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Qualche passo del "Cantico dei Vangeli" di Alda Merini.

CANTICO DEI VANGELI

Diane Hielscher spricht mit inspirierenden Menschen, die Worte machen. Es geht in diesem Podcast um Sprache: Wie schreibt man eine Kurzgeschichte? Wie einen Song? Wann sind Floskeln langweilig und wann gefährlich? Wie geht rappen und was macht Comedy-Texte aus?

Worte machen!

Lundestund er en podkast om våre bøker fra Forlagshuset Lunde. Her får du forfatterintervjuer, opplesninger og samtaler.

Lundestund

Prepare to be moved by the poignant and powerful tale of "Rilla of Ingleside" by Lucy Maud Montgomery. Set against the backdrop of World War I, this gripping novel explores the transformative journey of Rilla Blythe, Anne Shirley's youngest daughter, as she navigates the challenges and heartbreaks of war on the home front. As the young men of Ingleside go off to fight, Rilla finds herself thrust into a world of uncertainty, fear, and sacrifice. Montgomery's masterful storytelling shines a light on the resilience and strength that emerge during times of adversity, as Rilla discovers her own courage and learns the true meaning of love and patriotism. "Rilla of Ingleside" is a profound and moving exploration of the human spirit, reminding us of the enduring power of hope, the bonds of family, and the indomitable nature of the human heart. Listen to this extraordinary tale and be transported to a time when courage and resilience were tested, and the triumph of the human spirit prevailed. <a href="https://www.solgood.org" target="_blank" rel="noreferrer noopener">https://www.solgood.org</a> - Check out our Streaming Service for our full collection of audiobooks, podcasts, short stories, &amp; 10 hour sounds for sleep and relaxation at our website World War I, courage, sacrifice, resilience, family, heartbreak, home front, love, patriotism, coming of age, poignant, historical fiction, vivid characters, Canadian literature, Anne Shirley, war's impact, transformative, emotional journey, Canadian author, hope

Prepare to be moved by the poignant and powerful tale of "Rilla of Ingleside" by Lucy Maud Montgomery. Set against the backdrop of World War I, this gripping novel explores the transformative journey of Rilla Blythe, Anne Shirley's youngest daughter, as she navigates the challenges and heartbreaks of war on the home front. As the young men of Ingleside go off to fight, Rilla finds herself thrust into a world of uncertainty, fear, and sacrifice. Montgomery's masterful storytelling shines a light on the resilience and strength that emerge during times of adversity, as Rilla discovers her own courage and learns the true meaning of love and patriotism. "Rilla of Ingleside" is a profound and moving exploration of the human spirit, reminding us of the enduring power of hope, the bonds of family, and the indomitable nature of the human heart. Listen to this extraordinary tale and be transported to a time when courage and resilience were tested, and the triumph of the human spirit prevailed.https://www.solgood.org - Check out our Streaming Service for our full collection of audiobooks, podcasts, short stories, & 10 hour sounds for sleep and relaxation at our website World War I, courage, sacrifice, resilience, family, heartbreak, home front, love, patriotism, coming of age, poignant, historical fiction, vivid characters, Canadian literature, Anne Shirley, war's impact, transformative, emotional journey, Canadian author, hope

Prepare to be moved by the poignant and powerful tale of "Rilla of Ingleside" by Lucy Maud Montgomery. Set against the backdrop of World War I, this gripping novel explores the transformative journey of Rilla Blythe, Anne Shirley's youngest daughter, as she navigates the challenges and heartbreaks of war on the home front. As the young men of Ingleside go off to fight, Rilla finds herself thrust into a world of uncertainty, fear, and sacrifice. Montgomery's masterful storytelling shines a light on the resilience and strength that emerge during times of adversity, as Rilla discovers her own courage and learns the true meaning of love and patriotism. "Rilla of Ingleside" is a profound and moving exploration of the human spirit, reminding us of the enduring power of hope, the bonds of family, and the indomitable nature of the human heart. Listen to this extraordinary tale and be transported to a time when courage and resilience were tested, and the triumph of the human spirit prevailed. <a href="https://www.solgood.org" rel="noopener noreferrer">https://www.solgood.org</a> - Check out our Streaming Service for our full collection of audiobooks, podcasts, short stories, &amp; 10 hour sounds for sleep and relaxation at our website World War I, courage, sacrifice, resilience, family, heartbreak, home front, love, patriotism, coming of age, poignant, historical fiction, vivid characters, Canadian literature, Anne Shirley, war's impact, transformative, emotional journey, Canadian author, hope

Rilla of Ingleside - A Dramatic Reading

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

Pódcast presentado por Bookish Giftbox: libros leídos, comentados, comedia, cultura y más cositas.

PsychoLibros de PsychoNemo, El Podcast (Qu'est-ce que c'est)

Vit’a ler com Desculpas para Ler É o boost de energia de que precisa para ter boas desculpas para ler. Todas as semanas, às terças-feiras de manhã, no podcast de Rita França Ferreira prescrevemos a vitamina que espreguiça a leitura e dá tempo aos livros. Não se sinta mal porque não lê, o Vit’a ler está consigo! Linkedin: <a href="https://www.linkedin.com/in/rita-fran%C3%A7a-ferreira-a472a84/" target="_blank" rel="noreferrer noopener">https://www.linkedin.com/in/rita-fran%C3%A7a-ferreira-a472a84/</a> Instagram: <a href="https://www.instagram.com/desculpasparaler/" target="_blank" rel="noreferrer noopener">https://www.instagram.com/desculpasparaler/</a> Facebook: <a href="https://www.facebook.com/desculpasparaler" target="_blank" rel="noreferrer noopener">https://www.facebook.com/desculpasparaler</a> Website: <a href="https://desculpasparaler.com" target="_blank" rel="noreferrer noopener">https://desculpasparaler.com</a>

Vit’a ler com Desculpas para LerÉ o boost de energia de que precisa para ter boas desculpas para ler.Todas as semanas, às terças-feiras de manhã, no podcast de Rita França Ferreira prescrevemos a vitamina que espreguiça a leitura e dá tempo aos livros.Não se sinta mal porque não lê, o Vit’a ler está consigo!Linkedin: https://www.linkedin.com/in/rita-fran%C3%A7a-ferreira-a472a84/Instagram: https://www.instagram.com/desculpasparaler/Facebook: https://www.facebook.com/desculpasparalerWebsite: https://desculpasparaler.com

Vit’a ler com Desculpas para Ler É o boost de energia de que precisa para ter boas desculpas para ler. Todas as semanas, às terças-feiras de manhã, no podcast de Rita França Ferreira prescrevemos a vitamina que espreguiça a leitura e dá tempo aos livros. Não se sinta mal porque não lê, o Vit’a ler está consigo! Linkedin: <a href="https://www.linkedin.com/in/rita-fran%C3%A7a-ferreira-a472a84/" rel="noopener noreferrer">https://www.linkedin.com/in/rita-fran%C3%A7a-ferreira-a472a84/</a> Instagram: <a href="https://www.instagram.com/desculpasparaler/" rel="noopener noreferrer">https://www.instagram.com/desculpasparaler/</a> Facebook: <a href="https://www.facebook.com/desculpasparaler" rel="noopener noreferrer">https://www.facebook.com/desculpasparaler</a> Website: <a href="https://desculpasparaler.com" rel="noopener noreferrer">https://desculpasparaler.com</a>

Vit'a Ler

A podcast celebrating writing and creativity across fantasy, horror, and science-fiction, hosted by authors David Green and Robin CM Duncan.

Long Story Short: The Official Podcast of The British Fantasy Society

Our goal is to provide a glimpse into our latest publications.

Our goal is to provide a glimpse into our latest publications.

Agincourt Press

Scottish Makar Kathleen Jamie and host Alistair Heather are joined in the Scottish Poetry Library by some of the most talented and vital voices in modern Scottish letters. Enjoy poetry readings and enlightening discussion. 

Supported by the National Lottery through Creative Scotland.

Scottish Makar Kathleen Jamie and host Alistair Heather are joined in the Scottish Poetry Library by some of the most talented and vital voices in modern Scottish letters. Enjoy poetry readings and enlightening discussion. Supported by the National Lottery through Creative Scotland.

Lantern Scottish Poetry

Join CJ and Holly, two best friends who share a love of reading as they discuss books they’ve loved, books they want to read, the best and the worst of tropes, and a lot of sports romance and fantasy books. Please note this is Trigger Warnings Book Club because we especially love to read and discuss dark romance

Trigger Warnings Book Club

25-year comics retailer, filmmaker and longtime newspaper columnist Matthew Price discusses comic books, films and other items of interest. <a href="https://matthewd2t3s.substack.com?utm_medium=podcast">matthewd2t3s.substack.com</a>

25-year comics retailer, filmmaker and longtime newspaper columnist Matthew Price discusses comic books, films and other items of interest. matthewd2t3s.substack.com

25-year comics retailer, filmmaker and longtime newspaper columnist Matthew Price discusses comic books, films and other items of interest. <a href="https://matthewd2t3s.substack.com?utm_medium=podcast" rel="noopener noreferrer">matthewd2t3s.substack.com</a>

Word Balloons and other Nerdage Podcast

Listen to everything on <a href="https://www.youtube.com/@FerndaleMichigan" rel="noopener noreferrer" target="_blank">https://www.youtube.com/@FerndaleMichigan</a>, including city council meetings, as an audio podcast

Listen to everything on https://www.youtube.com/@FerndaleMichigan, including city council meetings, as an audio podcast

Listen to everything on <a href="https://www.youtube.com/@FerndaleMichigan" rel="noopener noreferrer">https://www.youtube.com/@FerndaleMichigan</a>, including city council meetings, as an audio podcast

FerndaleYoutubeChannel

Un benvenuto al gusto di tè a chiunque tu sia, questo è il nostro piccolo borgo di chiacchiere e libri!

Noi siamo tre amiche, Giulia 🦊, Laura 🐭 e Maria 🐰, unite dalla passione per la letteratura e non solo. 
Abbiamo pensato di rendere il mondo del web partecipe delle nostre chiacchiere sulle nostre ultime letture, sulle edizioni più belle che ci sono capitate sotto al naso e su quei libri che aspettiamo con trepidazione.

Se anche a te piace leggere, ci trovi qui ogni secondo e quarto lunedì del mese alle ore 7.00!

Un benvenuto al gusto di tè a chiunque tu sia, questo è il nostro piccolo borgo di chiacchiere e libri! Noi siamo tre amiche, Giulia 🦊, Laura 🐭 e Maria 🐰, unite dalla passione per la letteratura e non solo. Abbiamo pensato di rendere il mondo del web partecipe delle nostre chiacchiere sulle nostre ultime letture, sulle edizioni più belle che ci sono capitate sotto al naso e su quei libri che aspettiamo con trepidazione. Se anche a te piace leggere, ci trovi qui ogni secondo e quarto lunedì del mese alle ore 7.00!

Il Borgo dei fogli

A chronicle of dialogue (vibrant thoughts & potent poetry) with a kick yet fulfilling with the sincerity of the dream life of angels. <a href="https://davidrandolphcaldwell.substack.com?utm_medium=podcast">davidrandolphcaldwell.substack.com</a>

A chronicle of dialogue (vibrant thoughts & potent poetry) with a kick yet fulfilling with the sincerity of the dream life of angels. davidrandolphcaldwell.substack.com

A chronicle of dialogue (vibrant thoughts &amp; potent poetry) with a kick yet fulfilling with the sincerity of the dream life of angels. <a href="https://davidrandolphcaldwell.substack.com?utm_medium=podcast" rel="noopener noreferrer">davidrandolphcaldwell.substack.com</a>

The Dialogist Podcast

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

n Tom Swift and His Big Tunnel, young inventor Tom Swift is called upon to tackle an engineering nightmare—a seemingly impenetrable mountain in Peru blocking a critical railroad project. With rival companies waiting for them to fail, Tom must develop a groundbreaking explosive to finish the tunnel in time. But the adventure doesn’t stop there. Alongside his loyal companions, he embarks on a perilous journey deep into the Andes, encountering lost cities, ancient secrets, and unexpected dangers. Can Tom’s genius outmatch nature’s toughest challenge? A thrilling mix of science, adventure, and mystery!

Tom Swift and His Big Tunnel

Join Mark Twain on a hilarious, offbeat journey through Europe in A Tramp Abroad. With his trademark wit and keen eye for the absurd, Twain recounts his travels across Germany, the Alps, and Italy—where mishaps, misunderstandings, and culture clashes abound. Intended as a walking tour but filled with detours, Twain’s adventure is part travelogue, part satire, and entirely entertaining. Whether he's attempting to master the art of yodeling or poking fun at European customs, Twain’s observations make for a laugh-out-loud read. A must-listen for fans of classic humor and travel tales.

Tramp Abroad

The Recovery Room: Breaking the Silence," is all about mental health, trauma recovery, and breaking the stigma surrounding these issues. It provides a safe space for open conversations about struggles, healing, and resilience. What "The Recovery Room" Covers:✅ Personal Stories – Sharing your journey from trauma to hope, including overcoming PTSD, medical malpractice, and mental health challenges.✅ Expert Insights – Interviews with mental health professionals, trauma survivors, and advocates.✅ Healing Strategies – Exploring CBT, DBT, mindfulness, coping techniques, and self-care practices.✅ Breaking Stigma – Challenging misconceptions about trauma, mental illness, and recovery.✅ Community Support – Encouraging listeners to share their experiences and connect with others on the same journey. Am a writer and Author of 2 books so far you can find me of many websites but you can find me on this site here https://www.authorsden.com/visit/viewwork.asp?AuthorID=230915you can also find me at http://www.traumatohope.com is my main website my contact details are 18002296691 ext 315 email brentdempseycsrconsulting@outlook.comand you can call and sign up for all my things there please look forwards to my locations of my posts and my and blogs else's where's and my bookings you can go here for coaching https://calendar.app.google/f3U264Ed7fSGsq4v9 <a href="https://traumatohoperewritingthepast.substack.com?utm_medium=podcast">traumatohoperewritingthepast.substack.com</a>you can sign up to the podcast here&nbsp;https://calendly.com/brentdempseycsrconsulting/the-recover-room-pod-castwe have a another website and radio station channel you can call into1-667-930-9505

The Recovery Room: Breaking the Silence," is all about mental health, trauma recovery, and breaking the stigma surrounding these issues. It provides a safe space for open conversations about struggles, healing, and resilience. What "The Recovery Room" Covers:✅ Personal Stories – Sharing your journey from trauma to hope, including overcoming PTSD, medical malpractice, and mental health challenges.✅ Expert Insights – Interviews with mental health professionals, trauma survivors, and advocates.✅ Healing Strategies – Exploring CBT, DBT, mindfulness, coping techniques, and self-care practices.✅ Breaking Stigma – Challenging misconceptions about trauma, mental illness, and recovery.✅ Community Support – Encouraging listeners to share their experiences and connect with others on the same journey. Am a writer and Author of 2 books so far you can find me of many websites but you can find me on this site here https://www.authorsden.com/visit/viewwork.asp?AuthorID=230915you can also find me at http://www.traumatohope.com is my main website my contact details are 18002296691 ext 315 email brentdempseycsrconsulting@outlook.comand you can call and sign up for all my things there please look forwards to my locations of my posts and my and blogs else's where's and my bookings you can go here for coaching https://calendar.app.google/f3U264Ed7fSGsq4v9 traumatohoperewritingthepast.substack.com you can sign up to the podcast here  https://calendly.com/brentdempseycsrconsulting/the-recover-room-pod-cast we have a another website and radio station channel you can call into 1-667-930-9505

The Recovery Room: Breaking the Silence," is all about mental health, trauma recovery, and breaking the stigma surrounding these issues. It provides a safe space for open conversations about struggles, healing, and resilience. What "The Recovery Room" Covers:✅ Personal Stories – Sharing your journey from trauma to hope, including overcoming PTSD, medical malpractice, and mental health challenges.✅ Expert Insights – Interviews with mental health professionals, trauma survivors, and advocates.✅ Healing Strategies – Exploring CBT, DBT, mindfulness, coping techniques, and self-care practices.✅ Breaking Stigma – Challenging misconceptions about trauma, mental illness, and recovery.✅ Community Support – Encouraging listeners to share their experiences and connect with others on the same journey. Am a writer and Author of 2 books so far you can find me of many websites but you can find me on this site here https://www.authorsden.com/visit/viewwork.asp?AuthorID=230915you can also find me at http://www.traumatohope.com is my main website my contact details are 18002296691 ext 315 email brentdempseycsrconsulting@outlook.comand you can call and sign up for all my things there please look forwards to my locations of my posts and my and blogs else's where's and my bookings you can go here for coaching https://calendar.app.google/f3U264Ed7fSGsq4v9 <a href="https://traumatohoperewritingthepast.substack.com?utm_medium=podcast" rel="noopener noreferrer">traumatohoperewritingthepast.substack.com</a>you can sign up to the podcast here&nbsp;https://calendly.com/brentdempseycsrconsulting/the-recover-room-pod-castwe have a another website and radio station channel you can call into1-667-930-9505

The Recovery Room: Breaking the Silence

Welcome to the Published + Black Podcast, where the worlds of self-publishing, business, and life converge. I'm Tiffany A Green-Hood, your host, Publisher, Author, Coach, and Design Strategist. Join me each week as we delve into the hidden stories behind self-publishing triumphs and the intricate world of publishing. Together, we'll illuminate the brilliance of black authors, exploring their captivating narratives and honoring their achievements. Our journey doesn't stop there – we'll delve into the art of crafting impactful author brands that extend beyond books and messages. Prepare to dive into profound discussions, gain invaluable insights, and unlock the secrets of navigating the ever-evolving landscape of self-publishing, while touching on crucial aspects of both business and life. Whether you're a wordsmith, an entrepreneur, or simply in pursuit of inspiration, the Published + Black Podcast is your empowerment destination. Tune in, learn, and embrace the journey with me, your host, Tiffany. 🎧📚

Welcome to the Published + Black Podcast, where the worlds of self-publishing, business, and life converge. I'm Tiffany A Green-Hood, your host, Publisher, Author, Coach, and Design Strategist. Join me each week as we delve into the hidden stories behind self-publishing triumphs and the intricate world of publishing. Together, we'll illuminate the brilliance of black authors, exploring their captivating narratives and honoring their achievements. Our journey doesn't stop there – we'll delve into the art of crafting impactful author brands that extend beyond books and messages. Prepare to dive into profound discussions, gain invaluable insights, and unlock the secrets of navigating the ever-evolving landscape of self-publishing, while touching on crucial aspects of both business and life. Whether you're a wordsmith, an entrepreneur, or simply in pursuit of inspiration, the Published + Black Podcast is your empowerment destination. Tune in, learn, and embrace the journey with me, your host, Tiffany. 🎧📚

Published & Black Podcast

Writing a book is hard. Publishing it is even harder. Succeeding as an author? That’s practically wizardry.
Good thing you don’t have to figure it all out alone.
Pros Talking Prose is your backstage pass to the writing and publishing world, hosted by seasoned pros Stacey Smekofske and Troy Lambert.
We’ll help you skip the mistakes, laugh through the chaos, and build the writing career you actually want without the smoke and mirrors.
New episodes every week. Therapy not included — but highly encouraged.

Writing a book is hard. Publishing it is even harder. Succeeding as an author? That’s practically wizardry. Good thing you don’t have to figure it all out alone. Pros Talking Prose is your backstage pass to the writing and publishing world, hosted by seasoned pros Stacey Smekofske and Troy Lambert. We’ll help you skip the mistakes, laugh through the chaos, and build the writing career you actually want without the smoke and mirrors. New episodes every week. Therapy not included — but highly encouraged.

Pros Talking Prose

Ever felt overwhelmed at the prospect of recommending a book to a reluctant or voracious reader?

Join Jade Arnold, the Premier’s Program Officer Reading and Spelling at The Arts Unit, every Friday for conversations with Australian authors, teacher librarians, PRC school coordinators, and education experts. Listen to book pitches, recommendations on what to read next, and strategies to develop a love of reading in a school library setting.

Designed with teacher librarians in mind, Between the bookshelves aims to make the process of recommending what to read a little less overwhelming!

Ever felt overwhelmed at the prospect of recommending a book to a reluctant or voracious reader? Join Jade Arnold, the Premier’s Program Officer Reading and Spelling at The Arts Unit, every Friday for conversations with Australian authors, teacher librarians, PRC school coordinators, and education experts. Listen to book pitches, recommendations on what to read next, and strategies to develop a love of reading in a school library setting. Designed with teacher librarians in mind, Between the bookshelves aims to make the process of recommending what to read a little less overwhelming!

Between the bookshelves: a NSW Premier's Reading Challenge podcast

Tune in to hear inspiring conversations amongst some of the most influential voices in writing and publishing today.

The Forum Presented By Third Estate

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County Quest Chronicles

Magic 20 Tamil app offers audio summaries of non-fiction books for those who prefer listening over reading. Each 20-minute audiobook provides localized examples and condensed knowledge. You can download podcasts for offline listening and access success stories. Magic 20 Tamil covers various non-fiction genres to enhance learning and entertainment.

Download Magic 20 Tamil app - https://bit.ly/Magic20Tamilpodcast


Distributed by BiGGMiC Network.

Magic 20 Tamil app offers audio summaries of non-fiction books for those who prefer listening over reading. Each 20-minute audiobook provides localized examples and condensed knowledge. You can download podcasts for offline listening and access success stories. Magic 20 Tamil covers various non-fiction genres to enhance learning and entertainment. Download Magic 20 Tamil app - https://bit.ly/Magic20Tamilpodcast Distributed by BiGGMiC Network.

Magic 20 Tamil | Audiobook தமிழ்

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안양OP 오피쓰.ᑕ0ᗰ 안양오피 오피쓰 안양출장마사지 안양마사지안양휴게텔 안양오피 https://engine.eatsleepride.com/rider/aignish https://engine.eatsleepride.com/rider/madkafe https://engine.eatsleepride.com/rider/jeffdillingham https://engine.eatsleepride.com/rider/donald1964 https://engine.eatsleepride.com/rider/ktistatheret https://engine.eatsleepride.com/rider/tontig https://engine.eatsleepride.com/rider/theshuhfpkt https://engine.eatsleepride.com/rider/firelove https://engine.eatsleepride.com/rider/boldingv https://engine.eatsleepride.com/rider/1buklu https://www.mixcloud.com/mncinvest/ https://www.mixcloud.com/warp132/ https://www.mixcloud.com/buttmunch90210/ https://www.mixcloud.com/agnelloresha/ https://www.mixcloud.com/topotyh/ https://www.mixcloud.com/artos12345/ https://www.mixcloud.com/maxxramm/ https://www.mixcloud.com/rfl0624/ https://www.mixcloud.com/stroy50/ https://www.mixcloud.com/slawabor/ https://www.mtg-forum.de/user/69370-%EB%8B%B9%EC%82%B0%EC%98%A4%ED%94%BC-%EC%98%A4%ED%94%BC%EC%93%B0com-%EC%98%A4%ED%94%BC%EC%93%B0%EB%8B%B9%EC%82%B0%EC%95%88%EB%A7%88-%EB%8B%B9%EC%82%B0%EC%B6%9C%EC%9E%A5%EC%83%B5/

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안양OP 오피쓰.ᑕ0ᗰ 안양오피 오피쓰  안양출장마사지 안양마사지안양휴게텔 안양오피

Discover the classics of fantasy fiction from yesterday and today.

The Fantasy Canon

Notes from my readings日常阅读分享

Notes from my readings 日常阅读分享

Knowledge Acquired

Want to get hooked on a new book? Every Tuesday at 12.30pm ET, fiction authors Hannah Mary McKinnon and Hank Phillippi Ryan read the first chapter of exciting new releases and favorites across multiple genres. 

Watch live weekly on Facebook www.facebook.com/groups/firstchapterfun or on Instagram www.instagram.com/firstchapterfun, or catch up via this podcast.

We'll ensure your to-be-read pile stays completely out of control!

Happy reading &amp; listening,

Hannah Mary &amp; Hank

Want to get hooked on a new book? Every Tuesday at 12.30pm ET, fiction authors Hannah Mary McKinnon and Hank Phillippi Ryan read the first chapter of exciting new releases and favorites across multiple genres. Watch live weekly on Facebook www.facebook.com/groups/firstchapterfun or on Instagram www.instagram.com/firstchapterfun, or catch up via this podcast. We'll ensure your to-be-read pile stays completely out of control! Happy reading & listening, Hannah Mary & Hank

FIRST CHAPTER FUN

Podcast en directo semanal (twitch.tv/cosmereando) en el que se habla de Brandon Sanderson y el Cosmere.

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Vit'a Ler

Long Story Short: The Official Podcast of The British Fantasy Society

Agincourt Press

Lantern Scottish Poetry

Trigger Warnings Book Club

Word Balloons and other Nerdage Podcast

FerndaleYoutubeChannel

Il Borgo dei fogli

The Dialogist Podcast

Migrantes: Clandestino verso il sogno americano

Tom Swift and His Big Tunnel

Tramp Abroad

The Recovery Room: Breaking the Silence

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The Forum Presented By Third Estate

听友176145352的专辑

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Magic 20 Tamil | Audiobook தமிழ்

안양OP 오피쓰.ᑕ0ᗰ 안양오피 오피쓰 안양출장마사지 안양마사지안양휴게텔 안양오피

The Fantasy Canon

Knowledge Acquired

FIRST CHAPTER FUN

Cosmereando

The Authors Journey

meet me at midnight

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ClassiCast

The Bookland Yard

La vie #54

Duendilandia - Audiolibros Sonorizados

Poison Island

WorkWhile

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Sword of Damocles

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UCL Press Podcast

流量提升技巧揭秘，红薯小眼睛发现页阅读与红薯评论赞快速增长

Algo en la oscuridad