Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh close their season on love by turning to Simone Weil’s Waiting for God. Through a wide-ranging conversation, they explore Weil’s life as an “activist mystic,” her radical commitment to solidarity with the afflicted, and her understanding of attention as the heart of prayer, learning, and love of neighbor. The episode examines Weil’s reflections on affliction, consent to suffering, and the paradoxical joy that emerges when the self is emptied, situating her thought alongside figures such as Julian of Norwich, Plato, Dietrich Bonhoeffer, and George Herbert.

Episode Outline

• Opening quotation from Waiting for God and introduction to Simone Weil
• Weil’s historical context: a life spanning the two World Wars
• Simone Weil as “activist mystic”: solidarity, deprivation, and integrity
• Weil’s intellectual brilliance and philosophical formation
• Encounters with suffering: factory work, war, and social marginalization
• Waiting for God as a book of letters and essays
• Letters to Father Jean-Marie Perrin and Weil’s struggle with baptism
• Attention as the core of prayer, education, and love
• Affliction (malheur) and consent to the void
• Joy, suffering, and supernatural reversal
• Weil’s encounter with George Herbert’s “Love (III)”
• Closing reflections on mysticism, activism, and transformed love

Key Topics & Takeaways

• Attention as Prayer: For Simone Weil, attention is not an act of willpower but a receptive openness. Taken to its highest degree, attention becomes prayer and prepares the soul to receive God.
• Affliction and the Void: Weil understands affliction as more than physical suffering—it annihilates the ego and creates an empty space in which God alone can enter.
• Consent Rather Than Escape: Spiritual transformation comes not from avoiding suffering but from consenting to it without illusion, allowing a mysterious reversal to occur.
• Education and Desire: True learning occurs through attention and is driven by desire and joy, echoing insights found in Plato and later educators like Charlotte Mason.
• Love of Neighbor as Creative Attention: Weil insists that genuine love recognizes the afflicted not as categories but as persons, offering presence and attention as acts of love.

Questions & Discussion

• What does Simone Weil mean by “waiting for God”?
  Consider how waiting differs from asking, striving, or controlling, and how this challenges modern ideas of prayer and productivity.
• How does Weil redefine attention in both education and spiritual life?
  Reflect on how her understanding of attention contrasts with the modern “attention economy.”
• What role does affliction play in spiritual transformation?
  Discuss whether Weil’s insistence on consent to suffering is compelling, troubling, or both.
• How does Weil’s thought compare to other mystics discussed this season, such as Julian of Norwich?
  Explore similarities and differences in how they understand suffering, joy, and divine love.
• What does it mean to love one’s neighbor through attention?
  Consider the practical implications of Weil’s claim that attention itself is an act of love.

Suggested Reading & Resources

• Waiting for God by Simone Weil
• Simone Weil's The Iliad or the Poem of Force by Simone Weil
• Revelations of Divine Love by Julian of Norwich
• The Republic by Plato translated by Allan Bloom 
• The Cost of Discipleship by Dietrich Bonhoeffer
• The Temple, “Love (III)” by George Herbert
• Devotchka

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh explore Revelations of Divine Love by Julian of Norwich, the first known book written in English by a woman. They discuss Julian’s life as a fourteenth-century anchoress, her extraordinary visions during a near-fatal illness, and her enduring theological vision of divine love as all-encompassing, sustaining, and ultimately victorious over sin and suffering. Along the way, they reflect on the nature of mysticism, the symbolic imagination of medieval Christianity, and why Julian’s insistence that “all shall be well, and all shall be well, and all manner of thing shall be well” can only be understood in the shadow of the Cross.

Episode Outline

• Opening quotation from "Little Gidding" by T.S. Eliot and its connection to Julian of Norwich
• Julian of Norwich’s historical context: anchoress life, Middle English, and medieval spirituality
• The recovery, transmission, and modern rediscovery of Revelations of Divine Love
• What it means to call Julian a “mystic” and how mysticism differs from systematic theology
• Julian’s illness, visions, and the structure of the “shewings”
• The hazelnut vision and Julian’s understanding of creation as sustained by love
• Sin as “behovely” and the meaning of “all shall be well, and all shall be well, and all manner of thing shall be well”
• Julian’s Trinitarian vision of love and being “oynd” with God
• Christ as mother: metaphor, symbolism, and theological daring
• The lasting relevance of Julian’s mystical theology for modern readers

Key Topics & Takeaways

• Mysticism and Direct Vision: Julian exemplifies the mystic as one who receives interior visions that convey theological truth through symbol, image, and contemplation rather than abstract doctrine.
• Love as the Structure of Reality: For Julian, divine love is not merely an attribute of God but the sustaining force of all that exists, holding creation together like a hazelnut in God’s hand.
• Sin as Privation, Not Power: Sin is real and painful, but it has no independent substance; it is contained within God’s larger work of love and redemption.
• The Cross as the Context of Hope: Julian’s famous assurance that “all shall be well and all manner of thing shall be well” emerges not from denial of suffering but from prolonged contemplation of Christ’s Passion.
• Expansive Christological Imagery: Julian’s portrayal of Christ as mother draws on medieval symbolism to express nourishment, sacrifice, and intimate care, expanding the reader’s theological imagination.

Questions & Discussion

• What distinguishes mysticism from formal theology in Julian’s writing?
  Consider how vision, symbol, and lived experience function differently from doctrinal explanation.
• How does the hazelnut vision reshape the way we think about creation and evil?
  Reflect on whether seeing the world as sustained entirely by love alters how we interpret suffering.
• What does Julian mean when she says that “Sin is behovely”?
  Discuss how this idea challenges modern assumptions about moral causality and blame.
• How does Julian of Norwich’s assurance “all shall be well and all manner of thing shall be well” resonate with Tolkien’s idea of eucatastrophe?
  Consider how both thinkers understand hope not as the denial of suffering, but as the surprising revelation of goodness emerging through loss, failure, or apparent defeat.
• How should modern readers approach Julian’s image of Christ as mother?
  Consider the role of metaphor and symbolism in theology and whether discomfort signals resistance or misunderstanding.

Suggested Reading & Resources

• Revelations of Divine Love by Julian of Norwich
• The Book of Margery Kempe by Margery Kempe
• Four Quartets,"Little Gidding" by T.S. Eliot
• Thomas Aquinas: Selected Writings by Thomas Aquinas 
• The Lord of the Rings by J.R.R. Tolkien 
• Devotchka

Description

In this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore The Temple by George Herbert, one of the most profound devotional poetry collections in the English language. Through close readings of Herbert’s poems and reflections on his life, suffering, and vocation, the hosts examine how Herbert uses poetic form, architectural structure, and startling imagery to express the depths of divine love. Along the way, they reflect on the experience of reading poetry slowly and attentively, the relationship between affliction and grace, and why Herbert continues to shape poets, theologians, and readers centuries later.

Episode Outline

• Opening reading of George Herbert’s poem “Bitter-sweet”
• Emily’s personal encounter with Herbert through Christine Perrin’s lecture at The CiRCE National Conference
• Poetry as an experiential art: reading collections versus isolated poems
• Comparing poetry collections to listening to a full album
• Discussion of poetry collections by Rainer Maria Rilke, T.S. Eliot, and R.S. Thomas
• George Herbert’s life: education, illness, vocation, and pastoral ministry
• Herbert’s relationship to John Donne and the metaphysical poets
• The Country Parson as Herbert’s only work published during his lifetime
• The posthumous publication and reception of The Temple
• Structural “architecture” of The Temple: Church Porch, The Church, The Church Militant
• Close readings and discussion of poems from The Temple, including “The Glance,” “The Agony,” “Virtue,” “The Wreath,” and “Love (III)”.
• Herbert’s use of poetic form (visual poems, repetition, symmetry)
• Reflections from T.S. Eliot, W.H. Auden, Elizabeth Bishop, and Simone Weil
• Poetry as the proper language for suffering and divine love
• Closing reflections on poetry, attention, and formation

Key Topics & Takeaways

• Poetry as Formation: Herbert’s poetry resists abstraction and demands patient attention, shaping the reader through image, rhythm, and form rather than argument.
• Affliction and Divine Love: Herbert presents suffering not as a contradiction of God’s love but as one of its deepest avenues, especially in poems like “The Agony” and “Love (III).”
• Architectural Meaning: The Temple is structured like a sacred space—moving inward, upward, and through the stages of the Christian life.
• Form Serves Meaning: Herbert’s experimental poetic forms (wreaths, wings, typographic play) embody theological truth rather than merely decorate it.
• Enduring Influence: Herbert’s work continues to shape modern poets, theologians, and seekers across belief traditions.

Questions & Discussion

• Why does reading poetry slowly matter?
  Consider how reading an entire poetry collection—rather than isolated poems—changes interpretation and emotional impact.
• How does Herbert connect suffering and love?
  Reflect on how poems like “The Agony” and “Love (III)” portray pain as a vehicle for grace rather than its opposite.
• What does Herbert gain by using poetic form visually?
  Discuss how poems like “The Wreath” or “Easter Wings” communicate meaning through structure, not just words.
• Can poetry communicate theological truth better than prose?
  Think about why figures like Erik Varden argue that poetry is uniquely suited to expressing spiritual realities.
• Why does “Love (III)” remain so powerful for readers today?
  Reflect on its depiction of divine hospitality, shame, and acceptance, and why it continues to resonate across centuries.

Suggested Reading

• The Temple by George Herbert
• The Poems of George Hebert by George Herbert
• The Country Parson by George Herbert
• Confessions by St. Augustine translated by Sarah Ruden
• Holy Sonnets by John Donne
• Duino Elegies by  Rainer Maria Rilke
• Four Quartets by T.S. Eliot
• R.S. Thomas: Everyman Poetry by R.S. Thomas
• Waiting for God by Simone Weil
• Healing Wounds by Bishop Erik Varden
• Chastity: The Reconciliation of Senses by Bishop Erik Varden

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh explore how Western art and music have depicted the many faces of love—from divine ecstasy to tragic longing to the gentle affections of pastoral life. They move through Beethoven’s Pastoral Symphony, Purcell’s Dido and Aeneas, Bernini’s Ecstasy of St. Teresa, and Bruegel’s The Wedding Dance, examining how artists across eras have tried to portray the beauty, complexity, and vulnerability of human and divine love. Through music, sculpture, and painting, Emily and Tim reflect on what these works reveal about desire, the human soul, and our longing for harmony.

Episode Outline

• Opening reflections on how music and visual art express forms of love beyond words
• Beethoven’s Pastoral Symphony and the emotional world of shepherds
• The pastoral tradition and the association of shepherds with simplicity, joy, and musical beauty
• Pieter Bruegel’s The Wedding Dance and the communal joys of embodied love
• Bernini’s The Ecstasy of St. Teresa as a depiction of divine, overwhelming union
• The ambiguity of mystical imagery—sensual, spiritual, or both?
• Shift to tragic eros in Purcell’s Dido and Aeneas
• Dido’s lament as one of the most powerful expressions of forsaken love
• Classical echoes: Virgil’s Aeneid and Dido’s place in the Inferno
• Closing reflections on what art and music teach us about the varieties of love

Key Topics & Takeaways

• Music as a Language of Affection and Joy: Beethoven’s Pastoral Symphony evokes the emotional clarity, peace, and playfulness associated with shepherds—figures who embody a simpler, more integrated relationship to nature and love.
• The Pastoral Tradition and Innocent Desire: From classical poetry to Renaissance art, shepherds symbolize a state of harmony where affection and desire are uncorrupted by ambition or social pretense.
• Embodied Celebration in Bruegel’s The Wedding Dance: Bruegel captures the physicality, joy, and communal warmth of love—reminding us that affection is often expressed through bodies in motion.
• The Ecstatic Union in Bernini’s St. Teresa: Bernini dramatizes a moment of mystical encounter that blurs the line between spiritual and sensual love, inviting viewers to consider the intensity of divine desire.
• Dido’s Tragic Eros in Purcell and Virgil: Dido’s grief in Dido and Aeneas echoes the literary Dido of the Aeneid, revealing how erotic love can elevate and devastate. Her lament remains one of the most moving expressions of abandonment in Western music.

Questions & Discussion

• How does pastoral imagery shape our understanding of innocent love?
  Consider how shepherds represent harmony, simplicity, and musical beauty. Does this imagery still resonate with modern listeners? What role do bodies play in the expression of love?
• Reflect on Bruegel’s Wedding Dance.
  How does embodied joy communicate forms of affection that words cannot? Is Bernini’s Ecstasy of St. Teresa primarily spiritual or sensual?
• Discuss whether the sculpture’s intensity reveals something essential about divine love—or whether it intentionally makes us uncomfortable.
  What makes Dido’s lament so emotionally powerful?
• Think about how Purcell uses musical repetition, silence, and harmonic descent to portray a soul collapsing under the weight of loss.
  How do these artworks together expand our understanding of love? Explore how divine love, tragic love, and communal love form a fuller picture than any single work could express.

Suggested Reading & Related Resources

• The Four Loves by C. S. Lewis
• The Aeneid by Virgil  
• The Holy Bible 
• Symphony No. 6 (“Pastoral”) by Ludwig van Beethoven
• Dido and Aeneas (“Dido’s Lament”) by Henry Purcell 
• The Wedding Dance by Pieter Bruegel the Elder
• “The Ecstasy of Saint Teresa” by Gian Lorenzo Bernini 
• Various sculptures, fountains, architectural works by Gian Lorenzo Bernini
• As You Like It by William Shakespeare
• The Winter’s Tale by William Shakespeare
• All’s Well That Ends Well by William Shakespeare

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh take a deep dive into Jonathan Edwards’s A Treatise Concerning Religious Affections, one of the most important theological works ever published in America. They explore Edwards’s historical moment in the midst of the First Great Awakening, the cultural divide between “old lights” and “new lights,” and Edwards’s effort to distinguish genuine spiritual transformation from mere emotional excitement. Along the way, they unpack Edwards’s definition of “affections,” discuss why Edwards remains so influential, and consider how his framework might apply to the renewed spiritual energy emerging in the U.S. today.

Episode Outline

• Opening quotation from A Treatise Concerning Religious Affections
• Who was Jonathan Edwards? Background, intellect, and role in American Christianity
• Edwards’s historical moment: The First Great Awakening
• Old Lights vs. New Lights — a cultural and theological divide
• Why Edwards’s preaching feels “medieval” to modern ears
• Edwards on the nature of “religious affections”
• False signs of spiritual renewal — emotions vs. lasting change
• True signs of grace — the centrality of long-term obedience
• Edwards’s pastoral purpose in writing the Treatise
• Parallels between the Great Awakening and contemporary spiritual “vibe shifts”
• Closing reflections on agape and the love of God

Key Topics & Takeaways

• Edwards’s World: Revival and Upheaval: Edwards writes in the heart of the First Great Awakening—a period of mass conversions, emotional preaching, and widespread debate about what counts as “true religion.”
• Affections vs. Emotions: For Edwards, affections are deep movements of the will—love, hatred, desire—not fleeting emotions. Genuine Christianity requires these affections to be transformed.
• False Signs of Spiritual Renewal: Intense emotions, tears, dramatic experiences, or even hearing Scripture in powerful ways do not necessarily indicate genuine spiritual change.
• True Signs of Grace: Edwards insists that lasting obedience, humility, love, and good works—not dramatic feelings—are the real evidence of transformed affections.
• Relevance for Today: Tim and Emily connect Edwards’s concerns to modern American spiritual trends, asking whether our current “renewals” will lead to sustained, virtuous lives.

Questions & Discussion

• What distinction does Edwards make between emotions and true spiritual affections?
  Consider why Edwards locates religious transformation in the will rather than in fleeting feelings. How might this help us evaluate contemporary spiritual experiences?
• How does Edwards challenge both the ‘old lights’ and the ‘new lights’?
  Reflect on Edwards’s attempt to affirm genuine emotion while warning against emotional excess. Where do you tend to locate yourself in this debate? 
• Why does Edwards place so much emphasis on long-term obedience?
  Discuss whether you agree with Edwards that sustained virtue—not emotional intensity—is the clearest sign of genuine Christian faith.
• How does understanding the First Great Awakening illuminate Edwards’s Treatise?
  Think about how cultural, theological, and political pressures influenced Edwards’s writing and why his framework was so needed in a divided moment.
• What parallels do you see between Edwards’s time and current spiritual movements?
  Explore how Edwards’s insights might help us discern whether today’s “vibe shift” reflects genuine spiritual change.

Suggested Reading

• Treatise on Religious Affections by Jonathan Edwards 
• Sinners in the Hands of an Angry God by Jonathan Edwards 
• A Religious History of the American People by Sydney E. Ahlstrom
• Jonathan Edwards by George M. Marsden 
• Pew Research Center
• McIntosh, Timothy Andrew. My Name Is SØREN KIERKEGAARD. Directed by Frank Mihelich

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh explore one of the most influential works in Western thought—St. Augustine’s Confessions. Through Augustine’s prayerful reflections, they trace the restless search of a soul divided between desire and grace, and how divine love—caritas—gathers a disintegrated self into unity. Emily and Tim discuss Augustine’s literary innovation, his relationship with his mother Monica, his encounter with Ambrose, and the pivotal conversion in the garden that forever shaped the Christian imagination. Along the way, they uncover why Confessions remains possibly not only the first memoir but also the greatest story of a heart transformed by love.

Episode Outline

• Opening reading from Confessions, Book X: “Late have I loved you, beauty ever ancient, ever new…”
• Defining memoir vs. autobiography—why Confessions resists both labels
• The revolutionary nature of self-reflection in Augustine’s writing
• The influence of Confessions on Western thinkers and writers: Dante, Kierkegaard, and Wittgenstein
• Augustine’s relationship with his mother Monica as an image of caritas
• Monica’s perseverance and the bishop’s prophecy: “The son of so many tears will not perish.”
• Augustine’s flirtation with Manichaeism and the intellectual restlessness it revealed
• Encounter with Ambrose in Milan and the power of typological reading
• The conversion in the garden: “Tolle lege, tolle lege”—“Take and read”
• Reading Romans 13 and the surrender of the divided will
• Augustine’s vision of divine love gathering a fragmented soul into unity
• The final scene with Monica: shared contemplation of eternal wisdom
• Augustine’s later reflections on memory, time, and creation—feeling ideas rather than merely thinking them
• The enduring image of Confessions as a prayer, not merely a story

Key Topics & Takeaways

• The Birth of the Modern Self: Augustine’s Confessions created a new literary form—introspective, honest, and spiritually reflective—laying the groundwork for later memoirs and psychological writing.
• Love as Caritas: For Augustine, divine love (caritas) is self-giving, faithful, and redemptive. It unites a fragmented soul and orders all human loves under the love of God.
• The Role of Monica: Augustine’s mother models steadfast, intercessory love—a living embodiment of patient, redemptive grace that mirrors divine charity.
• From Disintegration to Unity: Augustine’s conversion is not merely moral but ontological—the healing of a divided self through the gathering power of divine love.
• The Nature of Conversion: Augustine’s moment in the garden reveals that faith is both intellectual assent and surrender of the will—love that transforms desire itself.
• Influence Across Centuries: From Kierkegaard to Tolstoy, Confessions shaped how the West understands interiority, repentance, and the restless search for meaning.

Questions & Discussion

• What makes The Confessions more than a memoir?
  Consider how Augustine’s prayerful address to God transforms the genre. In what ways is it less about recounting facts and more about revealing divine truth?
• How does Monica’s love exemplify caritas?
  Reflect on her perseverance and faith. How might Monica’s love serve as a model for parental or spiritual intercession today?
• Why is Augustine’s conversion scene set in a garden?
  Discuss the symbolism of the garden—from the theft of pears to the moment of surrender. What might Augustine be saying about the restoration of Eden?
• What does it mean that Augustine “felt ideas”?
  Explore how Augustine’s intellect and emotion intertwine. How does his way of “feeling ideas” invite readers into a deeper, more embodied understanding of truth?
• How does divine love unify the divided self?
  Consider Augustine’s confession: “You gathered me from the disintegration in which I had been lost.” How does love heal fragmentation in our modern experience of selfhood?
• What legacy did Confessions leave on Western thought?
  Identify how Augustine influenced later thinkers such as Dante, Kierkegaard, Wittgenstein, and Charles Taylor. How does his vision of selfhood still shape our modern world?

Suggested Reading

• Confessions by St. Augustine translated by Sarah Ruden
• City of Godby St. Augustine translated by Henry Bettenson
• A Confession by Leo Tolstoy translated by Alastair Hannay 
• Philosophical Fragments and Fear and Trembling by Søren Kierkegaard
• Philosophical Investigationsby Ludwig Wittgenstein
• Sources of the Self by Charles Taylor 
• Chronicles of Wasted Time by Malcolm Muggeridge
• Romans 13
• The Gospel of John 

Description 

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh turn to the fourth and final love in C.S. Lewis’s taxonomy—agape, or divine charity—through the Gospel of St. John. They explore how John’s vision of love transforms an ordinary Greek term into the heartbeat of Christian revelation. Emily and Tim trace the word’s evolution from the Greek poets through the Septuagint to the New Testament, discuss the literary brilliance of John’s Gospel, and reflect on how reading Scripture well requires patience, imagination, and humility. Together, they uncover how John’s “cosmic love” invites readers not merely to study divine truth but to be transformed by it.

Episode Outline

• Opening reading from John 5:20–21: “For the Father loves the Son and shows him all that he himself is doing.”
• The season’s turn to agape—how John reshapes the Greek concept of love
• Etymology and evolution of agape: from Homer’s simple pleasure to covenantal and divine love
• The Septuagint’s role in transforming language and preparing for the Gospel
• The word agape as covenant faithfulness: God’s steadfast love for His people
• “A new commandment I give you”: how Jesus redefines love as self-giving, not desire
• Eros as ascent vs. Agape as descent: divine self-emptying in contrast to human striving
• The Gospel of John as “cosmic biography” rather than chronological narrative
• John’s artistry and symbolic storytelling—light, water, wine, and gardens
• Typology: Jesus as the New Adam redeeming Eden through the garden of His passion
• Reading Scripture well: avoiding interpretive “barnacles” and returning to the text itself
• Three barriers to good reading—accretion of commentary, neglect of subtext, and fragmentation by chapters and verses
• The power of reading large swaths for narrative and symbolic unity
• The wedding at Cana as literary scene: subtext, silence, and divine mystery
• The Gospel’s pace, intensity, and climax: conflict, crucifixion, and new creation
• The Gospel’s global influence—from Augustine and Aquinas to Bach and Eliot
• Closing quote from historian W.E.H. Lecky on the unmatched moral influence of Jesus’ life

Key Topics & Takeaways

• The Transformation of Agape: Once a modest Greek word, agape becomes the deepest expression of divine nature—God’s self-giving love revealed in Christ.
• The Septuagint’s Legacy: Translating Hebrew covenantal love into Greek language reshaped world history, bridging Jewish revelation and Hellenistic philosophy.
• Reading Scripture with Fresh Eyes: Tim warns that modern readers are “Bible-rich but hermeneutically poor”—too quick to interpret, too slow to attend.
• Typology and Symbol: Emily highlights John’s garden imagery as cosmic renewal—Christ as the New Adam restoring Eden.
• Subtext and Silence: John’s narrative artistry invites contemplation rather than quick conclusions; meaning emerges from what is shown, not told.
• The Gospel’s Literary Power: John fuses poetic imagination with divine revelation—“mini-biography” as cosmic drama.
• Enduring Influence: From Augustine’s theology to Bach’s St. John Passion, John’s vision of divine love continues to shape Western imagination and moral thought.

Questions & Discussion

• How does the Gospel of John redefine love compared to earlier Greek and Hebrew traditions?
  Reflect on how agape moves from satisfaction or pleasure to covenant faithfulness and divine self-giving. How does this shift change the meaning of love?
• What does it mean that “Eros is ascent but Agape is descent”?
  Discuss how divine love moves toward others in self-emptying, while human love seeks fulfillment. How might this distinction inform how we love in practice?
• Why does Emily call John’s Gospel a “cosmic biography”?
  Consider how John begins with “In the beginning” and expands the story beyond time and place. What does this reveal about his understanding of Jesus’ role in creation and redemption?
• What prevents modern readers from reading Scripture well, according to Tim?
  Examine the three barriers—accretion of commentary, loss of subtext, and over-fragmentation. How might slow, narrative reading restore our sense of wonder?
• How does John’s use of symbol and subtext enrich the story?
  Analyze examples like Nicodemus’ nighttime visit or the wedding at Cana. How do these scenes reward deeper reflection rather than quick interpretation?
• Why does the garden setting matter in John’s Gospel?
  Explore Emily’s insight that Jesus’s death and resurrection in a garden reverses Eden’s fall. How does this reinforce the theme of new creation?
• How has the Gospel of John shaped Western thought and art?
  Identify examples—from Augustine and Aquinas to Bach, Dante, or Eliot—that continue to echo John’s portrayal of divine love.

Suggested Reading & Viewing

• The Gospel of John 
• The Four Loves by C. S. Lewis   
• The Septuagint
• The Gospel of Mark
• Confessions by St. Augustine translated by Sarah Ruden
• SummaTheologiae by Thomas Aquinas
• Four Quartets: A Poem by T.S. Eliot
• History of European Morals by W.E.H. Lecky
• McIntosh, Timothy Andrew. My Name Is SØREN KIERKEGAARD. Directed by Frank Mihelich

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh close out their episodes on Eros with Leo Tolstoy’s monumental novel Anna Karenina. They explore how Tolstoy intertwines two contrasting marriage plots—Anna’s tragic affair and Levin’s redemptive union with Kitty—to illuminate the tension between passion, virtue, and meaning in modern love. Along the way, Emily and Tim discuss Tolstoy’s critique of high society, the “woman question” in 19th-century Russia, and why Anna Karenina remains one of the most psychologically profound works ever written.

Episode Outline 

• Opening reading: Anna’s first appearance at the ball and Tolstoy’s breathtaking description of her poise and vitality
• The “marriage plot” tradition in European fiction and why Tolstoy expands it beyond romance into questions of faith and purpose
• The woman question, the man question, and changing gender roles in industrial society
• Levin as Tolstoy’s alter ego: spiritual seeker, social reformer, and bumbling idealist
• The pentagon of love: Oblonsky, Anna, Vronsky, Kitty, and Levin
• The ball scene and its double vision—social spectacle and emotional catastrophe
• Vronsky and Anna’s affair: passion, honor, and the collapse of moral coherence
• Dolly and Oblonsky’s broken marriage as foreshadowing
• Levin and Kitty: humility, healing, and the hard work of real marriage
• Anna’s growing isolation and societal exile—Tolstoy’s critique of hypocrisy
• The double standard between men and women in sin and punishment
• Levin’s moment of transcendence while mowing—finding joy in work, nature, and grace
• The legacy of Tolstoy’s two marriages: tragedy redeemed through meaning
• Reflections on translation and reading Russian literature in English (Constance Garnett’s legacy)

Key Topics & Takeaways

• Two Marriages, Two Fates: Tolstoy contrasts Anna’s passion that destroys with Levin’s love that sanctifies; both reveal human longing for wholeness.
• The “Woman Question”: 19th-century debates about women’s independence evolve into timeless reflections on vocation, family, and social responsibility.
• Society and Hypocrisy: Tolstoy exposes the moral double standard that condemns women for transgression while excusing men like Vronsky.
• The Spiritual Quest: Levin’s awakening joins the physical and the divine—embodied work as revelation of grace.
• Marriage as Redemption: True love in Tolstoy’s vision demands humility, forgiveness, and moral renewal, not mere passion.

Questions & Discussion

• What do Anna’s and Levin’s stories reveal about the possibilities and limits of love?
  Compare how passion leads Anna to isolation while humility brings Levin to peace. What does this suggest about the relationship between love and self-knowledge?
• How does Tolstoy’s “woman question” speak to today’s debates about gender and fulfillment?
  Discuss whether the novel’s concerns about women’s social roles still resonate. How do Anna’s and Kitty’s choices reflect competing visions of freedom?
• What role does society play in Anna’s downfall?
  Consider Tolstoy’s portrait of aristocratic hypocrisy—how do gossip, status, and judgment contribute to tragedy?
• Why does Tolstoy end the novel not with Anna but with Levin?
  Reflect on why the story closes in spiritual serenity rather than despair. How does Levin’s labor and awakening resolve the novel’s central questions?
• How does translation shape our encounter with Tolstoy’s moral vision?
  Does accessibility or fidelity matter more when reading Tolstoy today?

Suggested Reading

• Anna Karenina by Leo Tolstoy  translated by Richard Pevear and Larissa Volokhonsky 
• War and Peace by Leo Tolstoy translated by Richard Pevear and Larissa Volokhonsky  
• Crime and Punishment by Fyodor Dostoevsky translated by Constance Garnett
• A Doll’s House by Henrik Ibsen
• The Marriage Plot by Jeffrey Eugenides
• The Odyssey by Homer translated by Emily Wilson
• The Age of Innocence by Edith Wharton

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh unpack Jane Austen’s Pride and Prejudice, exploring how this beloved novel redefines what makes a good marriage. The hosts trace Elizabeth Bennet’s spirited self-knowledge and Mr. Darcy’s humbling transformation to show how love matures through mutual respect, truth-telling, and growth. Along the way, they laugh over Mr. Collins’s oblivious proposals, the absurdities of Mrs. Bennet’s matchmaking, and the enduring appeal of Colin Firth’s iconic portrayal of Darcy. Together, they reveal why Pride and Prejudice remains one of the most intelligent and emotionally satisfying love stories in literature.

Episode Outline

• Opening reading from Pride and Prejudice and introduction of Austen’s world
• Why Pride and Prejudice stands as the quintessential romantic comedy
• Emily’s long love affair with the novel—and Tim’s early indifference
• The Bennet family and its five daughters: economic pressures and social maneuvering
• Mr. and Mrs. Bennet: the comic and cautionary marriage at the novel’s heart
• First impressions: Elizabeth’s wit, Darcy’s pride, and the spark of tension
• The dance scenes as metaphors for social order and romantic pursuit
• Mr. Collins, Charlotte Lucas, and the pragmatism of marriage as security
• Elizabeth’s refusal of Collins and Darcy’s disastrous first proposal
• The letter that transforms Elizabeth’s understanding—mutual humility and growth
• Lydia’s scandal and Darcy’s hidden act of restitution
• The resolution: love grounded in respect and equality
• Comparing good and bad marriages in the novel (Bennet, Lucas, Gardiner, Darcy)
• How Austen blends irony, moral seriousness, and humor
• Closing reflections on enduring appeal and cultural adaptations (BBC, film, etc.)

Key Topics & Takeaways

• The Question of Marriage: Austen’s central inquiry—what makes a marriage good?—is tested through a range of examples: practical, foolish, and virtuous.
• Elizabeth Bennet’s Integrity: Her quick wit and moral independence challenge both societal expectations and her own prejudice.
• Darcy’s Transformation: His humility and self-reform mark a rare picture of masculine virtue in the romantic genre.
• Irony and Moral Vision: Austen’s humor exposes folly without cynicism, showing that true happiness depends on character, not wealth.
• A Study in Balance: The novel celebrates attraction grounded in mutual respect, contrasting passionate impulsiveness with enduring affection.

Questions & Discussion

• What makes Elizabeth and Darcy’s marriage distinct from the others in the novel?
  Compare their relationship to Charlotte and Mr. Collins or Mr. and Mrs. Bennet. What does Austen suggest is necessary for mutual respect and lasting happiness?
• Why is Austen’s opening line—“It is a truth universally acknowledged…”—so powerful and ironic?
  Discuss whether it functions as social satire, a universal truth, or both. How does it shape the reader’s expectations of the story?
• How does Elizabeth’s “prejudice” evolve throughout the novel?
  Explore the turning points that lead her from misjudgment to humility. What does this transformation reveal about genuine self-knowledge?
• What does the novel suggest about economic pressure and moral choice?
  Consider Charlotte Lucas’s marriage to Mr. Collins. Is her decision purely pragmatic—or does Austen grant her a certain dignity in her realism?
• In what ways does Austen redefine romance through comedy?
  Reflect on how laughter, wit, and irony allow love to emerge as both emotionally satisfying and morally serious.

Suggested Reading & Viewing

• Pride and Prejudice by Jane Austen 
• Sense and Sensibility by Jane Austen
• Much Ado About Nothing by William Shakespeare 
• The Taming of the Shrewby William Shakespeare 
• Pride and Prejudice. Directed by Simon Langton, written by Andrew Davies, BBC/A&E, 1995.
• Pride & Prejudice. Directed by Joe Wright, Working Title Films, 2005.

Description

In this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh revisit Shakespeare’s Romeo and Juliet, asking what makes this story so enduring and how it reshapes tragedy. They trace Romeo’s shift from infatuation to eloquent devotion, highlight Juliet’s prudence and wit, and map the play’s pivot from sparkling comedy to swift catastrophe. The hosts also consider parallels to sectarian conflict and the way the lovers’ deaths reconcile a city divided by an “ancient grudge.” 

Episode Outline

• Opening lines and why Romeo and Juliet may be Shakespeare’s most universally known story
• Romeo before Juliet: clichéd love-sighs and mockery of courtly-love conventions
• “She doth teach the torches to burn bright”: meeting Juliet and the sudden elevation of Romeo’s language
• Juliet’s innocence and wisdom: caution, prudence, and poetic brilliance (Nurse scenes)
• The structural “turn”: from masked-ball comedy to Act III tragedy (Tybalt, Mercutio, banishment)
• Forced marriage to Paris and Friar Lawrence’s risky plan
• Tomb scene and the play’s resolution: private tragedy, public reconciliation
• Comparing tragic models: character-flaw punishment vs. fated misrecognition; who is truly “punished”?
• Cultural echoes and adaptations: West Side Story; the 1996 Baz Luhrmann film
• Closing: why the reconciliation scene matters—and why this grief endures

Key Topics & Takeaways

• From Infatuation to True Speech: Before Juliet, Romeo’s language is wooden and self-dramatizing; after he sees her, his diction becomes vivid and precise—Shakespeare signals genuine love through better poetry.
• Juliet’s Prudent Innocence: Juliet is not naïve; she insists love must be deliberate (“too rash, too unadvised, too sudden”), shows wit with the Nurse, and matches Romeo in lyric power.
• Comedy to Catastrophe: Acts I–II play like a festive comedy; Act III turns on street violence (Tybalt/Mercutio), banishment, and a fateful plan that collapses by minutes.
• Who Bears the Tragic Penalty?: The lovers’ deaths heal the feud; the fathers acknowledge “poor sacrifices of our enmity.” The play’s moral center may indict the parents and the city more than the lovers. 

Questions & Discussion

• Is Romeo and Juliet a “classic” tragedy of character flaw—or something else?
  Consider the difference between punishment for vice (e.g., Macbeth) and tragic misrecognition or fatal timing. Where does this play belong, and why? 
• How does Shakespeare use language to show real love vs. infatuation?
  Compare Romeo’s early clichés to his imagery after meeting Juliet (e.g., “teach the torches to burn bright”). What changes in tone, precision, and metaphor? 
• What makes Juliet a compelling portrait of young wisdom?
  Trace moments of prudence (her “too rash” speech), humor (with the Nurse), and poetic strength. How do these complicate the stereotype of naïve youth? 
• Where does the play most forcefully critique the feud and the city?
  Weigh the banishment, the forced marriage to Paris, and the parents’ final vows. How does public disorder shape private doom—and reconciliation? 
• Why have adaptations and companion works endured (West Side Story, modern films)? Identify which elements—star-crossed love, civic division, youthful courage—translate most powerfully across settings and eras. 

Suggested Reading & Viewing

• Romeo and Juliet by William Shakespeare 
• Much Ado About Nothing by William Shakespeare 
• As You Like It by William Shakespeare
• Macbeth by William Shakespeare Macbeth 
• Antigone by Sophocles  
• Death of a Salesman by Arthur Miller  
• The Odyssey by Homer translated by Emily Wilson
• The Divine Comedy by Dante Alighieri translated by Allen Mandelbaum 
• Romeo + Juliet. Directed by Baz Luhrmann, 20th Century Fox, 1996.
• West Side Story. Directed by Steven Spielberg, 20th Century Studios, 2021.