Tonight, we’ll read the next chapter of “Good Wives” written by Louisa May Alcott titled “My Lord and Lady”. This is also known as the second half of the “Little Women” novel and is considered the 44th chapter as part of that work as a whole.

In our last chapter, Jo, feeling somewhat alone amid her family’s celebration of Amy’s return, is surprised by the unexpected arrival of Professor Bhaer. She welcomes him with visible joy, and he’s warmly embraced by the March family. Jo observes his thoughtful presence and quiet charm, sensing a change in him—and in herself. As the family gathers to sing in memory of Beth, Jo and the Professor perform a duet that hints at growing affection. Though he claims to be in town on business, it becomes clear that Jo is the true reason for his visit.

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Tonight, for our monthly Snoozecast+ Deluxe bonus episode, we’ll read the opening to “The Tenant of Wildfell Hall” written by Anne Bronte and published in 1848.

Anne was the youngest of the three literary Brontë sisters, and her work was long overshadowed by her siblings’ more dramatic novels. Yet The Tenant of Wildfell Hall was a bold, controversial success in its day. The novel tells the story of a mysterious woman who arrives at a decaying country manor with her young son and refuses to explain her past.
Told through a layered structure of letters and diaries, the book explores themes, such as female autonomy, with unusual frankness for the era.

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Tonight, we’ll read the fairy tale “Felicia and the Pot of Pinks” written by Madame d’Aulnoy and found in the Blue Fairy Book edited by Andrew Lang.

The “pot of pinks” in this story refers to a type of dianthus flower known as “garden pinks.” Its name is not due to the color pink but rather to the serrated edges of the petals, which look like they were cut with pinking shears. In fact, the color pink may be derived from this particular flower.

Madame d’Aulnoy was a 17th-century French writer credited with popularizing the term fairy tale, or conte de fées. Her stories often featured courtly settings, magical transformations, and heroines who relied on cleverness and kindness rather than brute strength. “Felicia and the Pot of Pinks” is a lovely example of her style, blending the domestic and the enchanted in a story that centers around a humble gift—a flowerpot—and the power it holds.

Andrew Lang, who compiled The Blue Fairy Book in the late 19th century, was a Scottish folklorist who brought together stories from all over the world, often adapting them for a Victorian audience. This particular tale, translated and preserved through his collection, reflects the enduring charm of early French fairy literature and the quiet wisdom often carried in its petals.

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Tonight, we’ll read a story from “Just So Stories” by British author Rudyard Kipling published in 1902 titled “The Crab That Played with the Sea”.

The book is a collection of origin stories. Kipling began working on the book by telling the first three chapters as bedtime stories to his daughter Josephine. These had to be told "just so" (exactly in the words she was used to) or she would complain. The stories illustrate how animals obtained their distinctive features, such as how the leopard got his spots.

This particular story explains the ebb and flow of the tides, as well as how the crab changed from a huge animal into a small one.

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Tonight, we shall read the next part to “Persuasion”, the last novel fully completed by Jane Austen, and published in 1817. The story concerns Anne Elliot, an Englishwoman whose family moves in order to lower their expenses, by renting their home to an Admiral and his wife.
In the last episode, Anne unexpectedly encounters Admiral Croft while walking alone in Bath. She finds him cheerfully absorbed in critiquing a print of a ridiculous-looking boat in a shop window. They walk together, the Admiral talking freely and humorously about mutual acquaintances and life in Bath. Once they reach a quieter street, he shares surprising news: Louisa Musgrove is to marry Captain Benwick—not Captain Wentworth, as everyone had assumed. Anne is stunned but conceals her reaction. She expresses hopes that Captain Wentworth isn’t wounded by the match or by his friend’s involvement. The Admiral reassures her that Wentworth’s letter conveyed no bitterness and that he wishes the couple happiness. Still, Anne senses more complexity beneath the surface.
Shortly afterward, Anne, while waiting out a light rain in a shop with her relatives, unexpectedly sees Captain Wentworth walking down Milsom Street. The shock is overwhelming. She tries to compose herself, only to see him enter the same shop moments later. Their meeting is awkward and emotionally charged. He seems flustered and speaks to her with visible discomfort—very unlike his previously composed manner. They exchange brief, formal conversation, but Anne is left deeply affected by his presence and the unresolved feelings between them.

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Tonight, we’ll read the second half to “The Otter Opal”, a Snoozecast original. The first half aired in the last episode, where we met two sea otters as they floated above the kelp forest. Their days are spent sleeping, eating, napping, playing and racing. Tumma excels at all activities, except for the swim races.

We also learn that sea otters often have a favorite stone that they keep in a pocket of their fur, and Tumma finds himself an extraordinary one.

In many Indigenous coastal traditions, sea otters have been viewed as symbols of curiosity, transformation, and cleverness. Their habit of using tools—especially stones—makes them one of the few non-human animals known to do so.

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Tonight, we’ll read the first half to “The Otter Opal”, a Snoozecast original. The second half will air in the next episode.

In this story, we shall meet two sea otters named Tumma and Nutsnm as they float above the kelp forest. The story is set along a coastline that feels quietly enchanted, where breaching whales appear like punctuation and the sea’s rhythm gently matches the internal tide of thought. We begin, as Tumma does, suspended between waking and dreaming, wondering where the day might carry him.

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Tonight, we’ll read the opening to “The Moon Maid”, a fantasy novel written by Edgar Rice Burroughs and published in 1926.

This novel constitutes a future history, and in it Burroughs' vision of what the 20th century held in store for humanity, which could be considered a kind of retroactive alternate history. In Burroughs's vision, in 1967 the planetary rulers send a first manned spacecraft to the Moon—coinciding very near to the ac he Apollo 11 Moon landing. Of course, in Burrough’s version, the moon turns out to be teeming with life.

Burroughs is best known for his creation of Tarzan and the Barsoom series set on Mars, and The Moon Maid falls into that same interplanetary tradition, blending high adventure with speculative science. The novel imagines a Hollow Moon inhabited by intelligent civilizations, including the Va-Gas, a centaur-like warrior race, and the more advanced yet decadent U-gas. It also links to other books in what became a loosely connected trilogy—followed by The Moon Men and The Red Hawk—in which themes of empire, resistance, and rebirth play out across centuries.

The story begins with a framing device—common in Burroughs’s work—where a manuscript or oral account is “discovered” and passed along to the reader, granting it a sense of mythical authenticity. Through this lens, we are introduced to Julian 5th, a descendant in a long line of Julians who would come to play a pivotal role in the history of Earth, the Moon, and even future interplanetary relations.

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Tonight, we’ll read recipes on schoolroom cakes along with tea cakes and biscuits from The Cake and Biscuit Book by Elizabeth Douglas, published in 1903.

When this cookbook was published, most American students attended a one-room schoolhouse. A single teacher would typically have students of all ages in one class. The youngest children sat in the front, while the oldest students sat in the back. Students memorized and recited their lessons, and when they were lucky, they ate home baked treats like the ones here.

At the turn of the 20th century, home baking was considered an essential domestic skill, and simple confections like spice cakes, oat biscuits, and soft tea buns were often made in large batches to share. Many cakes intended for schoolrooms used ingredients that could stretch—like treacle, lard, or buttermilk—making them ideal for feeding many mouths with limited means.

The term “schoolroom cake” didn’t refer to a specific type, but rather to the spirit of the bake: something sturdy, not overly sweet, easy to pack, and nourishing enough to last a long day.

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