Welcome back to the Book Club. I'm Michael Knowles here to perform my most sacred duty. This is actually not my most sacred duty, but sacred duty is a very important theme of this month's book, A Dollhouse, by Henric Ibsen.

I am joined by Libby Emmons, the editor-in-chief of the post-mennial, and even more impressively, a survivor of New York

Theater and a survivor of the most left-wing educational institutions in the country, where she trained to work in New York

Theater.

Let me thank you for coming on the show.

Thanks so much Michael.

You love Ibsen.

I do love I'm.

I like him. I like I like him in the way that geechesterton liked Shaw okay

you know I think he's a great man maybe his heart's at a little bit in the wrong place

but you love him.

In no small part, I assume, because this man basically invented modern theater.

He did invent modern theater.

Yes, I also love him because he is a Norwegian

playwright. I have Norwegian ancestors. He really spearheaded the creation of

modern Norwegian culture. Norway had been essentially culturally occupied by Denmark and so Ibsen when he

started coming up he worked in the national theater of Bergen as a stage manager

and he he really just broke through and brought

national pride in culture to the four and his plays reflect that as well.

Before we get too far into Ibsen and what he means for the theater and all the rest of his

work, can you give a 60 second summary of a doll house?

I can give it a shot.

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