Close Readings

Jonathan and James consider different ways of reading Woolf’s 1927 novel: as a satirical portrait of her father through Mr Ramsay, as a study of creative expression through Lily Briscoe, or as a mystical, Platonic quest in which form and style respond to philosophical propositions, and the truth of human experience is to be found in movement, conversation and laughter.

After drunkenly selling his wife and child at auction, a young Michael Henchard resolves to live differently – and does so, skyrocketing from impoverished haytrusser to mayor of his adoptive town. Mary Wellesley and Mark Ford join Clare Bucknell to unpick the many strands in Thomas Hardy’s first Wessex novel. They explore how the novel – at once ‘algorithmic’, theatrical and fatalistic – is suffused with Hardy’s class anxieties, affinity with Dorset and fascination with pagan England.

Seamus and Mark look at elegies by Thom Gunn including ‘Talbot Road’, ‘The Gas-poker’ and others from his celebrated collection The Man with Night Sweats, where Gunn combined his allusive, rhetorical style with a poignant realism to recreate his subjects. They then turn to the more self-reflexive, oblique elegies of Paul Muldoon, who has reinvented the form in richly-patterned, playful poems such as ‘The Soap Pig’ and ‘Incantata’.

For the final regular episode of Fiction and the Fantastic, Marina and Chloe read ‘The Left Hand of Darkness’ and ‘The Dispossessed’: works of exceptional imaginative power and intellectual range, passionate idealism and keen-eyed observation. Is Le Guin’s status in both literary and ‘genre’ canons a testament to the force and clear-sightedness of her radical – even prophetic – political vision? And what does it mean for the fantastic if we accept her self-characterisation as a ‘realist of a larger reality’?

Jonathan and James discuss Iris Murdoch’s lifelong philosophical project to establish what the rational unity of morality might be like without God. They consider her ideas of ‘unselfing’ and of goodness as a replacement for God, and what she got wrong about Sartre’s distinction between authenticity and sincerity.

Robert Louis Stevenson’s Kidnapped began life serialised in a children’s magazine, but its sophistication and depth won the lifelong admiration of Henry James. In Stevenson’s hands, a straightforward adventure story becomes a vivid exploration of friendship, the body, and social and political division. Clare Bucknell is joined by Stevenson fans Andrew O’Hagan and Tom Crewe. They explore Stevenson’s startlingly modern handling of perspective and pacing, his approach to the art of fiction, and the value of being ‘betwixt and between’.

When poets elegise other poets, the results are often more about self-scrutiny and analysis of the nature of poetry than about grief. Matthew Arnold commented on his elegy for Arthur Hugh Clough, ‘Thyrsis’ (1865), that ‘one has the feeling that not enough is said about Clough in it.’ In his elegy for W.B. Yeats (1939), Auden insists that ‘poetry makes nothing happen’.

J.G. Ballard and Angela Carter were friends and co-conspirators in their witness to the postwar world and the liberation movements of the 1960s. Both were scathing in their antipathy towards the polite novels of manners and empire that still dominated English readers’ appreciation and expectations. Pioneers in the liminal spaces between literary and ‘genre’ fiction, and science fiction in particular, both of them are haunted by the visions of Swift, Shelley, Kafka and Borges. In this episode, Marina and Chloe discuss Ballard’s The Atrocity Exhibition’ and The Passion of New Eve, considered together here along with Ballard’s short story ‘The Drowned Giant’.

Never trust anyone who tries to be ethically pure. This is the message of Albert Camus’s short novel La Chute (The Fall), in which a retired French lawyer tells a stranger in a bar in Amsterdam about a series of incidents that led to a profound personal crisis.

In The Portrait of a Lady, Henry James borrows from Eliot, Austen, folktales and potboilers, but ‘the thing that he took from nowhere was Isabel Archer’. James transformed the 19th-century novel through his evocation of Isabel, a woman who wants and suffers in a profoundly new (and American) way. Deborah Friedell and Colm Toíbín join Tom to discuss the novel that established Henry James as ‘the Master’. They dissect James’s and his characters’ complicated motivations, the significance of his 1905-6 revisions, and the ways in which a ‘primitive plot’ irrupts in a painstakingly subtle and stylish novel.

In this episode, Mark and Seamus consider the different ways Jay Bernard’s 'Surge' and Kei Miller’s 'In Nearby Bushes' respond to the shocking events they depict, while also incorporating them into a broader poetic landscape.

Joyous, disturbing and subversive, The Hearing Trumpet is full of themes and images that populate Leonora Carrington’s artwork and other writing. Both Marina and Chloe knew Leonora Carrington, and in this episode they reflect on the ways her personality inflected her work. Their reading of The Hearing Trumpet reveals her humour, her visionary imagination and her attention to the boundaries between inner and outer realties.

At the heart of human existence is a tragic ambiguity: the fact that we experience ourselves both as subject and object, internal and external, at the same time, and can never fully inhabit either state. In her 1947 book, Simone de Beauvoir addresses the ethical implications of this uncertainty and the ‘agonising evidence of freedom’ it presents.

Trollope enthusiasts Tom Crewe and Dinah Birch say they could have chosen any one of his 47 novels for this episode, so it’s no wonder Elizabeth Bowen called him ‘the most sheerly able of the Victorian novelists’. They settled on The Last Chronicle of Barset: a model example of Anthony Trollope’s gift for comedy, pathos, social commentary and masterful dialogue. Tom and Dinah join Thomas Jones to explore its sensitivities, ambivalences and sheer readability.

Without Emma Gifford, we might never have heard of Thomas Hardy. Hardy’s first wife was instrumental in his decision to abandon architecture for a writing career, and a direct influence – possibly collaborator – on his early novels. Their marriage, initially passionate, defied family expectations and class barriers, but by the time of Emma’s death, it had deteriorated into hostility and bitterness. Mark and Seamus discuss Poems 1912-13 in the light of what Hardy called ‘strange necromancy’: the reconfiguring of Emma as ghost, critic, corpse and mythic lover.