In this episode of The Man Behind the Curtain, Tom McCarthy and Thomas Jones look at the machinery that Shelley used to assemble her immortal creature and bring it to life and consider the many systems that the novel draws on, challenges, reproduces and mutates.
Rosemary is joined again by Matthew Davies to continue the story of England’s capital through its rapid rise in the first half of the 14th century and a long period turmoil thereafter, including the Hundred Years’ War, the revolts of Wat Tyler and Jack Cade, and the Wars of the Roses.
William Hazlitt wrote of ‘The Rape of the Lock’ that ‘you hardly know whether to laugh or weep’, and in this episode Seamus and Mark discuss why Alexander Pope's mock epic masterpiece is at once the funniest poem in the English language and an essay on the seriousness of trivial things.
In The Burning Earth, Sunil Amrith uses history as a way of understanding why we got to a moment of accelerated environmental change, drawing on multiple strands of human activity over more than 500 years to trace the origins of environmental crisis. In this episode, Meehan and Peter interrogate some of Amrith’s major themes and examples, from the damaging impact of 18th-century ideas of freedom on our relationship to the natural world, to his analysis of postwar environmentalism through the figures of Hannah Arendt, Rachel Carson and Indira Gandhi.
James Wood looks at three of Chekhov’s stories, ‘Gusev’ (1890), ‘The Bishop’ (1902) and ‘The Lady with the Little Dog’ (1899), and the ways in which each seeks to curb the judgment or expectations of the reader to foreground the experiences of his characters, even beyond death.
Rosemary is joined by Matthew Davies, professor of urban history at Birkbeck, to trace this story of London from where the Romans left it in the early fifth century, through multiple invasions, grand projects and power struggles up to its emergence as a flourishing capital city in the thirteenth century.
Seamus and Mark look at the ways in which Milton’s study of temptation and free will became an unparalleled expression of poetic brilliance, from its thrillingly ambiguous and seductive depiction of Satan to its vivid dramatisation of the reproachful lovers confronting the consequences of their misdeeds, and ultimately its claim to being the finest love poem in English.
In Blue Machine (2024), Helen Czerski refigures the ocean as an enormous planetary engine, converting light and heat into motion. Her book invites us to see the ocean not as an ‘absence’ but an intricate series of operations that makes life as we know it possible. Meehan Crist and Peter Godfrey-Smith reflect on the ways Czerski’s book has altered their thinking about the ocean, and whether new perspectives can ever be enough to change public policy.
Dostoevsky’s 1864 novella doesn’t contain the descriptive detail, impersonal narration or many other features of 19th-century realism established by Flaubert. The book’s two-part structure, which starts with a 40-year-old’s furious rant against rationalism and moves on to present three humiliating episodes from his earlier life, offers no kind of conclusion. Instead, it is the unbearable moments of psychological truth that make ‘Notes from Underground’ a revolutionary development in the history of realism.
After Roman London was hit by a catastrophic fire in about 125 AD, perhaps the result of another local revolt, it entered a new period of sophistication which saw the emergence of elaborate townhouses for its mercantile and administrative elite, richly embellished with mosaics and wall paintings. But the city had stopped growing, and when a devastating plague arrived in about 165 AD, which may well have been Europe’s first encounter with smallpox, it was probably already on a long slow decline caused by its diminishing importance as a trading hub.
Like Christopher Marlowe, William Shakespeare made good use of his time off when the theatres were shut for plague in 1593. 'Venus and Adonis' appeared in quarto that year and become by far the most popular work Shakespeare published in his lifetime, running to ten editions before his death (compared to just four for Romeo and Juliet).
In The Light Eaters, Zoë Schlanger reports from the frontiers of botany, where researchers are discovering forms of sensing, signalling and responding that challenge our ideas of plants as passive life forms. Meehan Crist and Peter Godfrey-Smith explore Schlanger’s account of new research into plant behaviour. They examine the case for plant agency – and the far more speculative claims for plant consciousness – and attempt to make sense of some astonishing discoveries.
In the second part of his analysis of Madame Bovary, James Wood considers the major episodes leading to Emma’s death and argues that what made Flaubert’s realism dangerous was not its depictions of infidelity, but its use of cliché to expose French bourgeois lives constructed entirely of received ideas and second-hand emotions.
Rosemary Hill is joined by Dominic Perring to examine the development of Londinium over its tumultuous first century, during which it was burned down twice, grew to a population of 30,000 and acquired all the recognisable Roman landmarks.
Seamus and Mark begin their new series by looking at the playful but often troubling treatment of desire in Marlowe's Hero and Leander, a poem that contains one of the most explicit depictions of sex in English poetry.