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share ilmu dari kitab yang aku baca. Atau bisa saja puisiku dan mungkin juga jurnal harianku sebagai wanita muslim yang mau bertumbuh

Kata & Suara Baik

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Truyện Audio Ngôn Tình

Olá! Nesse podcast discutimos aprendizados e ideias de grandes livros que lemos por aí. 

Aperte o play e aprenda algo novo hoje.

Instagram: @oqaprendi_lendo

Olá! Nesse podcast discutimos aprendizados e ideias de grandes livros que lemos por aí. Aperte o play e aprenda algo novo hoje. Instagram: @oqaprendi_lendo

O Que Aprendi Lendo

Retold Myths and Tales is a storytelling podcast featuring traditional re-tellings of myths and folktales from all the world's pantheons; familiar and unfamiliar alike. Every episode is expertly narrated, scored, and sound-designed. Our priority is on providing accurate and honest retellings of every story from mythology or folklore we revive. Our goal is to share these myths and folktales with you in as true-to-source a way as possible, rewriting only in ways which make the adaptation of a story from mythology or folklore to the podcasting medium easier and which provide a better experience.

Retold Myths and Tales

In diesem PodCasts findet Ihr Leseproben zu Büchern des GR-Verlags als Audio Hörproben :) Alles komplett kostenlos. Schaut auch hier vorbei.

#buecher #hörbuch #science-fiction #romance #audio-book

Von Geraldine Reichard :) 

www.gr-verlag.de

In diesem PodCasts findet Ihr Leseproben zu Büchern des GR-Verlags als Audio Hörproben :) Alles komplett kostenlos. Schaut auch hier vorbei. #buecher #hörbuch #science-fiction #romance #audio-book Von Geraldine Reichard :) www.gr-verlag.de

GR-Verlag - Hoverboard - PodCast Science Fiction | Dystopie | Jugendbuch | Romance - Audio Books

«خوانا» پادکست خوانش «خلاصه کتاب» در زمینه‌های گوناگون فلسفه، علوم انسانی و هنر است. در این پادکست، معمولاً خلاصه کتاب را با روایت خود نویسنده (یعنی با خواندن گزیده‌ای از کتاب) می‌شنویم. کتاب‌ها در موضوعات و سطوح مختلف هستند و ممکن است بعضی از آنها نیاز به پیش‌زمینه داشته باشند. مشخصات کتابشناختی هر کتاب را در توضیحات هر اپیزود ببینید و در صورت تمایل نسخه چاپی و کامل کتاب را تهیه کنید.

خوانا

Bienvenue sur « Fringale », le podcast de la Bibliothèque cantonale et universitaire – Lausanne. «Fringale » parce que la bibliothèque est le lieu de tous les délices, qu’elle répond à nos envies (voraces) d’imaginaires, d’émotions et de savoirs. Au programme : des créations sonores originales, des interviews sur les collections patrimoniales et des propositions liées aux évènements de la BCUL.
Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

Bienvenue sur « Fringale », le podcast de la Bibliothèque cantonale et universitaire – Lausanne. «Fringale » parce que la bibliothèque est le lieu de tous les délices, qu’elle répond à nos envies (voraces) d’imaginaires, d’émotions et de savoirs. Au programme : des créations sonores originales, des interviews sur les collections patrimoniales et des propositions liées aux évènements de la BCUL. Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

Fringale

책 속의 주인공이 되어 더 깊게 듣는 즐거움!
주인공처럼 읽는 팟캐스트, ‘어느날 주인공이 되어버렸다.’
줄여서 '어.주.되.'

내가 책속에 주인공이라면?
어떤 선택을 했을까?
책에 이렇게 과몰입해본 적 있나요?
진.짜. 과몰입이 뭔지 궁금하다면?

목요일 밤에 만나요!

책 속의 주인공이 되어 더 깊게 듣는 즐거움! 주인공처럼 읽는 팟캐스트, ‘어느날 주인공이 되어버렸다.’ 줄여서 '어.주.되.' 내가 책속에 주인공이라면? 어떤 선택을 했을까? 책에 이렇게 과몰입해본 적 있나요? 진.짜. 과몰입이 뭔지 궁금하다면? 목요일 밤에 만나요!

본격 과몰입 독서 토크쇼, 어주되

The Best of Radio Litopia as curated by Peter Cox

The Best of Radio Litopia

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman&nbsp;has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of&nbsp;Northanger Abbey,&nbsp;its completeness, finish, and&nbsp;entrain,&nbsp;obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty.&nbsp;Persuasion,&nbsp;relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of&nbsp;Mansfield Park&nbsp;is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x}&nbsp;wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it.&nbsp;Sense and Sensibility&nbsp;has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between&nbsp;Emma&nbsp;and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for&nbsp;Emma.&nbsp;It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for&nbsp;Pride and Prejudice&nbsp;unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi}&nbsp;this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a&nbsp;coup de théâtre;&nbsp;it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of&nbsp;Emma,&nbsp;but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon&nbsp;Pride and Prejudice;&nbsp;and I dare say that,{xii}&nbsp;if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put&nbsp;Pride and Prejudice&nbsp;far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii}&nbsp;time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the&nbsp;Spectator,&nbsp;who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another&nbsp;Spectator&nbsp;letter—that of the damsel of fourteen who{xiv}&nbsp;wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your&nbsp;Spectators&nbsp;mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv}&nbsp;painter. To make this latter obser

Pride and Prejudice

နားလေးခဏငှား Lend me your ears! Podcast ကနေ ကြိုဆိုပါတယ်။ ဒီPodcastကနေ ငယ်ငယ်ကတည်း အခုအချိန်ထိ ဖတ်ဖူးခဲ့တဲ့၊ ဖတ်နေဆဲဖြစ်တဲ့ စာအုပ်တွေနဲ့ ဒီစာအုပ်တွေကြောင့် ကိုယ်ကိုယ်တိုင် ပြောင်းလဲလာတဲ့ စိတ်၊ အပြုအမူ၊ အတွေးအခေါ် များကို လည်း ကျွန်တော်တို့ တတ်နိုင်သလောက် ကောင်းသထက်ကောင်းအောင် ကြိုးစား ဖတ်ပြ တင်ဆက်သွားမှာ ဖြစ်ပါတယ်။ အပတ်စဥ် စာဖတ်ပြတဲ့ ကဏ္ဍလေးတွေ တင်ဆက်ပေးသွားမှာ ဖြစ်လို့ Podcastကို Follow လုပ်ထားပေးကြပါဦး ခင်ဗျာ 
YouTube : https://www.youtube.com/@lendmeyourears91
Facebook : https://www.facebook.com/lendmeyourears91/

ကျေးဇူးအထူး
နားလေးခဏငှား Lend me your ears!

နားလေးခဏငှား Lend me your ears! Podcast ကနေ ကြိုဆိုပါတယ်။ ဒီPodcastကနေ ငယ်ငယ်ကတည်း အခုအချိန်ထိ ဖတ်ဖူးခဲ့တဲ့၊ ဖတ်နေဆဲဖြစ်တဲ့ စာအုပ်တွေနဲ့ ဒီစာအုပ်တွေကြောင့် ကိုယ်ကိုယ်တိုင် ပြောင်းလဲလာတဲ့ စိတ်၊ အပြုအမူ၊ အတွေးအခေါ် များကို လည်း ကျွန်တော်တို့ တတ်နိုင်သလောက် ကောင်းသထက်ကောင်းအောင် ကြိုးစား ဖတ်ပြ တင်ဆက်သွားမှာ ဖြစ်ပါတယ်။ အပတ်စဥ် စာဖတ်ပြတဲ့ ကဏ္ဍလေးတွေ တင်ဆက်ပေးသွားမှာ ဖြစ်လို့ Podcastကို Follow လုပ်ထားပေးကြပါဦး ခင်ဗျာ YouTube : https://www.youtube.com/@lendmeyourears91 Facebook : https://www.facebook.com/lendmeyourears91/ ကျေးဇူးအထူး နားလေးခဏငှား Lend me your ears!

နားလေးခဏငှား - Lend me your Ears!

【作者/书籍介绍】《月亮和六便士》是英国小说家威廉·萨默塞特·毛姆创作的长篇小说，成书于1919年。这篇小说的原型是法国后印象派画家保罗·高更，本书问世后，以情节入胜、文字深刻，在文坛轰动一时。 【主播介绍】阿凌，播音科班毕业，辅修发展教育心理，前少儿节目主持人，播讲风格亲切温暖。让我们一起共读世界名著，从书中找到真正的自己。 如果您在收听过程中有想探讨的任何问题，欢迎在评论区互动交流！

【作者/书籍介绍】《月亮和六便士》是英国小说家威廉·萨默塞特·毛姆创作的长篇小说，成书于1919年。这篇小说的原型是法国后印象派画家保罗·高更，本书问世后，以情节入胜、文字深刻，在文坛轰动一时。【主播介绍】阿凌，播音科班毕业，辅修发展教育心理，前少儿节目主持人，播讲风格亲切温暖。让我们一起共读世界名著，从书中找到真正的自己。如果您在收听过程中有想探讨的任何问题，欢迎在评论区互动交流！

【作者/书籍介绍】《月亮和六便士》是英国小说家威廉·萨默塞特·毛姆创作的长篇小说，成书于1919年。这篇小说的原型是法国后印象派画家保罗·高更，本书问世后，以情节入胜、文字深刻，在文坛轰动一时。 【主播介绍】阿凌，播音科班毕业，辅修发展教育心理，前少儿节目主持人，播讲风格亲切温暖。让我们一起共读世界名著，从书中找到真正的自己。 如果您在收听过程中有想探讨的任何问题，欢迎在评论区互动交流！

凌儿姐姐 |《月亮与六便士》灵魂相遇

Was dich in "Sissis Literaturlounge - Deine Autorenkaffeezeit" erwartet:
• Lounge-Lehre: Fundiertes Wissen zu Handwerk, Veröffentlichung und Marketing.
• Lounge-Stille: geführte Meditationen und Fantasiereisen
• Lounge-Kraft: Affirmationen und Autor:innen-Mindset, um Schreibblockaden zu lösen und deinen Fokus zu finden
• Lounge-Einblick: Der Blick hinter die Kulissen meiner Dienstleistungen und Antworten auf deine brennendsten Fragen.

Mach es dir gemütlich, schenk dir einen Kaffee ein und lass uns gemeinsam an deiner Autorenkarriere arbeiten..

Was dich in "Sissis Literaturlounge - Deine Autorenkaffeezeit" erwartet: • Lounge-Lehre: Fundiertes Wissen zu Handwerk, Veröffentlichung und Marketing. • Lounge-Stille: geführte Meditationen und Fantasiereisen • Lounge-Kraft: Affirmationen und Autor:innen-Mindset, um Schreibblockaden zu lösen und deinen Fokus zu finden • Lounge-Einblick: Der Blick hinter die Kulissen meiner Dienstleistungen und Antworten auf deine brennendsten Fragen. Mach es dir gemütlich, schenk dir einen Kaffee ein und lass uns gemeinsam an deiner Autorenkarriere arbeiten..

Sissis Literaturlounge - Deine Autorenkaffeezeit

Journey back in time with Classic Case Crackers, a podcast dedicated to unraveling the most intriguing mysteries and crimes from history. Each episode delves into forgotten cases, legendary whodunits, and the detective work that brought them to light. From notorious historical figures to obscure puzzlers, we explore the stories, evidence, and investigative techniques that have captivated minds for generations. Perfect for history buffs, mystery enthusiasts, and true crime aficionados, join us as we crack open the case files of the past and shed new light on the enigmas that have stood the test of time.

Journey back in time with Classic Case Crackers, a podcast dedicated to unraveling the most intriguing mysteries and crimes from history. Each episode delves into forgotten cases, legendary whodunits, and the detective work that brought them to light. From notorious historical figures to obscure puzzlers, we explore the stories, evidence, and investigative techniques that have captivated minds for generations. Perfect for history buffs, mystery enthusiasts, and true crime aficionados, join us as we crack open the case files of the past and shed new light on the enigmas that have stood the test of time.

Journey back in time with&nbsp;Classic Case Crackers, a podcast dedicated to unraveling the most intriguing mysteries and crimes from history. Each episode delves into forgotten cases, legendary whodunits, and the detective work that brought them to light. From notorious historical figures to obscure puzzlers, we explore the stories, evidence, and investigative techniques that have captivated minds for generations. Perfect for history buffs, mystery enthusiasts, and true crime aficionados, join us as we crack open the case files of the past and shed new light on the enigmas that have stood the test of time.

Classic Case Crackers

For writers and anyone else who needs to protect their sanity. 
https://sanityprotectionproject.wordpress.com/

For writers and anyone else who needs to protect their sanity. https://sanityprotectionproject.wordpress.com/

Sanity Protection Project

La cotidianidad de los escritores.
Charla sobre libros, letras, y escritura.
A veces hablo sola, a veces con otros escritores.
Si estoy a solas, tiendo a desvariar sobre otras pasiones.

La cotidianidad de los escritores. Charla sobre libros, letras, y escritura. A veces hablo sola, a veces con otros escritores. Si estoy a solas, tiendo a desvariar sobre otras pasiones.

Libros y punto

Podcast – Kenn Nesbitt's Poetry4kids.com

Sundays at 6 a.m. on KPR & KPR2 Conversations is sometimes serious and sometimes humorous, but always informative. Host Dan Skinner shares interviews with writers about recent works of fiction and non-fiction, featuring internationally known best-selling authors as well as new voices in literature. Conversations also shares updates on the area art scene through discussions about upcoming performances and exhibits.

Sundays at 6 a.m. on KPR &amp; KPR2 Conversations is sometimes serious and sometimes humorous, but always informative. Host Dan Skinner shares interviews with writers about recent works of fiction and non-fiction, featuring internationally known best-selling authors as well as new voices in literature. Conversations also shares updates on the area art scene through discussions about upcoming performances and exhibits.

Conversations

Mark Perzel hosts engaging conversations with authors of nonfiction books published by McFarland.

Best Part of the Book

A hot fae high lord? Magical dragons that give you powers? A young princess who loved her kingdom?

Hi, my name is Kimberly, and welcome to the Faedreaming Podcast! 
This is where you can relive the details and characters of your favourite books without constantly rereading them. Whether it’s to prepare for the newest release in a series, or you simply miss that particular fantasy world and all its wonder, this is the right place for you. 

We will dive into all the series that we love and cherish every Tuesday and Friday.
 So please join me on this adventure and enjoy!

A hot fae high lord? Magical dragons that give you powers? A young princess who loved her kingdom? Hi, my name is Kimberly, and welcome to the Faedreaming Podcast! This is where you can relive the details and characters of your favourite books without constantly rereading them. Whether it’s to prepare for the newest release in a series, or you simply miss that particular fantasy world and all its wonder, this is the right place for you. We will dive into all the series that we love and cherish every Tuesday and Friday. So please join me on this adventure and enjoy!

Faedreaming: A Fantasy Book Podcast

Mumken Arabi is the first-ever encyclopedia of Levantine Arabic learning resources, helping non-native speakers find the right materials, learn faster, and enjoy the process. Learning Levantine Arabic (Jordanian) is now &#34;mumken&#34; with Mumken Arabi! 🎉📚تعلّم عربي مع مُمكن 👉 Follow us on Instagram:mumken_arabic🔗 https://www.instagram.com/mumken_arabi/following/ 💼 Follow us on LinkedIn to learn specialized Arabic vocabulary related to jobs and professions:🔗 https://www.linkedin.com/in/mumken-arabi-615848343/__________________________ #TeachingArabicToNonNatives 🌍#Arabic 🇦🇪 #LevantineArabic 🌟 #LearnArabic 📖 #NonNative 🗣️Mumken is a library offering written, audio, and visual resources in Levantine Arabic (Jordanian-Palestinian), along with educational materials and research on developing and teaching the dialect to non-native speakers.

Mumken Arabi is the first-ever encyclopedia of Levantine Arabic learning resources, helping non-native speakers find the right materials, learn faster, and enjoy the process. Learning Levantine Arabic (Jordanian) is now "mumken" with Mumken Arabi! 🎉📚 تعلّم عربي مع مُمكن 👉 Follow us on Instagram: mumken_arabic 🔗 https://www.instagram.com/mumken_arabi/following/ 💼 Follow us on LinkedIn to learn specialized Arabic vocabulary related to jobs and professions: 🔗 https://www.linkedin.com/in/mumken-arabi-615848343/ __________________________ #TeachingArabicToNonNatives 🌍 #Arabic 🇦🇪 #LevantineArabic 🌟 #LearnArabic 📖 #NonNative 🗣️ Mumken is a library offering written, audio, and visual resources in Levantine Arabic (Jordanian-Palestinian), along with educational materials and research on developing and teaching the dialect to non-native speakers.

Mumken Arabi is the first-ever encyclopedia of Levantine Arabic learning resources, helping non-native speakers find the right materials, learn faster, and enjoy the process. Learning Levantine Arabic (Jordanian) is now "mumken" with Mumken Arabi! 🎉📚تعلّم عربي مع مُمكن 👉 Follow us on Instagram:mumken_arabic🔗 https://www.instagram.com/mumken_arabi/following/ 💼 Follow us on LinkedIn to learn specialized Arabic vocabulary related to jobs and professions:🔗 https://www.linkedin.com/in/mumken-arabi-615848343/__________________________ #TeachingArabicToNonNatives 🌍#Arabic 🇦🇪 #LevantineArabic 🌟 #LearnArabic 📖 #NonNative 🗣️Mumken is a library offering written, audio, and visual resources in Levantine Arabic (Jordanian-Palestinian), along with educational materials and research on developing and teaching the dialect to non-native speakers.

Learn ARABIC with Mumken

Join Matt, the ill-read millennial, as he re-builds a reading habit and spends serious time with the authors he really should’ve gotten to know by now.&nbsp;

Join Matt, the ill-read millennial, as he re-builds a reading habit and spends serious time with the authors he really should’ve gotten to know by now. 

The Ill-Read Millennial

Mark &amp; Sam talk to interesting people who have a story to tell. Focus on art, lifestyle, entrepreneurship.

Mark & Sam talk to interesting people who have a story to tell. Focus on art, lifestyle, entrepreneurship.

GoodEnough

Dietro ogni viaggio c’è una storia, fatta di coraggio, sogni e ostacoli. In questo podcast esploreremo il tema dell’immigrazione attraverso le pagine del libro "Migrantes" di Fabiano Bianchini. Racconteremo  cosa significa lasciare tutto per cercare un nuovo inizio, tra sfide, speranze e realtà spesso ignorate. Progetto prodotto da: Mevlat Eleonora, Gola Alessandro e Laganà Eleonora.

Dietro ogni viaggio c’è una storia, fatta di coraggio, sogni e ostacoli. In questo podcast esploreremo il tema dell’immigrazione attraverso le pagine del libro "Migrantes" di Fabiano Bianchini. Racconteremo cosa significa lasciare tutto per cercare un nuovo inizio, tra sfide, speranze e realtà spesso ignorate.Progetto prodotto da: Mevlat Eleonora, Gola Alessandro e Laganà Eleonora.

Dietro ogni viaggio c’è una storia, fatta di coraggio, sogni e ostacoli. In questo podcast esploreremo il tema dell’immigrazione attraverso le pagine del libro "Migrantes" di Fabiano Bianchini. Racconteremo&nbsp; cosa significa lasciare tutto per cercare un nuovo inizio, tra sfide, speranze e realtà spesso ignorate. Progetto prodotto da: Mevlat Eleonora, Gola Alessandro e Laganà Eleonora.

Migrantes: Clandestino verso il sogno americano

The book Breaking the Habit of Comparing Yourself: How to Unleash Your Gift and Create a New You by Rilen Tilos is a faith-based self-help guide aimed at helping individuals break free from the harmful habit of comparison, embrace their uniqueness, and fulfill their God-given purpose. Here’s a summary of the key themes and lessons from each chapter.

The book Breaking the Habit of Comparing Yourself: How to Unleash Your Gift and Create a New You by Rilen Tilos is a faith-based self-help guide aimed at helping individuals break free from the harmful habit of comparison, embrace their uniqueness, and fulfill their God-given purpose. Here’s a summary of the key themes and lessons from each chapter.

Breaking the Habit of Comparing Yourself: How to Unleash Your Gift and Create a New You

Minutes Insight

Embark on a journey of honor, redemption, and the quest for courage as we explore the compelling themes inspired by "Four Feathers." This podcast delves into the heart of adventure, examining the struggles of individuals facing societal expectations, personal demons, and the relentless pursuit of bravery. Each episode features a new complete audiobook that captures the essence of resilience and the transformative power of self-discovery amidst adversity. The show presents a rotating collection of narratives that reflect on the intricate balance between duty and personal conviction, inviting listeners to engage with diverse characters and their quests for honor. This is not a single story but a series of unique explorations, each offering a fresh perspective on the timeless themes of courage and sacrifice. Discover a new book with every episode and immerse yourself in tales that inspire and challenge the spirit. This show includes AI-generated content.

Embark on a journey of honor, redemption, and the quest for courage as we explore the compelling themes inspired by "Four Feathers." This podcast delves into the heart of adventure, examining the struggles of individuals facing societal expectations, personal demons, and the relentless pursuit of bravery. Each episode features a new complete audiobook that captures the essence of resilience and the transformative power of self-discovery amidst adversity. The show presents a rotating collection of narratives that reflect on the intricate balance between duty and personal conviction, inviting listeners to engage with diverse characters and their quests for honor. This is not a single story but a series of unique explorations, each offering a fresh perspective on the timeless themes of courage and sacrifice. Discover a new book with every episode and immerse yourself in tales that inspire and challenge the spirit.This show includes AI-generated content.

Embark on a journey of honor, redemption, and the quest for courage as we explore the compelling themes inspired by "Four Feathers." This podcast delves into the heart of adventure, examining the struggles of individuals facing societal expectations, personal demons, and the relentless pursuit of bravery. Each episode features a new complete audiobook that captures the essence of resilience and the transformative power of self-discovery amidst adversity. The show presents a rotating collection of narratives that reflect on the intricate balance between duty and personal conviction, inviting listeners to engage with diverse characters and their quests for honor. This is not a single story but a series of unique explorations, each offering a fresh perspective on the timeless themes of courage and sacrifice. Discover a new book with every episode and immerse yourself in tales that inspire and challenge the spirit. This show includes AI-generated content.

Four Feathers

Immerse yourself in the chilling allure of the Arctic, where love, betrayal, and destiny intertwine against a frozen landscape, as suggested by the evocative title. This podcast delves into tales of passion and sacrifice, exploring the emotional depths that arise when human connections are tested by the harshest of environments. With every episode featuring a new complete audiobook, listeners will uncover a rotating collection of stories that capture the tension and beauty of relationships amidst the stark realities of survival. Each narrative invites you to reflect on the choices that shape our lives, the specters of our past, and the haunting presence of fate. This is not a single story but a series of unique explorations that reveal the complexities of the heart and the mysteries of the unknown. Join us on this journey through the icy depths of love and loss, and discover a new book with every episode. This show includes AI-generated content.

Immerse yourself in the chilling allure of the Arctic, where love, betrayal, and destiny intertwine against a frozen landscape, as suggested by the evocative title. This podcast delves into tales of passion and sacrifice, exploring the emotional depths that arise when human connections are tested by the harshest of environments. With every episode featuring a new complete audiobook, listeners will uncover a rotating collection of stories that capture the tension and beauty of relationships amidst the stark realities of survival. Each narrative invites you to reflect on the choices that shape our lives, the specters of our past, and the haunting presence of fate. This is not a single story but a series of unique explorations that reveal the complexities of the heart and the mysteries of the unknown. Join us on this journey through the icy depths of love and loss, and discover a new book with every episode.This show includes AI-generated content.

Immerse yourself in the chilling allure of the Arctic, where love, betrayal, and destiny intertwine against a frozen landscape, as suggested by the evocative title. This podcast delves into tales of passion and sacrifice, exploring the emotional depths that arise when human connections are tested by the harshest of environments. With every episode featuring a new complete audiobook, listeners will uncover a rotating collection of stories that capture the tension and beauty of relationships amidst the stark realities of survival. Each narrative invites you to reflect on the choices that shape our lives, the specters of our past, and the haunting presence of fate. This is not a single story but a series of unique explorations that reveal the complexities of the heart and the mysteries of the unknown. Join us on this journey through the icy depths of love and loss, and discover a new book with every episode. This show includes AI-generated content.

Frozen Deep

Dive into the thrilling world of innovation, adventure, and engineering challenges with "Tom Swift and His Big Tunnel." This podcast series invites listeners to explore the spirit of invention and the relentless pursuit of progress as portrayed in a rotating collection of audiobooks centered around young inventors and their daring escapades. Each episode features a new complete audiobook that showcases the ingenuity required to overcome obstacles, whether they be natural or man-made. From constructing monumental structures to unraveling ancient mysteries, these stories celebrate the triumph of creativity and courage in the face of adversity. This is not a single story but a tapestry of unique explorations that highlight the wonders of science and the excitement of adventure. Join us and discover a new book with every episode, igniting your imagination and inspiring your own inventive spirit. This show includes AI-generated content.

Dive into the thrilling world of innovation, adventure, and engineering challenges with "Tom Swift and His Big Tunnel." This podcast series invites listeners to explore the spirit of invention and the relentless pursuit of progress as portrayed in a rotating collection of audiobooks centered around young inventors and their daring escapades. Each episode features a new complete audiobook that showcases the ingenuity required to overcome obstacles, whether they be natural or man-made. From constructing monumental structures to unraveling ancient mysteries, these stories celebrate the triumph of creativity and courage in the face of adversity. This is not a single story but a tapestry of unique explorations that highlight the wonders of science and the excitement of adventure. Join us and discover a new book with every episode, igniting your imagination and inspiring your own inventive spirit.This show includes AI-generated content.

Dive into the thrilling world of innovation, adventure, and engineering challenges with "Tom Swift and His Big Tunnel." This podcast series invites listeners to explore the spirit of invention and the relentless pursuit of progress as portrayed in a rotating collection of audiobooks centered around young inventors and their daring escapades. Each episode features a new complete audiobook that showcases the ingenuity required to overcome obstacles, whether they be natural or man-made. From constructing monumental structures to unraveling ancient mysteries, these stories celebrate the triumph of creativity and courage in the face of adversity. This is not a single story but a tapestry of unique explorations that highlight the wonders of science and the excitement of adventure. Join us and discover a new book with every episode, igniting your imagination and inspiring your own inventive spirit. This show includes AI-generated content.

Tom Swift and His Big Tunnel

Nel cuore di ogni assenza si nasconde una parola mai detta, un respiro trattenuto, un battito mancato. L’ultima sillaba del silenzio è un viaggio poetico tra le rovine dell’anima, un canto sospeso tra amore e perdita, tra il desiderio di appartenere e la necessità di svanire.Con una scrittura intensa e viscerale, Marcella Boccia intreccia il lirismo di Yeats, la spiritualità di Tagore e l'ardore di Neruda, dando vita a poesie che graffiano e accarezzano, evocando immagini di lune smarrite, angeli ciechi, mare che scorre nelle vene e mani che non si sfiorano più. Il silenzio diventa un personaggio vivo, un compagno che avvolge e dilania, una presenza costante nelle notti insonni e nei giorni senza battiti.Ogni poesia è un frammento di esistenza, una confessione sussurrata all’ombra di un dio assente, un elogio della distanza e della solitudine. Le parole di Boccia sono un atto di resistenza contro l’oblio, un grido che si fa eco nel buio, l’ultimo baluardo prima che il silenzio inghiotta tutto.Un libro per chi ha amato fino a perdersi, per chi ha cercato risposte nelle ceneri, per chi sa che la poesia è l’ultimo rifugio prima dell’abisso.

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