Close Readings

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.

Wordsworth was not unusual among Romantic poets for his enthusiastic support of the French Revolution, but he stands apart from his contemporaries for actually being there to see it for himself (‘Thou wert there,’ Coleridge wrote). This episode looks at Wordsworth’s retrospective account of his 1791 visit to France, described in books 9 and 10 of The Prelude.

Conservative to a fault, Juvenal’s Satires rails against the rapid expansion and transformation of Roman society in the early principate – immigration, sexual mores and eating habits all come under fire. But where his contemporary Tacitus handled the same material with restraint, Juvenal’s work explodes with vivid and vicious depictions of urban life, including immigration, sexual mores and eating habits.

Brent Hayes Edwards talks to Adam about Aimé Césaire's 1950 essay Discourse on Colonialism, a groundbreaking work of 20th-century anti-colonial thought and a precursor to the writings of Césaire's protégé, Frantz Fanon. Césaire was Martinique’s most influential poet and one of its most prominent politicians as a deputy in the French National Assembly, and his Discourse is addressed directly at his country’s colonisers. Adam and Brent consider Césaire’s poetry alongside his political arguments and the particular characteristics of his version of négritude, the far-reaching movement of black consciousness he founded with Léopold Sédar Senghor and Léon Damas.

By the end of 1895 Oscar Wilde’s life was in ruins as he sat in Reading Gaol facing public disgrace, bankruptcy and, two years later, exile. Just ten months earlier the premiere of The Importance of Being Earnest at St James’s Theatre in London had been greeted rapturously by both the audience and critics. In this episode Colin and Clare consider what Wilde was trying do with his comedy, written on the cusp of this dark future.

In his long 1938 poem, Louis MacNeice took many of the ideals shared by other young writers of his time – a desire for relevance, responsiveness and, above all, honesty – and applied them in a way that has few equivalents in English poetry. This diary-style work, written from August to December 1938, reflects with ‘documentary vividness’, as Ian Hamilton has described, on the international and personal crises swirling around MacNeice in those months.

The Annals, Tacitus’ study of the emperors from Tiberius to Nero, covers some of the most vivid and ruthless episodes in Roman history. A masterclass in political intrigue (and how not to do it), the Annals features mutiny, senatorial backstabbing, wars on the imperial frontiers, political purges and enormous egos. Emily and Tom explore the many ambiguities that make the Annals rewarding, as well as difficult, reading and discuss Tacitus’ knotty style and approach to history.

In the preface to the Decameron Boccaccio describes Florentine society laid waste by bubonic plague in the mid-14th century. But before he gets to that he has a confession for the reader: he has been hurt by love, a love ‘more fervent than any other love’, and intends his work as a guide to life and love for young women in particular. In the first of two episodes on Boccaccio’s hundred novelle of sex, dishonesty and foolishness, Mary and Irina consider why both the preface and first story – about the disreputable merchant Cepparello – start with a confession, before looking at the later tale of the gardener Masetto and his noble efforts tending to the needs of every nun in a convent in Lamporecchio.

Brent Hayes Edwards and Adam discuss the ‘ur-text of Black political philosophy’, W.E.B. Du Bois’s The Souls of Black Folk. Spanning autobiography, history, biography, fiction, music criticism and political science, its fourteen essays set the tone for black literature, political debate and scholarly production for the course of the twentieth century. Souls was an immediate bestseller, the subject of furious debate and a foundational work in the new field of sociology.

Few poets have had the courage (or inclination) to rhyme ‘Plato’ with ‘potato’, ‘intellectual’ with ‘hen-peck’d you all’ or ‘Acropolis’ with ‘Constantinople is’. Byron does all of these in Don Juan, his 16,000-line unfinished mock epic that presents itself as a grand satire on human vanity in the tradition of Cervantes, Swift and the Stoics, and refuses to take anything seriously for longer than a stanza.