Send us a textToday we have some Shakespeare to discuss. I have as my guest Ann Ciccolella, artistic director of Austin Shakespeare. We will be exploring the play "Macbeth", Also known within the theatre community as "The Scottish Play."Before digging into the play, Ann and I explain why it can be beneficial to read the play and even watch videos summing up the play before seeing a performance. Our conversation included a summary of Macbeth, why its themes are relevant to our lives today, and some tips on how to enjoy Shakespeare, even if his language is difficult to understand at first.

Send us a textFilm director & producer Chris DePretis joins Kirk to talk about the short story “Boule de Suif” by Guy de Maupassant. It is said that Maupassant is the most adapted literary writer after Shakespeare. Though this is hard to prove, because often his short stories offer a broad brush by which film directors like John Ford will use to paint. Nevertheless, his impact on world cinema is impressive. Besides Ford, many directors have adapted stories from the French short story writer, such as D.W. Griffith, Orson Welles, Jean Renoir, Kenji Mizoguchi, Jean-Luc Goddard and many more. These directors, of course, are the most influential directors in cinema. By proxy, very few people can claim as much influence on world cinema as Guy de Maupassant.In this episode, we summarize and discuss one short story in particular “Boule de Suif.” Then we discuss and compare the classic western movie Stagecoach (1939) starring John Wayne and directed by John Ford.We will be talking about the themes of both of these works as well as the way in which Ford was inspired by Maupassant.If you are a literary lover or a film buff, this episode is for you! Great art builds on great art.

Send us a textKirk and guest Luc Travers from http://www.literatureatourhouse.com/​ discuss the dystopian novel by Ray Bradbury “Fahrenheit 451.” Together they give a synopsis (from memory) of the story. Then they leap into the flames of Bradbury’s tale. In this episode, you’ll enjoy discussions on:The main characters: Guy Montag, Chief Beatty, Clarise and FaberMeaning of the storyDover Beach by Matthew ArnoldDover Beach and its meaning relative to the storyThe prescience of the storyWhat is happiness, and how do we know if we are happy?The importance of UNhappinessAnd much more!

Discussion on the play 'Cyrano de Bergerac' with focus on love triangle, portrayal of Cyrano's looks, spiritual/body dichotomy, success, and pride. Guest Eric Robert Morse adds depth with a debate on Pride and the character of Cyrano.

Discussing the powerful narrative of Frederick Douglass, highlighting his journey from slavery to empowerment. Delving into self-creation, education, and virtues. Exploring the impact of classic literature in education and the value of challenging texts. Reflecting on cultural discourse and embracing open dialogue.

Send us a textWhat do Holden Caufield, Jerry Fletcher (Conspiracy Theory, 1997, played by Mel Gibson) and a modern conspiracy theorist have in common? On this episode of Troubadour Podcast, I discuss the style of J.D. Salinger's story about Holden Caufield's weekend adventure.This is a book that has been linked to multiple assassins, including the man who shot John Lennon. It is also a favorite among teenage boys. What can we learn from the method of Caufield's 'stream of consciousness' that can reveal an important truth about the followers of Qanon, and other modern conspiracy theorists?In this video I will outline the general plot of "The Catcher in the Rye,' what I call "the Caufield Effect,' and explain my view on why it is critical to read this book today.

Send us a textOn this episode of Troubadour Talks I had as a guest Timothy Sandefur, VP of Litigation at Goldwater Institute. We discussed the play Oedipus the King by Sophocles. The Oedipus is likely one of the most referenced  and analyzed work of imaginative literature in the history of the world. Now, Tim and Kirk have added their voices to this endeavor!Both Kirk and Tim recommend the Robert Fagles translation of Oedipus The King. On the show, Tim refers to a performance of Greek Plays done in Greek. The director is Leonidas Loizides. You can learn more about this director in this article. Read Tim Sandefur on his personal blog at sandefur.typepad.com Also, Tim has a review of a new translation of Oedipus, coming out at The Objective Standard, Topics discussed:Why lawyers today should read literature generally and ancient Greek literature in particular.How the Ancient Greeks viewed literature's role as crucial in life.An overview of The Oedipus story.How Oedipus The King is like Batman.The universality of this story.A Character analysis of Oedipus & JocastaThe problem with "Tragic Flaws."Meaning from literature and mortalitythe psychological insight we can learn from the ancients.Do we have free-will or are we determined beings?Analysis of the style of Oedipus' crossroads speechOn reading translationsThe #DisruptTexts​ movementand much more!

Send us a textWelcome to Troubadour Talks, a new show where a guest and I discuss a great work of classic literature.On today's episode I spoke with Jon Hersey of the Objective Standard Institute about Ayn Rand's fist novel, We The Living.Ayn Rand was a Russian-American novelist. Her dates are 1905-1982. She is most known for her later novels The Fountainhead and Atlas Shrugged.In this episode Jon and I:*give a plot summary of the entire work*discuss the meaning of the novel's themes and plot events*discuss the main characters (Leo, Andrei and Kira) *compare and contrast the three characters*explain why 'We the Living,' written in 1934, is as relevant today as it was then*talk about why this novel is important to each of us*give reasons why everyone should read this book todayJon is editor for The Objective Standard magazine,  and he is a teacher and podcaster for Objective Standard Institute. You can find out more here: https://objectivestandard.org/Kirk is host of Troubadour Talks and founder of The Literary Canon ClubIf you have ever wanted to read through the great western literary canon, now is the time. You can reserve your spot by signing up here: https://www.troubadourmag.com/literary-canon-club

Explore the controversial protagonist of Moll Flanders in 17th century London, unraveling her immoral yet captivating life choices. Dive into the societal aspects of commercialism and capitalism, understanding the novel as both an artistic achievement and moral institution.

Send us a textVisit my magazine's website for a full analysis and commentary: https://www.troubadourmag.com/post/william-wordsworth-steals-a-boat-an-excerpt-from-the-preludeThe Boat Stealing Scene from the 1850 Prelude by William Wordsworth:One summer evening (led by her) I foundA little boat tied to a willow treeWithin a rocky cove, its usual home.Straight I unloosed her chain, and stepping inPushed from the shore. It was an act of stealthAnd troubled pleasure, nor without the voiceOf mountain-echoes did my boat move on;Leaving behind her still, on either side,Small circles glittering idly in the moon,Until they melted all into one trackOf sparkling light. But now, like one who rows,Proud of his skill, to reach a chosen pointWith an unswerving line, I fixed my viewUpon the summit of a craggy ridge,The horizon’s utmost boundary; far aboveWas nothing but the stars and the grey sky.She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon’s bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;There in her mooring-place I left my bark, –And through the meadows homeward went, in graveAnd serious mood; but after I had seenThat spectacle, for many days, my brainWorked with a dim and undetermined senseOf unknown modes of being; o’er my thoughtsThere hung a darkness, call it solitudeOr blank desertion. No familiar shapesRemained, no pleasant images of trees,Of sea or sky, no colours of green fields;But huge and mighty forms, that do not liveLike living men, moved slowly through the mindBy day, and were a trouble to my dreams.