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In today's episode, we are exploring how Shakespeare depicts Julius Caesar's "falling sickness," commonly believed by historians and scholars to be epilepsy. First, we'll discuss how the play Julius Caesar can be read as a disability narrative and how it reflects early modern anxieties around invisible disabilities like epilepsy.

Then, we will look at how Shakespeare depicts falling sickness or epilepsy across the canon and determine whether or not the depictions are as accurate as they are often celebrated to be. Finally, we will share an alternative diagnosis for Caesar's symptoms based on what is known of historical Caesar's medical history.

Content Warning: Emetophobia, brief discussion of eating disorders

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

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• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Breuer, Horst. "Bilder Der Epilepsie Bei Shakespeare / Representations of Epilepsy in Shakespeare." Medizinhistorisches Journal, vol. 37, no. 1, 2002, pp. 5–19. JSTOR, http://www.jstor.org/stable/25805304. Accessed 16 Feb. 2026.

Hamlyn, Tim. "The Nature of Caesar's Illness." Latomus, vol. 73, no. 2, 2014, pp. 360–67. JSTOR, http://www.jstor.org/stable/24858427. Accessed 16 Feb. 2026.

Hobgood, Allison. (2009). Caesar Hath the Falling Sickness: The Legibility of Early Modern Disability in Shakespearean Drama. Disability Studies Quarterly. 29. 10.18061/dsq.v29i4.993.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

In Shakespeare's Julius Caesar, Cassius argues that "Men at some time are masters of their fates: The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings." In this week's episode, we are exploring early modern ideas of fate and the stars and the practices and beliefs of astrology in Shakespeare's time.

We'll discuss the difference between the early modern concepts of natural and judicial astrology, the popularity and influence of astrology and astrologers in Early Modern England, and how it found its way into plays like Shakespeare's.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Bragg, Melvin, host. "Renaissance Astrology." In Our Time: Science, BBC Radio, 14 Jun 2007. https://www.bbc.co.uk/programmes/b007nmym

Cash, Cassidy, host, and Barbara Traister, guest. "Episode #13: Interview with Barbara Traister exploring astrology, doctors, herbs, and witches in Shakespeare's England." That Shakespeare Life, episode 13, Cassidy Cash, 16 July 2018. https://cassidycash.libsyn.com/episode-13-interview-with-barbara-traister-exploring-astrology-doctors-herbs-and-witches-in-shakespeares-england

Kassell, Lauren, host. "Simon Forman: astrology, Medicine and Quackery in Elizabethan England." University of Oxford Podcasts, University of Oxford, 26 Oct 2011. https://podcasts.ox.ac.uk/simon-forman-astrology-medicine-and-quackery-elizabethan-england

Lipscomb, Suzannah, host, and Benjamin Woolley, guest. "Elizabeth I's Conjuror: John Dee." Not Just the Tudors, episode 364, History Hit, 9 Oct 2024. https://podcasts.apple.com/us/podcast/elizabeth-is-conjuror-john-dee/id1564113869?i=1000670531385

Oxford English Dicitionary. "Astrology, N. Meanings, Etymology and More | Oxford English Dictionary." Oxford English Dictionary, 2026, www.oed.com/dictionary/astrology_n.

Oxford English Dicitionary. "Astronomy, N. Meanings, Etymology and More | Oxford English Dictionary." Oxford English Dictionary, 2026, www.oed.com/dictionary/astronomy_n.

Schifini, Julia and Amanda McLoughlin, hosts, and Kelly Downes, guest. "Episode 361: Astrology and Shakespeare (with Kelly Downes)." Spirits Podcast, episode 361, Multitude Productions, 8 Nov 2023. https://spiritspodcast.com/episodes/shakespeare-and-astrology

Shakespeare, William. Twelfth Night, or What You Will , edited by Keir Elam, ARDEN SHAKESPEARE, LONDON, UK, 2008, pp. 180n1.3.132-5. Third.

Walker, Katherine. "Almanacs as Underdogs: Folger Shakespeare Library." Folger Shakespeare Library Almanacs as Underdogs Comments, Folger Shakespeare Library, 19 Mar. 2019, www.folger.edu/blogs/collation/almanacs-as-underdogs/.

Smith, William Bruce, "Shakespeare and astrology" (1989). Chapter 2. Master's Theses. Paper 1083

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In Julius Caesar, Shakespeare repeatedly reminds us that Brutus is an honorable man. In this episode we will explore if this is true, how Shakespeare depicts both masculine honor and its early modern counterpart, feminine virtue, in the characters of Brutus and Portia, and how Portia's characterization by editors and theatremakers has changed over time.

First, we unpack how honor was defined for Shakespeare's audiences and how the play incorporates Early Modern anxieties about rhetoric throughout the plot. We then closely examine Brutus's desire to be perceived as honorable, how that shapes his choices, and whether or not he is ultimately honorable.

Then we will turn to Portia, tracing how editors and theatremakers have altered her language and characterization across time in order to make her virtue more palatable to the moral expectations of their moment. We look at what gets changed, what gets softened or erased, and what those choices reveal about how women are policed on stage and on the page.

Content Warning: Discussions of suicide and self-harm. If you are in crisis, please call, text or chat with the Suicide and Crisis Lifeline at 988, or contact the Crisis Text Line by texting TALK to 741741.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

GRAY, PATRICK. "CONCLUSION TO PART I: SHAKESPEARE'S PASSION PLAY." Shakespeare and the Fall of the Roman Republic: Selfhood, Stoicism and Civil War, Edinburgh University Press, 2019, pp. 145–74. JSTOR, http://www.jstor.org/stable/10.3366/j.ctv7n09n2.9. Accessed 19 Jan. 2026.

Sacharoff, Mark. "Suicide and Brutus' Philosophy in Julius Caesar." Journal of the History of Ideas, vol. 33, no. 1, 1972, pp. 115–22. JSTOR, https://doi.org/10.2307/2709060. Accessed 19 Jan. 2026.

Scott, Sarah K. "Portia and the Circulation of Virtue: 'Men May Construe Things after Their Fashion.'" Medieval & Renaissance Drama in England, vol. 32, 2019, pp. 219–38. JSTOR, https://www.jstor.org/stable/26800556. Accessed 20 Jan. 2026.

Xiao, Xinyao. (2018). "Oxymoronic Ethos: the Rhetoric of Honor and Its Performance in Shakespeare's Julius Caesar." Philological Quarterly. 97. 263-285.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

As we start off another one of Shakespeare's plays, we will first take a look at the themes, motifs, and production history of Julius Caesar in this Stuff to Chew On episode. This will provide a basis for future conversations as we dive deeper in later episodes.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
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• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone -- get 50% off of your first month with code HBD5 until February 1, 2026
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Mowat, Barbara, and Paul Werstine. "About Shakespeare's Julius Caesar." Folger Shakespeare Library, 2025, www.folger.edu/explore/shakespeares-works/julius-caesar/about-shakespeares-julius-caesar/.

Shakespeare, William. Julius Caesar. Edited by Andrew James Hartley, Arden Shakespeare, 2024.

SparkNotes Editors. "Julius Caesar" SparkNotes.com, SparkNotes LLC, 2005, https://www.sparknotes.com/shakespeare/juliuscaesar/

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

It's time for our eleventh play! Today we are starting our series on Shakespeare's Julius Caesar with a synopsis episode. In this episode, we will provide a detailed summary of the plot, breaking down the action of the play scene by scene.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

Special thanks to Nat Yonce for editing this episode.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone -- get 50% off of your first month with code HBD5 until February 1, 2026
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Shakespeare, William. Julius Caesar. Edited by Andrew James Hartley, Arden Shakespeare, 2024.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

Back in 2021, we recorded our second ever wrap-up episode for our second play series: Twelfth Night. We both watched two versions of Twelfth Night: Trevor Nunn's 1996 film and She's the Man, then we also each watched an additional version. Kourtney watched the The Globe's 2012 production starring Mark Rylance, and Elyse watched National Theatre's 2017 production featuring Tamsin Greig.

But then, tragedy struck when Kourtney went to edit the episode! The audio files for the majority of the episode were corrupted and could not be used. The only usable audio was the portion of our conversation about She's the Man. So, we released what we could as our "Twelfth Night: Wrap Up" episode.

Since that day, we've dreamed about going back and revisiting the three productions that were lost to technological issues. Today, we are so excited to revisit those productions and share our 2025 thoughts with you.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

Sound effects obtained by ZapSplat.com.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Carroll, Tim, director. Twelfth Night: Live from Shakespeare's Globe. Performance by Stephen Fry, and Mark Rylance, Electric Sky, 2012.

Godwin, Simon, director. Twelfth Night. Performance by Tamsin Grieg, et al., National Theatre at Home, 2017, https://www.ntathome.com/products/twelfth-night. Accessed 2025.

Nunn, Trevor, director. Twelfth Night; or What You Will. Performance by Imogen Stubbs, Helena Bonham Carter, and Ben Kingsley. Entertainment in Video, 1996.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

At the end of each year, we revisit the Shakespeare plays we covered over the past twelve months. We've gone back and re-read both Henry V and The Tempest, and we will discuss what has changed in our readings of these plays after completing our research as well as what we would like to see more (or less) of in future productions or research relating to these two plays.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Shakespeare, William. King Henry V. Edited by T. W. Craik, Arden Shakespeare, 1995.

Shakespeare, William, et al. The Tempest. Bloomsbury Publishing, 2011.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

Each year, in recognition of the National Day of Mourning/Thanksgiving holiday in the United States, we examine how British colonialism is irrevocably intertwined with Shakespeare. Over the past four years, we explored this topic through close reading of Jyotsna Singh's Shakespeare and Postcolonial Theory.

After completing our episodes on Shakespeare and Postcolonial Theory, we wanted to turn to highlighting and amplifying the work of artists, activists, and scholars who are working in decolonial Shakespeares.

In this year's episode, we are joined by Dr. Katherine Gillen and Ruben Ramirez of the Borderlands Shakespeare Collectiva to discuss how artists, activists, scholars, and educators in the U.S.-Mexico Borderlands engage with Shakespeare in ways that reflect their lived realities. We discuss the plays from this region that adapt or appropriate Shakespeare and how these texts can be used in the classroom or in production alongside Shakespeare's text to illuminate themes and engage new audiences. We also learn more about the work of Borderlands Shakespeare Colectiva and how they uplift and amplify this work, connecting scholarship with theatrical performance.

For more on the work of Borderlands Shakespeare Colectiva, or to get involved, visit their website at https://borderlandsshakespeare.org/.

For more on Shakespeare and Postcolonial Theory, check out our previous episodes from this series:

• Mini: Shakespeare and the Colonial Imagination
• Mini: Shakespeare's World: Immigrants, Others, and Foreign Commodities
• Mini: "Decolonize the Mind" through Shakespeare
• Mini: Intercultural and Global Shakespeare in a Postcolonial World

Katherine Gillen is Professor of English and Associate Dean of the College of Arts and Sciences at Texas A&M University–San Antonio. With Kathryn Vomero Santos and Adrianna M. Santos, she co-founded the Borderlands Shakespeare Colectiva and is co-editing the three-volume anthology, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera. She is also working on a monograph titled The Renaissance of Whiteness: The Classical Foundations of Shakespeare's Racial Politics, which examines Shakespeare's use of classical sources within the context of emerging racial capitalism.

Ruben Ramirez is an MA student at Texas A&M- San Antonio and currently serving in a Graduate Assistantship Research position with the Borderlands Shakespeare Colectiva. His research interests include Latino/a/x literature, Ecocriticism, Environmental Justice, and Decolonial Theory.

Borderlands Shakespeare Colectiva is an award-winning group of scholars, educators, artists, and activists who engage with Shakespeare in ways that reflect the lived realities of the U.S.–Mexico Borderlands. We aim not only to change the way Shakespeare is taught and performed but also to promote the socially just futures envisioned en el arte de La Frontera.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
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Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

In this episode, we conclude our exploration of The Tempest by examining three distinct interpretations of Shakespeare's final solo play. We begin with Julie Taymor's 2010 film adaptation, featuring Helen Mirren as Prospera, and reflect on the criticism of it we read about in our episode, The Tempest: Patriarchy, Gender, and Power in Shakespeare's Play. We then turn to The Globe's 2013 stage production, directed by Jeremy Herrin, to discuss how its traditional staging and ensemble approach illuminate the play's theatricality and humor. Finally, we analyze the Donmar Warehouse's 2016 production, directed by Phyllida Lloyd and starring Harriet Walter, which reimagines The Tempest within a women's prison as part of Lloyd's groundbreaking Shakespeare Trilogy. Throughout this episode, we reflect on what (for us) makes an effective production of The Tempest and discuss how these productions can be used to illuminate the text.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates:

• Join our email list
• Follow us on Instagram at @shakespeareanyonepod
• Visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.
• Grab Anthony Hopkins' memoir, We Did Okay, Kid, at Libro.fm or Bookshop.org.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Herrin, Jeremy and Ian Russell, directors. The Tempest. Performance by Roger Allam, et al., Globe Player, Shakespeare's Globe, 2013. https://player.shakespearesglobe.com/productions/the-tempest-2013/. Accessed 2025.

Lloyd, Phyllida, director. The Tempest. Performance by Harriet Walter, et al., Digital Theatre: The Tempest, Digital Theatre+/Donmar Warehouse, 2018, https://www.digitaltheatre.com/watch/vod/37666819/the-tempest. Accessed 2025.

Taymor, Julie, director. The Tempest. Performance by Helen Mirren, et al., Buana Vista Home Entertainment Inc, 2011.

Trueman, Matt. "London Theater Review: Phyllida Lloyd's All-Female 'the Tempest.'" Variety, Variety, 23 Nov. 2016, variety.com/2016/legit/reviews/the-tempest-review-all-female-women-1201925792/.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you.

In this episode, we sit down with Ana Davis to discuss her debut novel, My Keen Knife. Set in a Portugal-inspired country, My Keen Knife follows three teenagers as they strive to achieve their foretold fates.

We discuss Ana's inspirations for My Keen Knife, her writing process, and how her background in International Affairs influenced the world of her novel. We also discuss how Shakespeare's Macbeth weaves throughout the plot and the Macbeth Easter eggs she's hidden for Shakespeare fans like us.

My Keen Knife is out now at a bookseller near you! Support Shakespeare Anyone? by purchasing your copy through this link.

About My Keen Knife

Fair is foul and foul is fair in a country ravaged by the lies of its monarchy. To claim the crown, Adelina, Seba, and Jasibin must learn to be a little wicked…even if it means betraying each other.

All hail Malves, who shall wear crowns. On the night of her brother's murder, Adelina Malves holds him as he dies, inheriting both his title and the prophecy that spelled out his doom. If she's to avenge him and avoid a similar death, she must claim the crown of Jumaral by ruthlessly cutting down every family member ahead of her in the line of succession and uncover the secret that got her brother killed.

Hail! Thou shalt get kings, though thou be none. Ghost-whispering Jasibin holds the key to Adelina's plan to contact her dead brother—if only his strange magic wasn't killing him slowly. To fulfill his own prophecy and protect his brother Seba, he must discover the source of his magic before he's lost to the land of the dead.

All hail, Sebastião, that shall be king hereafter. Seba is desperate for a way out of Jumaral and the substantial financial debt his dead mother left him. When a witch sees the riches of a king in his future, Adelina's offer of coin in exchange for help feels like fate, pulling Seba into a fake dating plot with Adelina that hides their sinister plans.

In this stunning, innovative retelling of Shakespeare's Macbeth set in a Portugal-inspired country, three teenagers will stop at nothing to fulfill their destinies.

About Ana Davis

Ana Davis is a Portuguese-American fantasy writer, currently pursuing double master's degrees in what amount to Human Rights and Conflict Resolution (the actual names are a mouthful). She recently graduated from Northeastern University with a bachelor's degree in International Affairs. Ana was a mentee for round nine of Author Mentor Match, and she remains far too invested in the books she read in high school English class.

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com

Support the podcast:

• Become a patron at patreon.com/shakespeareanyone
• Buy us a coffee
• Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores.
• Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link.

Find additional links mentioned in the episode in our Linktree.

Works referenced:

Davis, Ana. My Keen Knife. Turner Publishing Company, 2025.