KATE LISTER: When you're looking back at old texts and they're talking about 'slut holes' that need clearing out, it makes us fall about laughing; but what they actually mean was like a hole that was just full of rubbish and crap in the street, that you'd put coal into and store there. And there's something that was called ‘slut wool’ as well. You know when you lift up the sofa or the bed and you call them dust bunnies now, all those balls of dust - that was ‘slut wool’ once upon a time.
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 70. Bonus 2017 - transcript
Allusionist 69. How the Dickens stole Christmas - transcript
GREG JENNER: ‘Dickensian’ is quite a tricky word, actually. I think we don’t always necessarily know what we mean when we say it. As a word it conjures up poverty, perhaps; a sense of squalor; a sense of people trapped in this brutal society where there is no safety net, no fall-back plan; where children and women can suddenly be cast into a life of poverty or crime or violence. But 'Dickensian' also should summon up some of the beautiful things as well, some of the wonderful things he harnesses. When we look at A Christmas Carol, the way he depicts the street scenes, singing to each other, the sense of community, the shop windows filled to the brim with delicious goods and treats to eat on Christmas day and toys, this is also a bountiful visual iconography. Dickens conjured up both quite alarming and also quite enrapturing, entrancing visions of what a city and a community could be. So 'Dickensian' tends to be quite negative, but it should apply to all the different worlds that Dickens created, and some of those were rather pleasant and lovely, and some of those were rather cruel and dark.
KATIE MINGLE: What's the deal with Christmas?
AVERY TRUFELMAN: Dickens?
KATIE MINGLE: Yeah.
HZ: Yeah! A lot of authors have written about Christmas, but don’t have festive fairs devoted to them. Why is Dickens the one who gets to be the adjective? Why is he given credit for Christmas?
GREG JENNER: Charles Dickens's Christmases are not brand new in 1843. You know one of the things people often say is Dickens invented Christmas, which is absolute nonsense, of course he didn't.
Read moreAllusionist 26: Xmas Man - transcript
GREG JENNER: Some Victorian Christmas cards were utterly bonkers. My favourite one just had some bacon attached to it. There’s another one which had a dead mouse on the front. My favourite was a policeman being attacked by a clown with a red hot poker. Another is some children at their parents’ funeral. Classic Christmas fare! There’s one with two children being attacked by a giant wasp…
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