James and Jonathan begin their series with Søren Kierkegaard’s Fear and Trembling (1843), an exploration of faith through the story of Abraham and Isaac. Like most of Kierkegaard’s published work, Fear and Trembling appeared under a pseudonym, Johannes de Silentio, and its playful relationship to the reader doesn’t stop there.
Clare Bucknell and Thomas Jones introduce their new Close Readings series, Novel Approaches. Joined by a variety of contemporary novelists and critics, they'll be exploring a dozen 19th-century British novels from Mansfield Park to New Grub Street, paying particular (though not exclusive) attention to the themes of money and property.
Mark Ford and Seamus Perry introduce Love and Death, a new Close Readings series on elegy from the Renaissance to the present day. They discuss why the elegy can be a particularly energising form for poets engaging with their craft and the poetic tradition, and how elegy serves an important role in public grieving, remembering and healing.
Marina Warner is joined by Anna Della Subin to introduce Fiction and the Fantastic, a new Close Readings series running through 2025. Marina describes the scope of the series, in which she will also be joined by Adam Thirlwell and Chloe Aridjis. Together, Anna Della and Marina discuss the ways the fiction of wonder and astonishment can challenge social conventions and open up new ways of living.
James Wood and Jonathan Rée introduce their new Close Readings series, Conversations in Philosophy, running throughout 2025. They explain the title of the series and why they'll be challenging a hundred years of academic convention by reuniting the worlds of literature and philosophy.
In the final episode of Political Poems, Mark and Seamus discuss ‘Little Gidding’, the fourth poem of T.S. Eliot’s Four Quartets. Emerging out of Eliot’s experiences of the Blitz, ‘Little Gidding’ presents us with an apocalyptic vision of purifying fire. Suggesting that humanity can survive warfare only through renewed spiritual unity, Eliot finds a model in Little Gidding, a small village that for a time in the 17th century served as an Anglican commune before its closure under Puritan scrutiny. Mark and Seamus explore how Eliot’s poetics heighten our sense of the liminal and mystical, and how, by ‘scrambling our brains’, Eliot’s brilliant rhetoric subsumes his bizarre politics.
For their final conversation Among the Ancients, Emily Wilson and Thomas Jones turn to the contradictions of the Roman emperor and Stoic philosopher Marcus Aurelius. Said by Machiavelli to be the last of the ‘five good emperors’ who ruled Rome for most of the second century CE, Marcus oversaw devastating wars on the frontiers, a deadly plague and economic turmoil. The writings known in English as The Meditations, and in Latin as ‘to himself’, were composed in Greek in the last decade of Marcus’ life. They reveal the emperor’s preoccupations with illness, growing old, death and posthumous reputation, as he urges himself not to be troubled by such transient things.
For the final episode of their series on the medieval sense of humour, Irina and Mary look at one of the most remarkable women authors of the Middle Ages, Gwerful Mechain. In her poem Cywydd y Cedor (‘Ode to the Vagina’), she challenged the convention of male poets to praise every part of a woman’s body apart from her genitalia. Mechain’s witty, combative verses, intended for public performance, demonstrate a mastery of the metrical tradition of medieval Welsh poetry to discuss the most intimate physical experiences.
In the final episode of Human Conditions, Brent and Adam turn to Audre Lorde’s Sister Outsider, a collection of prose with exceptional relevance to contemporary grassroots politics. Like Du Bois, Césaire and Baraka, Lorde’s work defies genre: as she argues in this collection, ‘poetry is not a luxury’ but an essential tool for liberation. Brent and Adam discuss Lorde’s radical poetics and politics, and the case for poetry, anger, vulnerability, love and desire as the arsenal of revolution.
In the final episode of their series, Colin and Clare arrive at Muriel Spark, who would never have considered herself a satirist though her writing was as bitingly satirical as any 20th-century novelist's. A Far Cry from Kensington has a deceptively simple plot: yet the true plot of any Spark novel is difficult to pin down, not least when the word ‘plot’ is deployed so frequently by her characters to imply conspiracy and misinformation. Colin and Clare discuss Spark’s kaleidoscopic view of reality and the ways in which both Catholicism and Calvinism play through her work.
A dreamlike reworking of Dante’s Purgatorio, ‘Station Island’ describes Heaney’s encounters with the ghosts of childhood acquaintances, literary heroes and victims of the Troubles. Seamus and Mark explore Heaney’s unusually autobiographical poem, which wrestles with the inescapability of politics.
Apuleius’ Metamorphoses, better known as The Golden Ass, is the only ancient Roman novel to have survived in its entirety. Following the story of Lucius, forced to suffer as a donkey until the goddess Isis intervenes, the novel includes frenetic wordplay, filthy humour and the earliest known version of the Psyche and Cupid myth. In this episode, Tom and Emily discuss Apuleius’ anarchic mix of the high and low brow, and his incisive depiction of the lives of impoverished and enslaved people.
If you’re looking for advice on sustaining a marriage, or robbing a grave, or performing liver surgery, then a series of self-help stories by a 14th-century Spanish prince is a good place to start. Tales of Count Lucanor, written between 1328 and 1335 by Prince Juan Manuel of Villena, is one of the earliest works of Castilian prose.
In 'Black Music', a collection of essays, liner notes and interviews from 1959 to 1967, Amiri Baraka captures the ferment, energy and excitement of the avant-garde jazz scene. Published while he still went by LeRoi Jones, it provides a composite picture of Baraka’s evolving thought, aesthetic values and literary experimentation.
In 1946 Evelyn Waugh declared that 20th-century society – ‘the century of the common man’, as he put it – was so degenerate that satire was no longer possible. But before reaching that conclusion he had written several novels taking aim at his ‘crazy, sterile generation’ with a sparkling, acerbic and increasingly reactionary wit.