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 220. Disobedience transcript
SO MAYER: Being perceived, being heard: we often think about the painful aspect of that as being misheard, being criticised, being deliberately misunderstood, being shouted down. And I've experienced all those things, of course I have. But the possibility of actually being heard is equally as painful. Because it also asks what would be the result of that, that if someone said, "Okay. I've taken on what your book is saying. What now? Back to you." And that's what a good therapist does: "I've heard you. Now what are you gonna do about it?" And then going: oh, supposedly through my educational privilege, I've been taught to take power from using language. And here I am using language and I don't feel powerful. I feel afraid and I feel ashamed, and I feel like someone's gonna hit me in the mouth.
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 195. Word play part 5: 100 Pages of Solvitude transcript
HZ: What would make you happier: if nobody solves it or if lots of people solve it?
JOHN FINNEMORE: Oh, lots of people, without question. I hope it's not trivial, but any puzzle has failed if nobody solves it.
Read moreAllusionist 181 Cairns transcript
LINDSAY ROSE RUSSELL: I don't think James Murray felt like he was alone in making the Oxford English Dictionary. I think he was keenly aware of himself as a part of a very large and many tentacled team. In a lecture he gave in 1900, he talked about every lexicographer as adding their stone to the cairn. You know, cairns like the little things when you go hiking that are piles of stones that tell you you're still on the right path. So I think Murray understood his own work as contributing to a larger lexicographical project where he was not a lone dictionary maker in the effort of dictionary making more grandly. But, I don't know; in history, I think it's easier to tell the story of a singular man. Because of course it's easier to tell the story of a singular man, as opposed to the story of thousands of people working on a single dictionary and doing all different kinds of things.
Read moreAllusionist 167 Bonus 2022 transcript
TIM CLARE: Hippocampus, meaning ‘horse’ because it looks like a a sea horse, right? …Oh, don't look at them! They look absolutely terrifying!
HZ: I I've never seen a hippocampus, so I don't know.
TIM CLARE: There is a real David Cronenberg-like element to them.
Allusionist 162 Self-Help transcript
JOLENTA GREENBERG: One of the main things a lot of these books like to do is remind you how bad you are at the beginning. Just like a pickup artist, there will be a chapter or two sort of negging you, or being like, “You know you're lazy about this.” A lot of books make you admit - some even make you write down all the areas like you're failing in or not putting 100% into, and so you literally will have a list sometimes of reasons why you suck. And then they're like, “And now I have the answers!” And it's like, “But you made me make up these problems in the first place.” So they like to dig you in a hole and then be like, “I can dig you out, too.”
Read moreAllusionist 161 Sentiment transcript
SANDHYA DIRKS: When we talk about empathy: the idea that you can get outside of yourself, that we can imagine someone else's experience is so audacious, because human beings are not that freaking imaginative. I mean, like a unicorn is just a horse with a horn! We did not go that far to get to our most magical creature. We just like grafted two things on top of each other.
Read moreAllusionist 134 Lacuna transcript
CRYSTIAN CRUZ: Some of the content was censored at the very beginning, but some was censored at the very end of the process. So they were just about to print out the new edition and then they had to stop the machines and say, “No, that's content was not approved, so we have to replace it at the very last moment.” So that guy would have to come up with some recipes.
HZ: That’s a lot of pressure on a linotype printer - not just having to deal with very late changes to the paper, but mentally having to bake a cake too.
CRYSTIAN CRUZ: And then the thing is, they didn't work at all, because the guy had just made it up.
Read moreAllusionist 104. Words Into Food - transcript
KATE YOUNG: I can travel through what these characters are eating and what they're doing, and travel to places, to countries I've never been, but also to fantastical worlds that I've never been to and versions of this world that feel very different to my own or are 200 years older than this or one hundred years in the future or any of those things
Read moreAllusionist 103. Food Into Words - transcript
FELICITY CLOAKE: It's very nerveracking because people spend money on ingredients, they may be cooking it for a special occasion, they try to impress a date or whatever - there's a lot that can go wrong with food and it's quite a weighty responsibility to be responsible someone's dinner or their birthday cake or whatever; it is a big deal.
RACHEL GREENHAUS: If it's a cookbook for family use, you're going to write it differently than if it's a cookbook for expert bakers and figuring out how to get the recipe that's right for that.
MIMI AYE: It's very different from cooking in real life, I think. Which is weird because you're trying to tell people how to cook the dish.
RACHEL GREENHAUS: It would be really easy to show you, but it's hard to describe in language.
MIMI AYE: Yeah, it's a complete nightmare.
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