time period of “Wakefulness” so difficult to determine?
  Consider how the absence of precise historical markers changes the story from a realistic account of one young couple into something more universal or mythic.
• What does music allow Asle and Alida to understand about one another?
  Discuss why Fosse associates their discovery of love with the experience of hearing and creating music rather than with explanation or conversation.
• How does Fosse’s repetition affect the experience of reading the story?
  Consider Emily’s comparison to musical refrains and Fortspinnung. Does repetition slow the story down, propel it forward, or accomplish both at once?
• In what sense does the story resemble the Nativity without functioning as a direct retelling?
  Reflect on the young couple, the imminent birth, their exclusion from respectable society, and their inability to find shelter.
• What makes Asle and Alida’s love different from simple romantic desire?
  Consider the episode’s emphasis on self-offering, responsibility, suffering, and each character’s concern for the good of the other.

Suggested Reading & Resources

• Trilogy by Jon Fosse
• “Nobel Lecture” by Jon Fosse, Nobel Prize, 2023 Nobel Lecture by Jon Fosse
• The Bible, the Nativity narrative, Luke 2:1-21 
• Brandenburg Concertos by Johann Sebastian Bach
• Babette’s Feast by Isak Dinesen
• My Name is Søren Kierkegaard by Tim McIntosh
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In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda enter the teen years with Joyce Carol Oates’s “Where Are You Going? Where Have You Been?,” a terrifying story in which almost nothing violent happens on the page. They follow fifteen-year-old Connie from a restless family life and flirtation at a drive-in to a long, increasingly threatening conversation with Arnold Friend at her screen door. Along the way, they discuss Bob Dylan’s influence on the story, Oates’s use of ordinary suburban details to create dread, the dynamics of grooming and seduction, and the ways Connie’s hunger for attention leaves her vulnerable to someone who seems to know far more about her than he should.

Episode Outline

• Adolescence as a life stage caught between childhood and adulthood
• Bob Dylan’s influence on the story and “It’s All Over Now, Baby Blue”
• How Oates creates terror through an ordinary suburban setting rather than overt violence
• Connie’s family life, restlessness, appearance, and desire for attention
• The drive-in encounter with Arnold Friend and his first unsettling promise
• Arnold’s arrival while Connie is home alone and the screen door as the story’s boundary
• Arnold’s escalating manipulation, intimate knowledge, and insistence that Connie will leave with him
• The uncanny appearance, movements, slang, and shifting voices of Arnold Friend and Ellie
• The story as a realistic account of sexual predation and grooming
• Cultural expectations, feminine vulnerability, and comparison with “Hills Like White Elephants”
• Clues that Arnold Friend may represent something more than an ordinary human predator
• Comparisons with Flannery O’Connor and closing questions about evil, family, and modern vulnerability

Key Topics & Takeaways

• Adolescence Between Worlds: Connie is neither fully a child nor fully an adult, and Oates makes that instability central to both her longing for independence and her vulnerability to danger.
• The Terror of the Ordinary: The story needs no explicit violence to become frightening; a driveway, a screen door, a family barbecue, and an ordinary summer afternoon become the setting for escalating dread.
• Grooming Through Attention and Certainty: Arnold first approaches Connie in the language of flirtation and romance, then steadily replaces invitation with inevitability, using knowledge, confidence, and implied threats to narrow her sense of choice.
• Desire and Vulnerability: Connie has learned to seek affirmation through appearance and male attention, and Arnold exploits desires that are real even when the cultural forces surrounding them are debated.
• Human or Supernatural Evil: Arnold can be read as a terrifyingly ordinary predator, but his strange appearance, uncanny knowledge, incantatory speech, and refusal to cross the threshold also leave open a more supernatural interpretation.

Questions & Discussion

• Why is the story so frightening when almost nothing violent happens on the page?
  Consider how Oates uses ordinary details, implied threat, repetition, and the slow loss of Connie’s control to create fear.
• How does Connie’s position between childhood and adulthood make her vulnerable?
  Reflect on her desire to be seen as mature, her dependence on attention, and the moments when she still reacts like a child.
• Is Arnold Friend best understood as an ordinary predator or as something supernatural?
  Examine his uncanny knowledge, strange physical details, shifting voice, incantatory language, and reluctance to enter the house.
• How much responsibility does Connie’s family bear for what happens?
  Discuss the emotional distance of her father, the conflict with her mother, and whether greater parental attention could have protected Connie from Arnold’s manipulation.
• Does the story feel more frightening or instructive in 1966 or today?
  Consider how contemporary forms of impersonation, digital intimacy, and AI-mediated relationships might change the way a modern teenager reads Arnold Friend.

Suggested Reading & Resources

• 'Where Are You Going, Where Have You Been?': Joyce Carol Oates
• “It’s All Over Now, Baby Blue” by Bob Dylan
• “Mr. Tambourine Man” by Bob Dylan
• “Man in the Long Black Coat” by Bob Dylan
• Beat poetry and the Beat Generation edited by Ann Charters
• “Good Country People” by Flannery O’Connor
• “Hills Like White Elephants” by Ernest Hemingway
• The Guardian interview on an AI-chatbot relationship and financial ruin
• My Name is Søren Kierkegaard by Tim McIntosh
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In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda close their exploration of childhood with Antoine de Saint-Exupéry’s The Little Prince. Part children’s story, part fairy tale, and part philosophical meditation, the book asks readers to recover a childlike capacity for wonder without confusing innocence with naïveté. From the Little Prince’s encounters with kings, businessmen, lamplighters, and geographers to his friendship with the fox and devotion to his rose, Tim and Emily explore how relationships, rituals, responsibility, and attention reveal what matters most.

Episode Outline

• The Little Prince as a book equally capable of delighting children and adults
• Saint-Exupéry’s illustrations and the contrast between childhood imagination and adult seriousness
• Saint-Exupéry’s experiences as a pilot and the Sahara Desert setting
• The Little Prince’s planet, his rose, the baobab trees, and his love of sunsets
• Encounters with the king, vain man, drunkard, businessman, lamplighter, and geographer
• Ritual, repetition, and the ability to delight in ordinary things
• The fox, “taming,” and the bonds created through love and responsibility
• The discovery that what is essential cannot simply be seen
• Innocence without naïveté and the child’s capacity for wonder
• The Little Prince as a starting point for philosophical reflection

Key Topics & Takeaways

• Childhood and Wonder: The Little Prince sees the world without the layers of seriousness that prevent adults from recognizing its mystery and delight.
• Ritual and Repetition: Repeated actions can deepen rather than diminish experience, allowing ordinary things to become meaningful.
• Love Creates Responsibility: The Little Prince discovers that his rose matters because he has cared for her; relationship transforms something ordinary into something unique.
• The Invisible and Essential: The fox’s wisdom points beyond a purely material understanding of reality toward truths perceived through relationship, affection, and the heart.
• Innocence Without Naïveté: Saint-Exupéry captures childhood as a way of seeing reality clearly rather than simply knowing less than adults.

Questions & Discussion

• What do children see that adults often fail to notice?
  Consider how the opening drawings and the Little Prince’s questions expose the limitations of an overly “serious” adult perspective.
• How can repetition deepen our experience of ordinary life?
  Reflect on the books repeated sunsets and the episode’s discussion of ritual as a way of inhabiting time more fully.
• Why does caring for the rose make her unique to the Little Prince?
  Discuss how responsibility, attention, and sacrifice create bonds that cannot be explained simply by preference or usefulness.
• What does the fox mean when he teaches that what is essential is invisible to the eyes?
  Consider how friendship, love, and meaning challenge a purely material or measurable understanding of reality.
• Can The Little Prince function as a work of philosophy as well as a children’s book?
  Explore how its characters and episodes invite philosophical reflection without reducing the story to an argument or lesson.

Suggested Reading & Resources

• The Little Prince by Antoine de Saint-Exupéry
• “Ode: Intimations of Immortality” by William Wordsworth
• The Chronicles of Narnia by C. S. Lewis
• Fear and Trembling/Repetition by Søren Kierkegaard
• The Tao of Pooh by Benjamin Hoff
• The Turn of the Screw by Henry James
• “Barn Burning” by William Faulkner
• My Name is Søren Kierkegaard by Tim McIntosh
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In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh begin their exploration of adolescence with James Joyce’s “Araby”, a story of youthful longing set against the drab, paralyzed world of Dublin. Tim and Emily discuss the unnamed boy’s intense attraction to Mangan’s sister, the religious and chivalric language through which he understands his desire, and the painful disillusionment that awaits him at the bazaar. The conversation also considers Joyce’s development from the realism of Dubliners to the experimental modernism of Ulysses and Finnegans Wake, his fascination with ordinary experience, and the lasting influence of Catholic imagery, ritual, and symbolism on his writing.

Episode Outline

• Adolescence as the next stage in the podcast’s exploration of the human life cycle
• James Joyce’s reputation for difficult modernist writing and the more accessible realism of Dubliners
• The difficult publication history of Dubliners and Ezra Pound’s support of Joyce
• Joyce’s portrayal of Dublin as a drab city marked by spiritual and social paralysis
• The unnamed boy’s intense attraction to Mangan’s sister and the experience of adolescent longing
• Religious, liturgical, and chivalric imagery surrounding the boy’s idealized love
• The journey to the Araby bazaar as a romantic quest that ends in disappointment and disillusionment
• Exotic Eastern imagery and the contrast between imagined enchantment and tawdry modern reality
• Paralysis as a recurring theme across Dubliners, including “The Sisters” and “Eveline”
• Joyce’s literary progression from Dubliners to A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake
• Stream of consciousness, Catholic symbolism, and Joyce’s effort to elevate ordinary embodied experience
• Joyce’s conflicted relationship with Irish Catholicism

Key Topics & Takeaways

• Adolescence as Idealization and Awakening: The boy’s attraction to Mangan’s sister is more than a casual crush. 
• Desire in a Paralyzed World: The vitality of the boy’s longing stands in sharp contrast to the stagnant Dublin around him. 
• The Collapse of Romantic Enchantment: The bazaar initially seems to promise exotic beauty and an opportunity for heroic devotion, but the boy encounters closing stalls, indifferent adults, and cheap merchandise. 
• Modernism and the Sacred Ordinary: Joyce’s later experimental style can be understood not simply as obscurity for its own sake but as an effort to represent consciousness and ordinary embodied experience more completely. 
• Joyce’s Inescapably Catholic Imagination: Although Joyce criticizes Irish Catholicism, his fiction remains saturated with Catholic symbols, ritual, sacramental language, and patterns of thought.

Questions & Discussion

• Is “infatuation” the right word for the boy’s feelings toward Mangan’s sister?
  Consider whether his feelings are merely romantic attraction or whether the religious, chivalric, and devotional language of the story transforms them into something more significant.
• What exactly does the boy discover at the end of “Araby”?
  Discuss whether his disappointment is primarily about Mangan’s sister, the bazaar, his own vanity, the adult world, or the collapse of his adolescent imagination.
• What does the exotic imagery surrounding “Araby” contribute to the story?
  Consider why the imagined East seems capable of bringing color and enchantment into Joyce’s lifeless Dublin and why that promise ultimately fails.
• Does Joyce’s experimental modernism make ordinary experience more meaningful or merely more difficult to read?
  Compare the accessible realism of “Araby” with the stream of consciousness techniques discussed in connection with Ulysses and Finnegans Wake.

Suggested Reading & Resources

• “Araby” by James Joyce Audible edition
• “Araby” by James Joyce
• Dubliners by James Joyce
• “The Dead” by James Joyce
• “The Sisters” by James Joyce
• “Eveline” by James Joyce
• A Portrait of the Artist as a Young Man by James Joyce
• Ulysses by James Joyce
• Finnegans Wake by James Joyce
• The Turn of the Screw by Henry James
• Romeo and Juliet by William Shakespeare
• My Name is Søren Kierkegaard by Tim McIntosh
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