It's the most wonderful time of the year: that's right, the Lent of St. Martin! Okay okay, Christmas is the most wonderful time of the year, but the lead-up--known as the season of Advent--is an unbelievably rich tradition filled with deep meaning. On this Young Heretics special, I explain the big ideas of Advent through the surprising history of everyone's favorite song of the season, "O Come, O Come Emmanuel." And God bless us, every one!

Read my co-authored essay with Andrew Klavan (no relation) on AI: https://www.washingtonpost.com/opinions/2025/12/07/ai-idols-consciousness-religion-llms/

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It's time to talk about the shocking, the dramatic, the THRILLING and also, the kind of confusing end of Virgil's Aeneid. What a journey it's been! The story is never truly over, but as we leave Aeneas behind we have to ask--did Virgil mean for it to end this way? With Turnus' blood spilled ruthlessly on the ground and after that, the dark? Some say no--this is an incomplete ending that would have horrified the Emperor Augustus. I say yes--and Augustus would have been delighted. What do you say?

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Read my latest essay on AI cand ancient Jewish wisdom: https://www.civitasinstitute.org/research/ai-and-the-divine-test

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The planets are aligning, the moment is almost here, the fates are sealed...or are they?? Today, in our penultimate episode, right as Aeneas looks poised to take up the mantle of his destiny and live out the greatness that Augustus will one day inherit, everything seems to fall apart. The Gods throw up their hands, and the Rutulians go ferociously to war against the Trojans. Can it be that Virgil actually doesn't want us to know what happens next? Can it be the future of Rome is not as guaranteed as it seemed to be? Find out on this episode--plus, advice for writers to hone their skills.

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Read my latest essay on why AI can't do your writing for you: https://rejoiceevermore.substack.com/p/writing-is-thinking

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Today on Young Heretics: a violent and unjust seizure of indigenous land!!! At least, according to Juno and the Furies, goddesses of retribution and blood guilt. Actually, the situation in Rome and in the Aeneid is a lot more complicated than that, which is one reason why the conclusion of the poem is a refreshingly sophisticated antidote to our often-oversimplified conversations about history, territory, colonialism, and the sins of the past. Plus: a mailbag question about Charlie Kirk and Julius Caesar.

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...And also, pizza. Kind of. This might be one of the coolest parts of Virgil ever, and even though I've been reading the Aeneid since high school, I feel like I only just figured it out. One of the most famous lines of the poem—forsan et haec olim meminisse iuvabit, "one day it will be pleasing to remember even these things—finds its answer in Book 7, when Aeneas arrives on shore and has to face the possibility of war with the, erm...indigenous Latinx peoples. So much to discuss, here, and a great mailbag question about how to deal with situations you can't change.

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Read my essay on why we should read in thea ge of AI: https://www.thefp.com/p/what-happens-if-no-one-reads-culture-education

And now for something completely different. The Odyssey portion of our tour is over, and the Iliad portion will now begin. But wait! Wasn't the Iliad a poem about war? And isn't Aeneas supposed to do battle for Latium? So why is it all sunshine, butterflies, and love goddesses? Today we launch into Part II of the poem with a passage that has bamboozled scholars for centuries, and of course I will deliver the definitive interpretation so that everyone can stop arguing. Plus: a plot summary of what's to come, and advice on reading classic literature if you're having trouble understanding it.

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Listen to my sister's podcast, Storytime for Grownups: https://faithkmoore.com/storytime-for-grownups/

EPIC, the Musical: https://faithkmoore.com/storytime-for-grownups/

Stephen Fry, Odyssey: https://a.co/d/1rIbSBu

Gareth Hinds, The Odyssey: A Graphic Novel: https://a.co/d/2kClqmN

It's time we finally talked about the elephant in the room: does Virgil actually like Augustus? Or is he just pretending? This doesn't seem to have been much of a question in the ancient world--the commentator Servius wrote quite bluntly that "Virgil's intention was to imitate Homer and praise Augustus." But in the wake of the two world wars, scholars in the Anglosphere started to wonder whether there might not be a hint of menace behind Virgil's apparently rosy picture of imperial Rome. This week on Young Heretics: the definitive take on all this, plus recommendations for the best translation of the Odyssey.

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Read my essay on translating Homer: https://claremontreviewofbooks.com/homer-without-heroes/

Everyone, everywhere, thinks about the afterlife. If you think you don't, you're wrong: you do. Because what you believe about life after death is an expression of how you think the universe is ordered, and whether you believe there's such a thing as ultimate justice. That in turn affects how you live--and almost no one has had a bigger impact on how we think about this in the West than Virgil. This week, we're going in--down through the Egyptian Book of the Dead, past the churning waters of the Babylonian afterlife, into the carefully mapped-out world of the Greco-Roman afterlife. Plus: one final, heartbreaking meeting with one of the poem's truly unforgettable characters.

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One of the West's great recurring characters, the Sibyl of Cumae, takes center stage today. Deranged, holy, prophetic, and apparently totally jacked, she guided Rome throughout its history and now teaches Aeneas what he must do to become the man who can found Rome. She may have been one of the pagan visionaires who prophesied the coming of Christ. Plus she's part of a crazy history that goes back to the invention of the alphabet and all the way to the creation of Star Wars. Then: another figure of speech you'll see everywhere once you learn it.

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If, like me, you're still sore about what they did to the Gladiator franchise, let this episode be part of your healing journey. It's certainly part of Aeneas': with the fleet grounded back in Sicily, the crew realizes it's been one year since the death of his father Anchises. This is the occasion for a good old fashioned fight night, with funeral games in honor of the great patriarch. It's a connection between Rome's gladiatorial entertainments and the heroic passtimes of yore, a way for Aeneas to seek closure after his year of grief, and a pause between the emotional tryst with Dido and the biggest challenge yet: the descent into the underworld.

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