“We have language. That’s the best tool we have for understanding the consciousness of another,” says Michael Pollan on this week’s episode of The World in Time. “You can go pretty far with it, as Proust himself showed, but that is, in the end, the function of art: to translate one consciousness into another. That’s the only way we know how to do it right now, and it’s pretty powerful, but there’s still a remnant, some residue that can never be translated. Even Proust, who wrote millions of words and was a great believer in the power of words, said consciousness is not a verbal construction. He didn’t think that consciousness was made of words. The visual arts can tell us things, too. A Rothko painting conveys so much consciousness. That’s the importance of art—helping to ferry us from one island of consciousness to another.”

This week on the podcast, Donovan Hohn speaks with Michael Pollan, award-winning author and journalist, about his new book A World Appears: A Journey into Consciousness, in which Pollan explores one of our most complex and enduring mysteries: the “hard problem” of consciousness. Initially, he seeks the headwaters of consciousness in neuroscience, computer science, and in science that bridges computers and biology, but, midway through the book, and midway through this episode, suspecting that “third-person” science might be inadequate to the mystery, he looks elsewhere—to philosophy, literary history, the arts, and, as his journey ends, to Buddhism.

The ad-free, unabridged version of this episode, available on the Lapham’s Quarterly Substack, concludes with a bonus segment, an audio version of an essay on animal consciousness, by John Jeremiah Sullivan, that originally appeared in the Spring 2013 Animals issue of Lapham’s Quarterly.

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“What in God’s name are the humanities,” Lewis Lapham asked in a commencement address he delivered at St. John’s College in 2003, “and why are they of any use to us here in the bright blue, technological wonder of the twenty-first century?” His answer—the humanities are not luxuries akin to “the country club membership or the house in Palm Beach” but liberating necessities—harmonizes with the answers proposed by the three guests on this special, two-part episode of The World in Time, which commemorates the anniversary of the Quarterly’s revival. Today’s three guests are all scholars—“card-carrying, old-school metaphysical humanists”—who have dared to do what Lewis Lapham did nearly two decades ago: launch a nonprofit that brings the humanities and the arts into the American agora, the public square.

Zena Hitz, tutor at St. John’s College, is the founder of the Catherine Project, a nonprofit that, through online seminars and reading groups, makes the study of “the great books” available for free to all. She is joined by two returning guests: Justin Smith-Ruiu, professor of philosophy at the Université Paris Cité, editor of the Substack magazine The Hinternet, and founder of the Hinternet Foundation, which seeks to “steward humanism into a machine-driven future”; and D. Graham Burnett, Professor of the History of Science at Princeton University. A member of the Lapham’s Quarterly editorial board, Burnett is also the co-founder and director of the Strother School of Radical Attention, which offers to the general public courses and workshops that “deepen our shared understanding of attention’s relation to human flourishing.”

In part two of today’s two-part episode, available for free and in full on the Lapham’s Quarterly Substack, Hohn and Hitz add a new conversation to our intermittent and ongoing series of conversations about Moby Dick and the history of the sea, discussing the “The Doubloon,” chapter 99 of Melville’s novel. Earlier conversations in our series about Moby Dick: Lewis Lapham’s Sea Stories, Wyatt Mason on “Extracts,” Francine Prose on “Loomings,” James Marcus on “The Mast-Head,” Charles Baxter on “The Sermon,” Elizabeth Kolbert on the History of Cetology, Alexander Chee on “The Counterpane,”Aaron Sachs on “The Monkey-Rope,” Caleb Crain on “Queequeg in his Coffin,” Philip Hoare on “Monstrous Pictures of Whales,” and Yiyun Li on “The Try-Works.”

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“Everyone expected this comet to hit and obliterate England in 1857,” says Francine Prose in this episode of The World in Time. “So a lot of the novel is about the pressure from this belief or non-belief that the comet is going to hit. And of course, Dickens, who’s sort of scientifically minded, dismisses it immediately. And Andersen, who is romantic—paranoid, fearful, the whole list of things which would make you believe you’re about to be obliterated by a comet—is completely convinced and can’t really accept Dickens’ attempts to reassure his household that this is not going to happen.”

This week on the podcast, Donovan Hohn speaks with Francine Prose, editor at large of Lapham’s Quarterly, about her new novel Five Weeks in the Country, which, mingling historical fact with fiction, narrates five disastrous weeks that Hans Christian Andersen spent with Charles Dickens and his family in the summer of 1857.

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“Fifth-century Athens still lingers even for us, and it’s a mythical golden age,” says Mary Beard on this week’s episode of The World in Time. “And we imagine that all we can do is count ourselves lucky to be the inheritors of the Greek Miracle, all of the things that the Greeks invented: democracy, philosophy, and theater, among much else. I struggled with that when I was at university because it was almost cliché to say that the fifth- and sixth-century Athenians invented democracy, which is simply not true. It doesn’t take much to say, ‘Look, democracy isn’t like the iPhone or the steam engine.’ It isn’t invented in that way. Democracy is a process and people have been experimenting with that process all over the world–not just in Western Europe–for thousands of years.” 

This week on the podcast, Donovan Hohn speaks with Mary Beard, best-selling historian and professor emerita of classics at the University of Cambridge, about her new book, Talking Classics: The Shock of the Old. “What is the point of the ancient classics?” Beard asks in the book’s introduction. “Why should we bother about what people did two thousand years ago or more: what they made, wrote, and thought? What can it all mean to us now?” In the chapters that follow, and in this episode of The World in Time, she shares her best answers, drawing from her own lifelong, wonder-struck study of the ancient world

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“‘There is a wisdom that is woe, but there is a woe that is madness’—to me, that summarizes much of life,” says Yiyun Li on this week’s episode of The World in Time. “I don’t think many people would put those three words together in a sentence—wisdom, woe, and madness—as a sort of trinity. I mean, when I say that passage is a touchstone in my reading, I go back to this line and think about what I read, what I write, and what I experience in life. It’s always about these three words. And you cannot separate them in a very clear way.”

This week, in a return of our intermittent series on Moby Dick and the history of the sea, Donovan Hohn speaks with novelist and essayist Yiyun Li, author most recently of Things in Nature Merely Grow, winner of the 2026 Pulitzer Prize for Memoir, about “The Try-Works,” chapter 96 of Melville’s novel, in which Ishmael teaches readers how to render whale blubber, falls asleep at the Pequod’s jawbone tiller, and, upon awakening, flies like a “Catskill eagle” into and out of the “blackest gorges” of the soul. The chapter’s closing paragraph is, to Li’s mind, possibly “the most gorgeous paragraph written.”

Earlier conversations in our series about Moby Dick: Lewis Lapham’s Sea Stories, Wyatt Mason on “Extracts,” Francine Prose on “Loomings,” James Marcus on “The Mast-Head,” Charles Baxter on “The Sermon,” Elizabeth Kolbert on the History of Cetology, Alexander Chee on “The Counterpane,” Aaron Sachs on “The Monkey-Rope,” Caleb Crain on “Queequeg in his Coffin,” and Philip Hoare on “Monstrous Pictures of Whales.”

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“The oarfish is not only extremely long—I think they can be 20 feet long—but they have a very narrow, undulating body. They’re silvery, but they have a red crest all along their back. It really looks exactly like the sea monsters in ancient Greek vase paintings,” says Adrienne Mayor on this week’s episode of The World in Time. “It looks like an oarfish guarding the Golden Fleece. They live in very deep water, and they have fragile bodies. And if there’s an earthquake under the ocean, they’re damaged and they wash up on shore—that’s the only time most people see an oarfish, and it would look like a stereotypical dragon.”

This week on the podcast, Donovan Hohn speaks with folklorist, classicist, and historian of ancient science Adrienne Mayor about her new book, Mythopedia: A Brief Compendium of Natural History Lore. In 53 alphabetically arranged essays about “legends of the earth,” or “geomyths,” Mayor’s compendium draws upon oral traditions from all over the world and upon “historical and scientific discoveries that shed light on the remarkable phenomena featured in the legendary stories”—phenomena such as tsunamis, meteor impacts, lethal lakes, perpetual fires, fish that rain from the sky, and sand dunes that sing. 

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“The tree is this living skin wrapped around a dead core,” says Robert Moor on this week’s episode of The World in Time. “You have this skin of living wood that’s being produced by the cambium, and it’s growing outward and inward simultaneously. Like a series of matryoshka dolls, each layer is encased within the next over time, which is why trees continue thickening. And that also leads to this mechanism I call gnarling: trees lock their errors in place. If a tree takes a strange turn, it can’t straighten out its wood. There are ways in which our lives are like that as well. We can’t choose to fix our past mistakes. We have to learn to grow beyond the past rather than hoping to travel back in time to make it something different.” 

This week on the podcast, Donovan Hohn speaks with journalist and essayist Robert Moor, author of In Trees: An Exploration, a follow-up and companion to Moor’s bestselling debut, On Trails, published in 2016. Their conversation—like Moor’s book—branches, and roots, and gnarls. We meet the neuroscientists researching the arborescence of the human brain, a tree-climbing expert in the Lake District of England, a renowned Japanese bonsai artist, a master Korowai woodsman living in a tree house in Papua New Guinea, and while considering the leafy, treetop nests of chimpanzees, Moor and Hohn explore the deep, distant evolutionary history of humanity’s relationship to trees.

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“The leviathan is both positive and negative,” says Philip Hoare on this week’s episode of The World in Time. “The image is almost yin and yang: there is the behemoth, kind of a hippopotamus-elephant-rhinoceros, and the leviathan, which is a sea serpent, but has elements of a sperm whale skeleton that Blake had actually seen. So there is this struggle for good and evil. He acknowledged that you have to have heaven to balance hell and vice versa. But it seems the balance has been interrupted by the sea and he is too close to the power of the ocean.”

In this week’s two-part episode, Donovan Hohn speaks with Philip Hoare, author, most recently, of William Blake and the Sea Monsters of Love. Their conversation, like the book, is a séance that channels many ghosts—the ghosts of writers such as John Milton, Gerard Manley Hopkins, James Joyce, and Oscar Wilde; the ghosts of artists such as Katsushika Hokusai, Derek Jarman, Dante Gabriel Rossetti, Andy Warhol, and Paul Nash; the ghosts of a great many historical and cultural figures. David Bowie and John Waters both make memorable appearances. But the conversation’s presiding spirit is artist, printmaker, poet, and proto-punk prophet of freedom William Blake. Part two of the episode resumes our intermittent and ongoing series on Herman Melville’s Moby Dick and the history of the sea. While considering Blake’s influence on Melville, Hohn and Hoare linger over chapter 55, “Monstrous Pictures of Whales.”

Earlier conversations in our series about Moby Dick: Lewis Lapham’s Sea Stories, Wyatt Mason on “Extracts,” Francine Prose on “Loomings,” James Marcus on “The Mast-Head,” Charles Baxter on “The Sermon,” Elizabeth Kolbert on the History of Cetology, Alexander Chee on “The Counterpane,” Aaron Sachs on “The Monkey-Rope,” Caleb Crain on “Queequeg in his Coffin.”

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“An 1833 review of the only book of poetry Hartley Coleridge published in his lifetime praised the verse for embodying ‘no trivial inheritance of his father's genius,’ but also observed, ‘It is an old saying that the oakling withers beneath the shadow of the oak.’ I have long been interested in what makes some oaklings thrive and others wither, because, in a minor way, I’m an oakling myself. My father was a critic and an essayist. My mother was a war correspondent. The upside of this print-smudged parentage was that I was raised in a home with seven thousand books, plenty of literary conversation, and empirical evidence that writing was something you could actually do for a living."

This week on the podcast, Donovan Hohn speaks with essayist Anne Fadiman about the history of the essay since Montaigne and the art of making essays out of history; about teaching essay-writing to college students; and about what Virginia Woolf called “the Common Reader.” The conversation addresses the title essay—about a pet frog named Bunky—of Fadiman’s new collection, Frog and Other Essays, but Hohn and Fadiman spend the most time with two other essays—one that originally appeared in the Family issue of Lapham’s Quarterly, on poet and essayist Hartley Coleridge, who grew up in the shadow of his famous father, Samuel Taylor, and one first published in the Harvard Review, about the South Polar Times, a magazine whose editors, contributors, and original readers were all members of the polar expeditions led by Robert Falcon Scott.

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“Taking something very specific—in each case, a painting: a painting by Rubens, a painting by Franz Marc, a painting by Joan Mitchell—this physical thing, it has a place and a time, and it sits in the world somewhere. But then you can spiral out from that into the bigger context that each painting sits in historically, intellectually. But it’s spiraling inward a little, isn’t it, too? Because you’re going deeper into the painting.”

This week on the podcast, Donovan Hohn speaks with essayist and critic Morgan Meis, author of a trilogy of books about the history of art, civilization, war, and much else. In The Drunken Silenus: On Gods, Goats, and the Cracks in Reality (2020), Meis investigates a painting by Peter Paul Rubens. In The Fate of the Animals: On Horses, the Apocalypse, and Painting as Prophecy (2022), he turns to a masterpiece Franz Marc painted in 1913, three years before his death during the Battle of Verdun. And in The Grand Valley: On Going to Hell, to France, and Back to Childhood (2025), Meis explores Joan Mitchell’s The Grand Valley, a series of twenty-one paintings that Mitchell made between 1983 and 1984. Like the books, the conversation spirals outward into history and inward into the paintings under examination, all the while putting these three artists into conversation with other artists, writers, and philosophers—Friedrich Nietzsche, D.H. Lawrence, Gertrude Stein, Degas, Klee, and Monet, among others.

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