In Our Time: Culture

Melvyn Bragg and guests discuss Louisa May Alcott's 1868 novel, credited with starting the new genre of young adult fiction. When Alcott (1832-88) wrote Little Women, she only did so as her publisher refused to publish her father's book otherwise and as she hoped it would make money. It made Alcott's fortune. This coming of age story of Meg, Jo, Beth and Amy March, each overcoming their own moral flaws, has delighted generations of readers and was so popular from the start that Alcott wrote the second part in 1869 and further sequels and spin-offs in the coming years. Her work has inspired countless directors, composers and authors to make many reimagined versions ever since, with the sisters played by film actors such as Katherine Hepburn, Elizabeth Taylor, Winona Ryder, Claire Danes, Kirsten Dunst, Saoirse Ronan and Emma Watson. With Bridget Bennett Professor of American Literature and Culture at the University of LeedsErin Forbes Senior Lecturer in African American and U.S. Literature at the University of BristolAndTom Wright Reader in Rhetoric and Head of the Department of English Literature at the University of SussexProducer: Simon TillotsonReading list:Louisa May Alcott (ed. Madeline B Stern), Behind a Mask: The Unknown Thrillers of Louisa May Alcott (William Morrow & Co, 1997)Kate Block, Jenny Zhang, Carmen Maria Machado and Jane Smiley, March Sisters: On Life, Death, and Little Women (Library of America, 2019)Anne Boyd Rioux, Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters (W. W. Norton & Company, 2018)Azelina Flint, The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti (Routledge, 2021)Robert Gross, The Transcendentalists and Their World (Farrar, Straus and Giroux, 2022)John Matteson, Eden’s Outcasts: The Story of Louisa May Alcott and Her Father (W. W. Norton & Company, 2007)Bethany C. Morrow, So Many Beginnings: A Little Women Remix (St Martin’s Press, 2021)Anne K. Phillips and Gregory Eiselein (eds.), Critical Insights: Louisa May Alcott (Grey House Publishing Inc, 2016)Harriet Reisen, Louisa May Alcott: The Woman Behind Little Women (Picador, 2010)Daniel Shealy (ed.), Little Women at 150 (University of Mississippi Press, 2022)Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (Virago, 2009)Simon Sleight and Shirleene Robinson (eds.), Children, Childhood and Youth in the British World (Palgrave, 2016), especially “The ‘Willful’ Girl in the Anglo-World: Sentimental Heroines and Wild Colonial Girls” by Hilary EmmettMadeleine B. Stern, Louisa May Alcott: A Biography (first published 1950; Northeastern University Press, 1999) In Our Time is a BBC Studios Audio Production

Melvyn Bragg and guests discuss the author of 'I, Claudius' who was also one of the finest poets of the twentieth century. Robert Graves (1895 -1985) placed his poetry far above his prose. He once declared that from the age of 15 poetry had been his ruling passion and that he lived his life according to poetic principles, writing in prose only to pay the bills and that he bred the pedigree dogs of his prose to feed the cats of his poetry. Yet it’s for his prose that he’s most famous today, including 'I Claudius', his brilliant account of the debauchery of Imperial Rome, and 'Goodbye to All That', the unforgettable memoir of his early life including the time during the First World War when he was so badly wounded at the Somme that The Times listed him as dead. WithPaul O’Prey Emeritus Professor of Modern Literature at the University of Roehampton, LondonFran Brearton Professor of Modern Poetry at Queen’s University, BelfastAndBob Davis Professor of Religious and Cultural Education at the University of GlasgowProducer: Simon TillotsonRobert Graves (ed. Paul O'Prey), In Broken Images: Selected Letters of Robert Graves 1914-1946 (Hutchinson, 1982)Robert Graves (ed. Paul O'Prey), Between Moon and Moon: Selected letters of Robert Graves 1946-1972 (Hutchinson, 1984)Robert Graves (ed. Beryl Graves and Dunstan Ward), The Complete Poems (Penguin Modern Classics, 2003)Robert Graves, I, Claudius (republished by Penguin, 2006)Robert Graves, King Jesus (republished by Penguin, 2011)Robert Graves, The White Goddess (republished by Faber, 1999)Robert Graves, The Greek Myths (republished by Penguin, 2017)Robert Graves (ed. Michael Longley), Selected Poems (Faber, 2013)Robert Graves (ed. Fran Brearton, intro. Andrew Motion), Goodbye to All That: An Autobiography: The Original Edition (first published 1929; Penguin Classics, 2014)William Graves, Wild Olives: Life in Majorca with Robert Graves (Pimlico, 2001)Richard Perceval Graves, Robert Graves: The Assault Heroic, 1895-1926 (Macmillan, 1986, vol. 1 of the biography)Richard Perceval Graves, Robert Graves: The Years with Laura, 1926-1940 (Viking, 1990, vol. 2 of the biography)Richard Perceval Graves, Robert Graves and the White Goddess, 1940-1985 (Orion, 1995, vol. 3 of the biography)Miranda Seymour: Robert Graves: Life on the Edge (Henry Holt & Co, 1995)In Our Time is a BBC Studios Audio Production

Melvyn Bragg and guests discuss the work of the great French Impressionist Claude Monet (1840-1926) in London, initially in 1870 and then from 1899. He spent his first visit in poverty, escaping from war in France, while by the second he had become so commercially successful that he stayed at the Savoy Hotel. There, from his balcony, he began a series of almost a hundred paintings that captured the essence of this dynamic city at that time, with fog and smoke almost obscuring the bridges, boats and Houses of Parliament. The pollution was terrible for health but the diffraction through the sooty droplets offered an ever-changing light that captivated Monet, and he was to paint the Thames more than he did his water lilies or haystacks or Rouen Cathedral. On his return to France, Monet appeared to have a new confidence to explore an art that was more abstract than impressionist.WithKaren Serres Senior Curator of Paintings at the Courtauld Gallery, London Curator of the exhibition 'Monet and London. Views of the Thames'Frances Fowle Professor of Nineteenth-Century Art at the University of Edinburgh and Senior Curator of French Art at the National Galleries of ScotlandAnd Jackie Wullschläger Chief Art Critic for the Financial Times and author of ‘Monet, The Restless Vision’In Our Time is a BBC Studios Audio ProductionProducer: Simon Tillotson Studio production: John GoudieReading list:Caroline Corbeau Parsons, Impressionists in London: French Artists in Exile 1870-1904 (Tate Publishing, 2017)Frances Fowle, Monet and French Landscape: Vétheuil and Normandy (National Galleries of Scotland, 2007), especially the chapter ‘Making Money out of Monet: Marketing Monet in Britain 1870-1905’Robert Gordon and Andrew Forge, Monet (Harry N. Abrams, 1983)Paul Hayes Tucker, Monet in the ’90s: The Series Paintings (Yale University Press, 1990)Paul Hayes Tucker, Monet in the 20th Century (Yale University Press, 1998)Katharine A. Lochnan, Turner, Whistler, Monet (Tate Publishing, 2005)Nicholas Reed, Monet and the Thames: Paintings and Modern Views of Monet’s London (Lilburne Press, 1998)Grace Seiberling, Monet in London (High Museum of Art, 1988)Karen Serres, Frances Fowle and Jennifer A. Thompson, Monet and London: Views of the Thames (Paul Holberton Publishing, 2024 – catalogue to accompany Courtauld Gallery exhibition)Charles Stuckey, Monet: A Retrospective (Random House, 1985)Daniel Wildenstein, Monet: The Triumph of Impressionism (first published 1996; Taschen, 2022)Jackie Wullschläger, Monet: The Restless Vision (Allen Lane, 2023)

Melvyn Bragg and guests discuss "The History of Tom Jones, A Foundling" (1749) by Henry Fielding (1707-1754), one of the most influential of the early English novels and a favourite of Dickens. Coleridge wrote that it had one of the 'three most perfect plots ever planned'. Fielding had made his name in the theatre with satirical plays that were so painful for their targets in government that, from then until the 1960s, plays required approval before being staged; seeking other ways to make a living, Fielding turned to law and to fiction. 'Tom Jones' is one of the great comic novels, with the tightness of a farce and the ambition of a Greek epic as told by the finest raconteur. While other authors might present Tom as a rake and a libertine, Fielding makes him the hero for his fundamental good nature, so offering a caution not to judge anyone too soon, if ever.With Judith Hawley Professor of 18th Century Literature at Royal Holloway, University of LondonHenry Power Professor of English Literature at the University of ExeterAndCharlotte Roberts Associate Professor of English Literature at University College LondonProducer: Simon TillotsonIn Our Time is a BBC Studios Audio ProductionReading list:Martin C. Battestin with Ruthe R. Battestin, Henry Fielding: A Life (Routledge, 1989)J. M. Beattie, The First English Detectives: The Bow Street Runners and the Policing of London, 1750–1840 (Oxford University Press, 2012) S. Dickie, Cruelty and Laughter: Forgotten Comic Literature and the Unsentimental Eighteenth Century (University of Chicago Press, 2011)J.A. Downie (ed.), The Oxford Handbook of the Eighteenth-Century Novel (Oxford University Press, 2020)Henry Fielding (ed. John Bender and Simon Stern), The History of Tom Jones (Oxford University Press, 2008)Henry Fielding (ed. Tom Keymer), The Journal of a Voyage to Lisbon (Penguin Classics, 1996)Ronald Paulson, The Life of Henry Fielding: A Critical Biography (Wiley Blackwell, 2000)Henry Power, Epic into Novel: Henry Fielding, Scriblerian Satire, and the Consumption of Classical Literature (Oxford University Press, 2015)Claude Rawson, Henry Fielding and the Augustan Ideal under Stress (first published 1972; Routledge, 2021)Claude Rawson (ed.), The Cambridge Companion to Henry Fielding (Cambridge University Press, 2007)

Melvyn Bragg and guests discuss 'the greatest poet of his age', Thomas Wyatt (1503 -1542), who brought the poetry of the Italian Renaissance into the English Tudor world, especially the sonnet, so preparing the way for Shakespeare and Donne. As an ambassador to Henry VIII and, allegedly, too close to Anne Boleyn, he experienced great privilege under intense scrutiny. Some of Wyatt's poems, such as They Flee From Me That Sometime Did Me Seek, are astonishingly fresh and conversational and yet he wrote them under the tightest constraints, when a syllable out of place could have condemned him to the Tower. With Brian Cummings 50th Anniversary Professor of English at the University of YorkSusan Brigden Retired Fellow at Lincoln College, University of OxfordAnd Laura Ashe Professor of English Literature at the University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio ProductionReading list:Thomas Betteridge and Suzannah Lipscomb (eds.), Henry VIII and the Court: Art, Politics and Performance (Routledge, 2016)Susan Brigden, Thomas Wyatt: The Heart’s Forest (Faber, 2012)Nicola Shulman, Graven with Diamonds: The Many Lives of Thomas Wyatt: Courtier, Poet, Assassin, Spy (Short Books, 2011)Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting (Oxford University Press, 2012)Patricia Thomson (ed.), Thomas Wyatt: The Critical Heritage (Routledge, 1995)Greg Walker, Writing Under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2005)Thomas Wyatt (ed. R. A. Rebholz), The Complete Poems (Penguin, 1978)

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange’: with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship’ (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938’ read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht’s Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)

Melvyn Bragg and guests discuss Aristophanes' comedy in which the women of Athens and Sparta, led by Lysistrata, secure peace in the long-running war between them by staging a sex strike. To the men in the audience in 411BC, the idea that peace in the Peloponnesian War could be won so easily was ridiculous and the thought that their wives could have so much power over them was even more so. However Aristophanes' comedy also has the women seizing the treasure in the Acropolis that was meant to fund more fighting in an emergency, a fund the Athenians had recently had to draw on. They were in a perilous position and, much as they might laugh at Aristophanes' jokes, they knew there were real concerns about the actual cost of the war in terms of wealth and manpower. WithPaul Cartledge AG Leventis Senior Research Fellow of Clare College, University of Cambridge Sarah Miles Associate Professor in the Department of Classics and Ancient History at Durham UniversityAndJames Robson Professor of Classical Studies at the Open UniversityProducer: Simon TillotsonReading list:Aristophanes (ed. Jeffrey Henderson), Lysistrata (Oxford University Press, 1987)Aristophanes (ed. Jeffrey Henderson), Three Plays by Aristophanes: Staging Women (Routledge, 2010)Aristophanes (ed. Jeffrey Henderson), Birds; Lysistrata; Women at the Thesmophoria (Loeb Classical Library series, Harvard University Press, 2014) Aristophanes (ed. Alan H. Sommerstein), Lysistrata and Other Plays: The Acharnians; The Clouds; Lysistrata (Penguin, 2002)Aristophanes (ed. Alan H. Sommerstein), Lysistrata (Aris & Phillips, 1998)Paul Cartledge, Aristophanes and his Theatre of the Absurd (Bristol Classical Press, 1999)Kenneth Dover, Aristophanic Comedy (University of California Press, 1972)Germaine Greer, Lysistrata: The Sex Strike: After Aristophanes (Aurora Metro Press, 2000)Tony Harrison, The Common Chorus: A Version of Aristophanes’ Lysistrata (Faber & Faber, 1992)Douglas M. MacDowell, Aristophanes and Athens: An Introduction to the Plays (Oxford University Press, 1995)S. Douglas Olson (ed.), Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson (De Gruyter, 2013), especially 'She (Don't) Gotta Have It: African-American reception of Lysistrata' by Kevin WetmoreJames Robson, Aristophanes: Lysistrata, Bloomsbury ancient comedy companions (Bloomsbury, 2023)James Robson, Aristophanes: An Introduction (Duckworth, 2009)Ralph M. Rosen and Helene P. Foley (eds.), Aristophanes and Politics. New Studies (Brill, 2020) Donald Sells, Parody, Politics and the Populace in Greek Old Comedy (Bloomsbury, 2018)David Stuttard (ed.), Looking at Lysistrata: Eight Essays and a New Version of Aristophanes' Provocative Comedy (Bristol Classical Press, 2010)

Melvyn Bragg and guests discuss the Finnish epic poem that first appeared in print in 1835 in what was then the Grand Duchy of Finland, part of the Russian Empire and until recently part of Sweden. The compiler of this epic was a doctor, Elias Lönnrot (1802-1884), who had travelled the land to hear traditional poems about mythical heroes being sung in Finnish, the language of the peasantry, and writing them down in his own order to create this landmark work. In creating The Kalevala, Lönnrot helped the Finns realise they were a distinct people apart from Sweden and Russia, who deserved their own nation state and who came to demand independence, which they won in 1917. With Riitta Valijärvi Associate Professor in Finnish and Minority Languages at University College LondonThomas Dubois The Halls-Bascom Professor of Scandinavian Folklore and Literature at the University of Wisconsin-MadisonAnd Daniel Abondolo Formerly Reader in Hungarian at University College LondonProducer: Simon TillotsonReading list:Nigel Fabb, What is Poetry? Language and Memory in the Poems of the World (Cambridge University Press, 2015)Frog, Satu Grünthal, Kati Kallio and Jarkko Niemi (eds), Versification: Metrics in Practice (Finnish Literature Society, 2021)Riho Grünthal et al., ‘Drastic demographic events triggered the Uralic spread’ (Diachronica, Volume 39, Issue 4, Aug 2022)Lauri Honko (ed.), The Kalevala and the World's Traditional Epics (Finnish Literature Society, 2002)The Kalevala Heritage: Archive Recordings of Ancient Finnish Songs. Online Catalogue no. ODE8492.Mauri Kunnas, The Canine Kalevala (Otava Publishing, 1992)Kuusi, Matti, et al. (eds.), Finnish Folk Poetry: Epic (Finnish Literature Society, 1977)Elias Lönnrot (trans. John Martin Crawford), Kalevala: The Epic Poem of Finland (first published 1887; CreateSpace Independent Publishing Platform, 2017)Elias Lönnrot (trans. W. F. Kirby), Kalevala: The Land of the Heroes (first published by J.M. Dent & Sons, 1907, 2 vols.; ‎ Continuum International Publishing Group Ltd, 2000) Elias Lönnrot (trans. Francis Peabody Magoun Jr.), The Kalevala, or Poems of the Kaleva District (Harvard University Press, 1963)Elias Lönnrot (trans. Eino Friberg), The Kalevala: Epic of the Finnish People (Otava Publishing, 1988)Elias Lönnrot (trans. Keith Bosley), The Kalevala: An Epic Poem after Oral Tradition (Oxford University Press, 1989)Kirsti Mäkinen, Pirkko-Liisa Surojegin, Kaarina Brooks, An Illustrated Kalevala: Myths and Legends from Finland (Floris Books, 2020)Sami Makkonen, Kalevala: The Graphic Novel (Ablaze, 2024)Juha Y. Pentikäinen (trans. Ritva Poom), Kalevala Mythology, (Indiana University Press, 1999)Tina K. Ramnarine, Ilmatar’s Inspirations: Nationalism, Globalization and the Changing Soundscapes of Finnish Folk Music (University of Chicago Press, 2003) Jonathan Roper (ed.), Alliteration in Culture (Palgrave Macmillan, 2011), especially chapter 12 ‘Alliteration in (Balto-) Finnic Languages’ by Frog and Eila StepanovaKarl Spracklen, Metal Music and the Re-imagining of Masculinity, Place, Race and Nation (Emerald Publishing, 2020), especially the chapter ‘Finnish Folk Metal: Raising Drinking Horns in Mainstream Metal’Leea Virtanen and Thomas A. DuBois, Finnish Folklore: Studia Fennica Folkloristica 9 (Finnish Literature Society, 2000)

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack’ (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained’ (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820’ (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England’ by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz’ by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz’Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Melvyn Bragg and guests discuss Lewis Carroll's book which first appeared in print in 1865 with illustrations by John Tenniel. It has since become one of the best known works in English, captivating readers who follow young Alice as she chases a white rabbit, pink eyed, in a waistcoat with pocket watch, down a rabbit hole that becomes a well and into wonderland. There she meets the Cheshire Cat, the Hatter, the March Hare, the Mock Turtle and more, all the while growing smaller and larger, finally outgrowing everyone at the trial of Who Stole the Tarts from the Queen of Hearts and exclaiming 'Who cares for you? You’re nothing but a pack of cards!'WithFranziska Kohlt Leverhulme Research Fellow in the History of Science at the University of Leeds and the Inaugural Carrollian Fellow of the University of Southern CaliforniaKiera Vaclavik Professor of Children’s Literature and Childhood Culture at Queen Mary, University of LondonAndRobert Douglas-Fairhurst Professor of English Literature at Magdalen College, University of OxfordProducer: Simon TillotsonReading list:Kate Bailey and Simon Sladen (eds), Alice: Curiouser and Curiouser (V&A Publishing, 2021)Gillian Beer, Alice in Space: The Sideways Victorian World of Lewis Carroll (University of Chicago Press, 2016)Will Brooker, Alice's Adventures: Lewis Carroll and Alice in Popular Culture (Continuum, 2004)Humphrey Carpenter, Secret Gardens: A Study of the Golden Age of Children’s Literature (first published 1985; Faber and Faber, 2009)Lewis Carroll (introduced by Martin Gardner), The Annotated Alice: The Definitive Edition, (W. W. Norton & Company, 2000)Gavin Delahunty and Christoph Benjamin Schulz (eds), Alice in Wonderland Through the Visual Arts (Tate Publishing, 2011)Robert Douglas-Fairhurst, The Story of Alice: Lewis Carroll and the Secret History of Wonderland (Harvill Secker, 2015)Colleen Hill, Fairy Tale Fashion (Yale University Press, 2016)Franziska Kohlt, Alice through the Wonderglass: The Surprising Histories of a Children's Classic (Reaktion, forthcoming 2025) Franziska Kohlt and Justine Houyaux (eds.), Alice: Through the Looking-Glass: A Companion (Peter Lang, forthcoming 2024)Charlie Lovett, Lewis Carroll: Formed by Faith (University of Virginia Press, 2022)Elizabeth Sewell, The Field of Nonsense (first published 1952; Dalkey Archive Press, 2016)Kiera Vaclavik, 'Listening to the Alice books' (Journal of Victorian Culture, Volume 26, Issue 1, January 2021)Diane Waggoner, Lewis Carroll's Photography and Modern Childhood (Princeton University Press 2020)Edward Wakeling, The Man and his Circle (IB Tauris, 2014)Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (University of Texas Press, 2015)

Melvyn Bragg and guests discuss one of Shakespeare’s great comedies, which plays in the space between marriage, love and desire. By convention a wedding means a happy ending and here there are three, but neither Orsino nor Viola, Olivia nor Sebastian know much of each other’s true character and even the identities of the twins Viola and Sebastian have only just been revealed to their spouses to be. These twins gain some financial security but it is unclear what precisely the older Orsino and Olivia find enduringly attractive in the adolescent objects of their love. Meanwhile their hopes and illusions are framed by the fury of Malvolio, tricked into trusting his mistress Olivia loved him and who swears an undefined revenge on all those who mocked him.With Pascale Aebischer Professor of Shakespeare and Early Modern Performance Studies at the University of ExeterMichael Dobson Professor of Shakespeare Studies and Director of the Shakespeare Institute at the University of BirminghamAnd Emma Smith Professor of Shakespeare Studies at Hertford College, University of OxfordProduced by Simon Tillotson, Victoria Brignell and Luke MulhallReading list:C.L. Barber, Shakespeare’s Festive Comedies: A Study of Dramatic Form and Its Relation to Social Custom (first published 1959; Princeton University Press, 2011)Simone Chess, ‘Queer Residue: Boy Actors’ Adult Careers in Early Modern England’ (Journal for Early Modern Cultural Studies 19.4, 2020)Callan Davies, What is a Playhouse? England at Play, 1520-1620 (Routledge, 2023)Frances E. Dolan, Twelfth Night: Language and Writing (Bloomsbury, 2014)John Drakakis (ed.), Alternative Shakespeares (Psychology Press, 2002), especially ‘Disrupting Sexual Difference: Meaning and Gender in the Comedies’ by Catherine BelseyBart van Es, Shakespeare’s Comedies: A Very Short Introduction (Oxford University Press, 2016) Sonya Freeman Loftis, Mardy Philippian and Justin P. Shaw (eds.), Inclusive Shakespeares: Identity, Pedagogy, Performance (Palgrave Macmillan, 2023), especially ‘”I am all the daughters of my father’s house, and all the brothers too”: Genderfluid Potentiality in As You Like It and Twelfth Night’ by Eric Brinkman Ezra Horbury, ‘Transgender Reassessments of the Cross-Dressed Page in Shakespeare, Philaster, and The Honest Man’s Fortune’ (Shakespeare Quarterly 73, 2022) Jean Howard, ‘Crossdressing, the theatre, and gender struggle in early modern England’ (Shakespeare Quarterly 39, 1988)Harry McCarthy, Boy Actors in Early Modern England: Skill and Stagecraft in the Theatre (Cambridge University Press, 2022)Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge University Press, 1996)William Shakespeare (eds. Michael Dobson and Molly Mahood), Twelfth Night (Penguin, 2005)William Shakespeare (ed. Keir Elam), Twelfth Night (Arden Shakespeare, 2008)Emma Smith, This is Shakespeare: How to Read the World's Greatest Playwright (Pelican, 2019)Victoria Sparey, Shakespeare’s Adolescents: Age, Gender and the Body in Shakespearean Performance and Early Modern Culture (Manchester University Press, 2024)

Melvyn Bragg and guests discuss the Dutch artist famous for starry nights and sunflowers, self portraits and simple chairs. These are images known the world over, and Vincent van Gogh (1853-1890) painted them and around 900 others in the last decade of his short, brilliant life and, famously, in that lifetime he made only one recorded sale. Yet within a few decades after his death these extraordinary works, with all their colour and life, became the most desirable of all modern art, propelled in part by the story of Vincent van Gogh's struggle with mental health.With Christopher Riopelle The Neil Westreich Curator of Post 1800 Paintings at the National GalleryMartin Bailey A leading Van Gogh specialist and correspondent for The Art NewspaperAnd Frances Fowle Professor of Nineteenth Century Art at the University of Edinburgh and Senior Curator at National Galleries ScotlandProducer: Simon TillotsonReading list: Martin Bailey, Living with Vincent Van Gogh: The Homes and Landscapes that shared the Artist (White Lion Publishing, 2019)Martin Bailey, Studio of the South: Van Gogh in Provence (Frances Lincoln, 2021)Martin Bailey, Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln, 2021)Nienke Bakker and Ella Hendriks, Van Gogh and the Sunflowers: A Masterpiece Examined (Van Gogh Museum, 2019)Nienke Bakker, Emmanuel Coquery, Teio Meedendorp and Louis van Tilborgh (eds), Van Gogh in Auvers-sur-Oise: His Final Months (Thames & Hudson, 2023)Frances Fowle, Van Gogh's Twin: The Scottish Art Dealer Alexander Reid, 1854-1928 (National Galleries of Scotland, 2010) Bregje Gerritse, The Potato Eaters: Van Gogh’s First Masterpiece (Van Gogh Museum, 2021)Steven Naifeh and Gregory White Smith, Van Gogh: The Life (Random House, 2012)Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh: The Letters: The Complete Illustrated and Annotated Edition (Thames and Hudson Ltd, 2009)Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh, A Life in Letters (Thames and Hudson Ltd, 2020)Hans Luitjen, Jo van Gogh Bonger: The Woman who Made Vincent Famous Bloomsbury, 2022Louis van Tilborgh, Martin Bailey, Karen Serres (ed.), Van Gogh Self-Portraits (Courtauld Institute, 2022)Ingo F. Walther and Rainer Metzger, Van Gogh. The Complete Paintings (Taschen, 2022)

Melvyn Bragg and guests discuss Poe (1809-1849), the American author who is famous for his Gothic tales of horror, madness and the dark interiors of the mind, such as The Fall of the House of Usher and The Tell-Tale Heart. As well as tapping at our deepest fears in poems such as The Raven, Poe pioneered detective fiction with his character C. Auguste Dupin in The Murders in the Rue Morgue. After his early death, a rival rushed out a biography to try to destroy Poe's reputation but he has only become more famous over the years as a cultural icon as well as an author.WithBridget Bennett Professor of American Literature and Culture at the University of LeedsErin Forbes Senior Lecturer in 19th-century African American and US Literature at the University of BristolAndTom Wright Reader in Rhetoric at the University of SussexProducer: Simon TillotsonReading list: Peter Ackroyd, Poe: A Life Cut Short (Vintage, 2009)Amy Branam Armiento and Travis Montgomery (eds.), Poe and Women: Recognition and Revision (Lehigh University Press, 2023)Joan Dayan, Fables of Mind: An Inquiry into Poe's Fiction (Oxford University Press, 1987)Erin Forbes, ‘Edgar Allan Poe in the Great Dismal Swamp’ (Modern Philology, 2016)Kevin J. Hayes (ed.), Edgar Allan Poe in Context (Cambridge University Press, 2012) J. Gerald Kennedy and Scott Peeples (eds.), The Oxford Handbook of Edgar Allan Poe (Oxford University Press, 2018)Jill Lepore, 'The Humbug: Poe and the Economy of Horror' (The New Yorker, April 20, 2009)Toni Morrison, Playing in the Dark (Vintage, 1993)Scott Peeples and Michelle Van Parys, The Man of the Crowd: Edgar Allan Poe and the City (Princeton University Press, 2020)Edgar Allan Poe, The Portable Edgar Allan Poe (Penguin, 2006)Shawn Rosenhelm and Stephen Rachman (eds.), The American Face of Edgar Allan Poe (Johns Hopkins University Press, 1995)

Melvyn Bragg and guests discuss Marguerite, Queen of Navarre (1492 – 1549), author of the Heptaméron, a major literary landmark in the French Renaissance. Published after her death, The Heptaméron features 72 short stories, many of which explore relations between the sexes. However, Marguerite’s life was more eventful than that of many writers. Born into the French nobility, she found herself the sister of the French king when her brother Francis I came to the throne in 1515. At a time of growing religious change, Marguerite was a leading exponent of reform in the Catholic Church and translated an early work of Martin Luther into French. As the Reformation progressed, she was not afraid to take risks to protect other reformers.With Sara Barker Associate Professor of Early Modern History and Director of the Centre for the Comparative History of Print at the University of LeedsEmily Butterworth Professor of Early Modern French at King’s College LondonAnd Emma Herdman Lecturer in French at the University of St AndrewsProducer: Simon TillotsonReading list: Giovanni Boccaccio (trans. Wayne A. Rebhorn), The Decameron (Norton, 2013)Emily Butterworth, Marguerite de Navarre: A Critical Companion (Boydell &Brewer, 2022)Patricia Cholakian and Rouben Cholakian, Marguerite de Navarre: Mother of the Renaissance (Columbia University Press, 2006)Gary Ferguson, Mirroring Belief: Marguerite de Navarre’s Devotional Poetry (Edinburgh University Press, 1992)Gary Ferguson and Mary B. McKinley (eds.), A Companion to Marguerite de Navarre (Brill, 2013)Mark Greengrass, The French Reformation (John Wiley & Sons, 1987)R.J. Knecht, The Rise and Fall of Renaissance France (Fontana Press, 2008)R.J. Knecht, Renaissance Warrior and Patron: The Reign of Francis I (Cambridge University Press, 2008)John D. Lyons and Mary B. McKinley (eds.), Critical Tales: New Studies of the ‘Heptaméron’ and Early Modern Culture (University of Pennsylvania Press, 1993)Marguerite de Navarre (trans. Paul Chilton), The Heptameron (Penguin, 2004)Marguerite de Navarre (trans. Rouben Cholakian and Mary Skemp), Selected Writings: A Bilingual Edition (University of Chicago Press, 2008) Marguerite de Navarre (trans. Hilda Dale), The Coach and The Triumph of the Lamb (Elm Press, 1999)Marguerite de Navarre (trans. Hilda Dale), The Prisons (Whiteknights, 1989)Marguerite de Navarre (ed. Gisèle Mathieu-Castellani), L’Heptaméron (Libraririe générale française, 1999)Jonathan A. Reid, King’s Sister – Queen of Dissent: Marguerite of Navarre (1492-1549) and her Evangelical Network (Brill, 2009)Paula Sommers, ‘The Mirror and its Reflections: Marguerite de Navarre’s Biblical Feminism’ (Tulsa Studies in Women’s Literature, 5, 1986)Kathleen Wellman, Queens and Mistresses of Renaissance France (Yale University Press, 2013)

Melvyn Bragg and guests discuss the most influential work of Thorstein Veblen (1857-1929). In 1899, during America’s Gilded Age, Veblen wrote The Theory of the Leisure Class as a reminder that all that glisters is not gold. He picked on traits of the waning landed class of Americans and showed how the new moneyed class was adopting these in ways that led to greater waste throughout society. He called these conspicuous leisure and conspicuous consumption and he developed a critique of a system that favoured profits for owners without regard to social good. The Theory of the Leisure Class was a best seller and funded Veblen for the rest of his life, and his ideas influenced the New Deal of the 1930s. Since then, an item that becomes more desirable as it becomes more expensive is known as a Veblen good. With Matthew Watson Professor of Political Economy at the University of WarwickBill Waller Professor of Economics at Hobart and William Smith Colleges, New YorkAndMary Wrenn Senior Lecturer in Economics at the University of the West of EnglandProducer: Simon TillotsonReading list:Charles Camic, Veblen: The Making of an Economist who Unmade Economics (Harvard University Press, 2021)John P. Diggins, Thorstein Veblen: Theorist of the Leisure Class (Princeton University Press, 1999)John P. Diggins, The Bard of Savagery: Thorstein Veblen and Modern Social Theory (Seabury Press, 1978)John Kenneth Galbraith, The Affluent Society (Penguin, 1999) Robert Heilbroner, The Worldly Philosophers: The Lives, Times and Ideas of the Great Economic Thinkers (Penguin, 2000), particularly the chapter ‘The Savage Society of Thorstein Veblen’Ken McCormick, Veblen in Plain English: A Complete Introduction to Thorstein Veblen’s Economics (Cambria Press, 2006)Sidney Plotkin and Rick Tilman, The Political Ideas of Thorstein Veblen (Yale University Press, 2012)Juliet B. Schor, The Overspent American: Why We Want What We Don't Need (William Morrow & Company, 1999)Juliet B. Schor, Born to Buy: The Commercialized Child and the New Consumer Culture (Simon & Schuster Ltd, 2005)Thorstein Veblen, The Theory of the Leisure Class (first published 1899; Oxford University Press, 2009)Thorstein Veblen, The Theory of Business Enterprise (first published 1904; Legare Street Press, 2022)Thorstein Veblen, The Higher Learning in America (first published 2018; Johns Hopkins University Press, 2015) Thorstein Veblen, Absentee Ownership and Business Enterprise in Recent Times: The Case of America (first published 1923; Routledge, 2017)Thorstein Veblen, Conspicuous Consumption (Penguin, 2005)Thorstein Veblen, The Complete Works (Musaicum Books, 2017)Charles J. Whalen (ed.), Institutional Economics: Perspective and Methods in Pursuit of a Better World (Routledge, 2021)

Melvyn Bragg and guests discuss Emile Zola's greatest literary success, his thirteenth novel in a series exploring the extended Rougon-Macquart family. The relative here is Etienne Lantier, already known to Zola’s readers as one of the blighted branch of the family tree and his story is set in Northern France. It opens with Etienne trudging towards a coalmine at night seeking work, and soon he is caught up in a bleak world in which starving families struggle and then strike, as they try to hold on to the last scraps of their humanity and the hope of change.WithSusan Harrow Ashley Watkins Chair of French at the University of BristolKate Griffiths Professor in French and Translation at Cardiff UniversityAndEdmund Birch Lecturer in French Literature and Director of Studies at Churchill College & Selwyn College, University of CambridgeProducer: Simon TillotsonReading list:David Baguley, Naturalist Fiction: The Entropic Vision (Cambridge University Press, 1990)William Burgwinkle, Nicholas Hammond and Emma Wilson (eds.), The Cambridge History of French Literature (Cambridge University Press, 2011), particularly ‘Naturalism’ by Nicholas WhiteKate Griffiths, Emile Zola and the Artistry of Adaptation (Legenda, 2009)Kate Griffiths and Andrew Watts, Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio, and Print (University of Wales Press, 2013) Anna Gural-Migdal and Robert Singer (eds.), Zola and Film: Essays in the Art of Adaptation (McFarland & Co., 2005)Susan Harrow, Zola, The Body Modern: Pressures and Prospects of Representation (Legenda, 2010)F. W. J. Hemmings, The Life and Times of Emile Zola (first published 1977; Bloomsbury, 2013)William Dean Howells, Emile Zola (The Floating Press, 2018)Lida Maxwell, Public Trials: Burke, Zola, Arendt, and the Politics of Lost Causes (Oxford University Press, 2014)Brian Nelson, Emile Zola: A Very Short Introduction (Oxford University Press, 2020)Brian Nelson (ed.), The Cambridge Companion to Emile Zola (Cambridge University Press, 2007)Sandy Petrey, Realism and Revolution: Balzac, Stendhal, Zola, and the Performances of History (Cornell University Press, 1988)Arthur Rose, ‘Coal politics: receiving Emile Zola's Germinal’ (Modern & contemporary France, 2021, Vol.29, 2) Philip D. Walker, Emile Zola (Routledge, 1969)Emile Zola (trans. Peter Collier), Germinal (Oxford University Press, 1993)Emile Zola (trans. Roger Pearson), Germinal (Penguin Classics, 2004)

In the 1000th edition of In Our Time, Melvyn Bragg and guests discuss arguably the most celebrated film of the Swedish director Ingmar Bergman (1918-2007). It begins with an image that, once seen, stays with you for the rest of your life: the figure of Death playing chess with a Crusader on the rocky Swedish shore. The release of this film in 1957 brought Bergman fame around the world. We see Antonius Block, the Crusader, realising he can’t beat Death but wanting to prolong this final game for one last act, without yet knowing what that act might be. As he goes on a journey through a plague ridden world, his meeting with a family of jesters and their baby offers him some kind of epiphany. With Jan Holmberg Director of the Ingmar Bergman Foundation, StockholmClaire Thomson Professor of Cinema History and Director of the School of European Languages, Culture and Society at University College LondonAndLaura Hubner Professor of Film at the University of WinchesterProducer: Simon TillotsonReading list:Alexander Ahndoril (trans. Sarah Death), The Director (Granta, 2008) Ingmar Bergman (trans. Marianne Ruuth), Images: My Life in Film (Faber and Faber, 1995)Ingmar Bergman (trans. Joan Tate), The Magic Lantern: An Autobiography (Viking, 1988)Ingmar Bergman (trans. Joan Tate), The Best Intentions (Vintage, 2018)Ingmar Bergman (trans. Joan Tate), Sunday’s Children (Vintage, 2018)Ingmar Bergman (trans. Joan Tate), Private Confessions (Vintage, 2018)Stig Björkman, Torsten Manns and Jonas Sima (trans. Paul Britten Austin), Bergman on Bergman: Interviews with Ingmar Bergman (Da Capo Press, 1993)Melvyn Bragg, The Seventh Seal: BFI Film Classics (British Film Institute, 1993)Paul Duncan and Bengt Wanselius (eds.), The Ingmar Bergman Archives (Taschen/Max Ström, 2018)Erik Hedling (ed.), Ingmar Bergman: An Enduring Legacy (Lund University Press, 2021)Laura Hubner, The Films of Ingmar Bergman: Illusions of Light and Darkness (Palgrave Macmillan, 2007)Daniel Humphrey, Queer Bergman: Sexuality, Gender, and the European Art Cinema (University of Texas Press, 2013) Maaret Koskinen (ed.), Bergman Revisited: Performance, Cinema, and the Arts (Wallflower Press, 2008) Selma Lagerlöf (trans. Peter Graves), The Phantom Carriage (Norvik Press, 2011)Mariah Larsson and Anders Marklund (eds.), Swedish Film: An Introduction and Reader (Nordic Academic Press, 2010)Paisley Livingston, Ingmar Bergman and the Rituals of Art (Cornell University Press, 2019)Birgitta Steene (ed.), Focus on The Seventh Seal (Prentice Hall, 1972)Birgitta Steene, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2014)

Death in Venice is Thomas Mann’s most famous – and infamous - novella. Published in 1912, it’s about the fall of the repressed writer Gustav von Aschenbach, when his supposedly objective appreciation of a young boy’s beauty becomes sexual obsession. It explores the link between creativity and self-destruction, and by the end Aschenbach’s humiliation is complete, dying on a deckchair in the act of ogling. Aschenbach's stalking of the boy and dreaming of pederasty can appal modern readers, even more than Mann expected. With Karolina Watroba, Post-Doctoral Research Fellow in Modern Languages at All Souls College, University of OxfordErica Wickerson, a Former Research Fellow at St Johns College, University of CambridgeSean Williams, Senior Lecturer in German and European Cultural History at the University of Sheffield Sean Williams' series of Radio 3's The Essay, Death in Trieste, can be found here: https://www.bbc.co.uk/programmes/m001lzd4

Sophocles’ play Oedipus Rex begins with a warning: the murderer of the old king of Thebes, Laius, has never been identified or caught, and he’s still at large in the city. Oedipus is the current king of Thebes, and he sets out to solve the crime. His investigations lead to a devastating conclusion. Not only is Oedipus himself the killer, but Laius was his father, and Laius’ wife Jocasta, who Oedipus has married, is his mother. Oedipus Rex was composed during the golden age of Athens, in the 5th century BC. Sophocles probably wrote it to explore the dynamics of power in an undemocratic society. It has unsettled audiences from the very start: it is the only one of Sophocles’ plays that didn’t win first prize at Athens’ annual drama festival. But it’s had exceptionally good write-ups from the critics: Aristotle called it the greatest example of the dramatic arts. Freud believed it laid bare the deepest structures of human desire. With: Nick Lowe, Reader in Classical Literature at Royal Holloway, University of London Fiona Macintosh, Professor of Classical Reception and Fellow of St Hilda’s College at the University of OxfordEdith Hall, Professor of Classics at Durham University

In the year 29 BC the great Roman poet Virgil published these lines: Blessed is he who has succeeded in learning the laws of nature’s working, has cast beneath his feet all fear and fate’s implacable decree, and the howl of insatiable Death. But happy too is he who knows the rural gods…They’re from his poem the Georgics, a detailed account of farming life in the Italy of the time. ‘Georgics’ means ‘agricultural things’, and it’s often been read as a farming manual. But it was written at a moment when the Roman world was emerging from a period of civil war, and questions of land ownership and management were heavily contested. It’s also a philosophical reflection on humanity’s relationship with the natural world, the ravages of time, and the politics of Virgil’s day. It’s exerted a profound influence on European writing about agriculture and rural life, and has much to offer environmental thinking today. With Katharine Earnshaw Senior Lecturer in Classics and Ancient History at the University of Exeter; Neville Morley Professor of Classics and Ancient History at the University of ExeterandDiana Spencer Professor of Classics at the University of BirminghamProducer: Luke Mulhall