Meehan and Peter discuss Sam Moore and Alex Roberts's book The Rise of Ecofascism: Climate Change and the Far Right and the case they make for the continuing salience of the word fascism.
James Wood considers the ways in which Spark, like Nabokov, gave the grammar of realism a post-modernist treatment to interrogate what it means to tell the story of a life.
The coffee served in London in the 1690s was notoriously unappetising, likened at the time to ‘burnt shoes and charcoal’. Nonetheless it was extremely popular, not least for the energy and locations it provided for two great booms in London life: financial speculation and a genuinely public print culture.
‘Childe Roland to the Dark Tower Came’ has baffled readers and critics ever since it was published in Men and Women in 1855. It baffled its author, too. It ‘came upon me as a kind of dream’, Browning recalled. ‘I had to write it then and there, and I finished it the same day.’ The result, inspired by a line spoken by Edgar (as Poor Tom) in Act III of King Lear, is a grim, hallucinatory quest poem that exemplifies Browning’s talent for what G.K. Chesterton called ‘the poetry of mean landscapes’.
Meehan and Peter talk through the different aspects of Raboteau’s project of survival in her 2024 book, from experiences of motherhood, gentrification and medical racism to the models it offers for dealing with existential threat and ‘justifiable rage’, and her stylistic achievement of bringing together the urban and natural environment.
To examine the debts to realism in Nabokov’s story of a Russian-born academic in the United States, James Wood is joined by Patricia Lockwood, who wrote about Nabokov for the LRB in 2020. They discuss why, despite the cruelty of the narrator, Pnin offers one of Nabokov’s most affectionate portraits, and whether it’s possible to define the style of a writer often referred to as a ‘master stylist’.
The restoration of the monarchy in 1660 brought a flurry of changes to London life. Women were allowed to appear on stage for the first time, the Royal Society was founded and the West End, with its squares, parks and fashionable ‘season’, was born. But the social whirl stopped abruptly in 1665.
Seamus and Mark discuss Keats’s talent for sublime banality, the competing readings of the lover, Porphyro, and the poem's repurposing of Spenserian allegory for a contemporary love story.
In Middlemarch, Tom McCarthy argues, George Eliot uses her ‘study of provincial life’ as a Trojan Horse to smuggle the continental philosophy of Spinoza and Hegel into the vicarages of middle England.
Meehan and Peter discuss Scranton’s analysis of our predicament and his proposal for ‘ethical pessimism’, based on resistance to our bias for optimism, as a way of coping with an uncertain future.
James Wood discusses the Bellovian prose style with its Melvillian love of words and biblical undertones, and explores the book’s evocation of a postwar Manhattan imbued with masculinist conventionality.
Rosemary is joined again by Vanessa Harding to see why James I’s Stuart settlement eventually failed under the personal rule of Charles I, leading to a civil war in which London became the financial and military headquarters for the victorious Parliamentarians and James’s grand new banqueting house at Whitehall was used as the backdrop for his son’s execution.
Samuel Taylor Coleridge was one of the first people to hear ‘The Ruined Cottage’, read aloud to him on a visit to the Wordsworths in 1797, and he later described it as ‘one of the most beautiful poems in the language’.
Through folktales, memoir and hard science, Robin Wall Kimmerer’s 'Braiding Sweetgrass' argues for the intertwining of Indigenous knowledge systems and empirical science, to support ‘mutual flourishing’ between humans and the environment. 'Braiding Sweetgrass' was an enormous success for a small press publication, becoming a bestseller and a touchstone for readers searching for alternatives to extractivist realpolitik.
James Wood is joined by the biographer Miranda Seymour to discuss Jean Rhys’s virtuosity of technique and detachment, her extraordinary ear for dialogue and the places where her mastery of realist method gave way to modernism.