IRIS ICHISHITA: There's so many different ways to try and understand this text. And there are so many different pieces of evidence that point us in these different directions. Is it fan fiction? Is it pirated fiction? Is it pastiche? Is it creative licence, creative liberty? Is it an alternate version? Could it have been Bram Stoker's original version, his director's cut? What are these texts in relationship to each other?
HZ: Well, they are first cousins, I'd say?
IRIS ICHISHITA: Yeah, yeah. If not shadowy twins.
HZ: Maybe it's more like identity theft.
Allusionist 228. Draculae part 2: Surprises in the Vaults transcript
ÁSGEIR JÓNSSON: It is very different from the Dracula that we know. First of all, it is a more political thing. Dracula is discussing socialism and anarchism. And he seems to be preparing a revolution, which in many ways is similar ideas that you would later see with Fascism and Nazism, where he basically says that the powerful should dominate the weaker. And secondly, it is much more graphic. You have a much greater number of female vampires, and you have a much more graphic scenes of sex and violence that Count Dracula is actually taking part in.
Read moreAllusionist 227. Draculae part 1: Enter the Castle transcript
A literary mystery about the novel Dracula came to me via a meme, just as Dracula came to Whitby in a box of soil in a ship. The meme said something like, “Someone translated Dracula into Icelandic, and it took over 100 years for anyone to point out he just made a fanfic rewrite of what he wanted the story to be.”
Read moreAllusionist 222. A Christmas Carol transcript
warning for GHOSTS
Read moreAllusionist 221. Scribe transcript
TIM BROOKES: I've interviewed dozens of people whose experience of being taught to write was, at best, tedious and perplexing, and at worst brutal.
So literally about six weeks ago, maybe, I asked myself the question: when did I first enjoy the act of writing? And I don't mean enjoy writing as in enjoy writing a piece of journalism or enjoy writing a short story - I mean the actual physical act of writing. And in my case, the answer is July.
HZ: July 2025?
TIM BROOKES: Exactly.
HZ: Gosh. So you were already deep into writing this very book, several books into your writing career.
TIM BROOKES: That's right. And in fact, when I then went and asked people that question, many of them just stared at me because it had never occurred to them that it was something you enjoy.
Read moreAllusionist 219. Making Trouble transcript
MOLLY NAYLOR: I don't like to compliment my guests or talk about how brilliant they are.
HZ: That's fine. That means I don't have to rebuff your compliments in that kind of, “Oh no, praise! I feed on it, but also, I don't know how to handle it!” We won't have to do that.
MOLLY NAYLOR: Yeah, I hate to receive it. And if I didn't receive it, I would die.
HZ: Who are we? We're uninflated balloons. Not just uninflated, balloons that had been previously inflated and had deflated.
MOLLY NAYLOR: Left over at the kids party. Shrivelled. That's what we are. Great.
Read moreAllusionist 218. Banned Books transcript
SAM HELMICK: Censorship is a hammer looking for a nail, my friends. And someday, you will be that nail too, unless we all decide that we're going to unite against book bans today.
Read moreAllusionist 211. Four Letter Words: -gate transcript
The Watergate Scandal’s linguistic legacy: the suffix ‘-gate’
Read moreAllusionist 209. Four Letter Words: Serving C-bomb transcript
Things have changed for a word that despite being around in written text for 900+ years, didn’t even get listed in the Oxford English Dictionary until 1972.
NICOLE HOLLIDAY: I never say this word.
HZ: No, I feel bad to force you.
NICOLE HOLLIDAY: No, it's funny. Well, I'll say it on podcast, this is professional environment; but in my normal daily life, I can't imagine that I would personally say it. And this might just be like, I'm kind of a prude and I was raised kind of religious, but it does sort of seem like beyond the pale for me personally. I wonder if were 20 if I wouldn’t feel that way, but I spent so much of my life like judiciously avoiding very strong taboos. And this one, just my gut reaction is that it overwhelms. So when you asked me to do this, I was like, “Oh, no! I have to say that word!”
HZ: I'm sorry. We could probably skirt around it and then people can spend the whole episode trying to guess which word we're talking about.
Read moreAllusionist 203. Flyting transcript
ISHBEL McFARLANE: “You crap so much that you sunk a ship you were on.”
HZ: I’m gonna use that.
Allusionist 194 Word Play part 4: Good Grids
ERIK AGARD: What I see a lot in crosswords is, I think, not unique to crosswords where historically they've been for a very specific cross-section of an audience. They're written with certain people in mind, and certain other people not in mind. And I think we're starting to see the tip of the iceberg of some changes that expands the range of who they're for.
Read moreAllusionist 175 Eurovision part 2 transcript
DEAN VULETIC: There are lots of economic, cultural and political factors that can decide which language will be most represented in a country's entries, even when it has various national languages.
HZ: Azerbaijan: the only country never to have entered in its national language.
DEAN VULETIC: Correct.
HZ: Could be this year.
DEAN VULETIC: Errrr, I doubt it, because the Azerbaijani government has been very ambitious in Azerbaijan’s Eurovision entries, in using them as a tool of soft power and cultural diplomacy. It has spent a lot of money in getting well-known songwriters and composers from across Europe to produce pop hits that could really win Eurovision. And of course, this means hits in English. And once Azerbaijan did win Eurovision in 2011 and went on to host the most expensive Eurovision ever in Baku. So Eurovision is also popular among dictators as a tool of cultural diplomacy - or as a tool for whitewashing their human rights and democratic records.
Allusionist 174 Eurovision part 1 transcript
The Eurovision Song Contest has given us the international renown of Celine Dion, Måneskin, Dana International, Conchita Wurst and Riverdance; tear-off skirts, nul points, shiny shiny costumes, a band of babushke dancing around an onstage bread oven; not to mention fraught politics, within and between nations. And most importantly for our purposes: linguistic intrigue! So much linguistic intrigue.
Read moreAllusionist 173 Death transcript
EVIE KING: I mean, if I was to google synonyms of ‘dead’ - let's try that. Synonyms, ‘dead’. See what comes up. ‘Deceased.’
HZ: ‘Deceased’ is just Latin for death.
EVIE KING: ‘Late’, ‘lost’, ‘lamented’...
HZ: ‘Lamented’!
EVIE KING: ‘Expired’ - expired! Like a cheese. ‘Departed’. ‘Gone’. ‘No more. ‘Fallen. ‘Slain’. Now you're starting to infer causes of death. ‘Slaughtered’, ‘killed’ - see, it escalates quickly. There’s not much, there's not much is there?
HZ: Which is odd considering how much death there is everywhere for everyone.
EVIE KING: Yeah, you get more, more synonyms for very boring words, don't you, very workaday words. I think basically maybe it comes down to the fact that dead is dead and we all know what that means, universally dead is dead, and there's no getting away from it, there's no escaping it and there's no getting around it. So we just have to face that word and use it. And if we don't feel like saying dead, we'll just go “passed away”.
HZ: Maybe that's the thing: maybe we don't need new vocabulary yet until we've learnt to get comfortable with ‘dead’.
EVIE KING: And then we can start really jazzing it up. Creating fun terms! Like, you know, when you get things like ‘bottomless brunch’ - that kind of thing for ‘dead’. I think we all know we've arrived when we've got a jazzy snazzy word for ‘dead’.
HZ: Something to look forward to.
Read moreAllusionist 172 A Brief History of Brazilian Portuguese transcript
CAETANO GALINDO: Brazilians are very confused and confusing and confounding about this relationship with the Portuguese language, because it defines us. We are the place that speaks Portuguese in the middle of a whole bunch of Spanish-speaking countries, and pretty much all of us speak it. And pretty much all of us speak only this one language. It's really something that defines us, and really something that we cannot try to deny or erase or… I don't know. But at the same time, you have this certainty that this was an imposed reality, that this is not what we could have.
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