This is the Allusionist, in which I, Helen Zaltzman, have been stashing away special Allusiobits all year, when the people who appeared on the show said interesting things that I couldn’t fit into their episode because there wasn’t room or it was not about language - waiting, just waiting, for this, the annual Bonus episode! This year we’ve got something called the ‘universal blank’, which actually does not refer to my emotions; we’ve got tricorn hats, poets with migraines, and why Boston cream pie isn’t a pie. And so much more.
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 166 Fiona part 2 transcript
HARRY JOSIE GILES: I don't think that anyone should come away from this conversation not wanting to use the name Fiona. I think this is a beautiful and rich history. It might not be quite the history that you imagined, but I think it's a beautiful history.
Read moreAllusionist 165 Fiona part 1 transcript
HARRY JOSIE GILES: Fiona is a name I think now that still has a slightly romantic, slightly historical Scottish feel. I think everyone thinks it's an old Scottish name, but it's not an old Scottish name!
Read moreAllusionist 148 Bonus 2021 transcript
TAMSIN MAJERUS: Male killing is caused by bacteria that live in the female ladybird, and they get into her ovaries and, and into the eggs that she produces and somehow, and we don't really know how, they kill off the embryos that are destined to become male. So when she lays her clutch of eggs, normally we expect half of those will end up being female ladybirds, the other half will be male ladybirds; but a female ladybird that has a male killer will often have a clutch of eggs where only about half of them hatch and the whole for hatch go on to become feat. So the males were killed right at the very beginning of their lifetime. it works surprisingly because the female larvae and something, which is slightly disgusting as they emerge from the egg, they need to eat something very quickly or they'll starve to death.They've got male eggs right there that aren't hatching into larvae. They eat those eggs. So they eat their dead brothers, nasty little bit of cannibalism, but -
HZ: Well, it’s pragmatic cannibalism.
TAMSIN MAJERUS: Yeah, exactly.
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 123 Celebrity transcript
GREG JENNER: If we look back at classical sources, where do we get fame from? What does it mean? What's the origin point? The Greeks had a goddess called Pheme, and she is a winged, beautiful goddess, with a trumpet. She parps a trumpet. And that is your name being sung into the heavens through the trumpet. So it's a nice thing. It's good. You get fame and it means people going to hear about you. But when you get to the Romans, and we get one of the most famous Roman writers, Virgil, in his Aeneid, he talks about Fama, where we get our word 'fame' from. That derives from the verb 'fari', meaning to speak or gossip about someone. And Virgil's Fama is not a beautiful goddess with wings and a parping trumpet; she's basically Godzilla. She's a terrifying, massive monster who stalks the land and she's covered with eyes and ears and tongues, and she grows in scale the more people that are gossiping about you. So the more you're being chatted about or gossiped about, the larger this monster becomes until she's vanishing into the clouds and she never sleeps. And she hunts you down. And Virgil's version of fame is predatory. It's terrifying. It's this enormous force of nature that comes for you, and there's nothing you can do about it.
Read moreAllusionist 84. Trammels - transcript
ROSS SUTHERLAND: We're taught from a young age to be good sports at losing games. Sportsmanship as a concept is all about being a good loser. And yet we're terrified of the concept of losing art. It's a horrible thing to try and to put yourself out there and for it to fail. So if you can reframe it as a game then all the better.
HZ: Because if you fail again you've just failed at the game and not at art entirely.
ROSS SUTHERLAND: Yeah, exactly. You fail at the game, but then you can play again. it's less of a referendum on your own self-worth if you just lose a game, because we play games all the time and so we're very comfortable with our odds. Whereas I feel when it when it comes to art the odds feel a little bit more important, and they shouldn't.
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