We had more applications than available places for our first study focusing on The Graduate in December 2024. We also found that three hours was simply not long enough to consider the film in depth. With this in mind we have decided to revisit the film, this time over two sessions of two-and-a-half hours each (N.B. we are offering a discount for anyone who joined the first study and would like to register for the second, please email litsalon@gmail.com for details).

The Graduate was a massive critical and commercial success on release in 1967, becoming the highest grossing film of that year in North America, winning the Best Director Oscar for Mike Nichols and receiving six other Academy Award nominations. Based on the 1963 novel of the same name by Charles Webb, it is a coming of age story with a twist that is full of both comic and tragic possibilities.

A young Dustin Hoffman plays newly graduated Benjamin Braddock – naive, awkward, uncertain what to do next and deeply embarrassed by his proud and conventional family – as he navigates the challenges of adult life that unexpectedly include seduction by the bored and worldly Mrs Robinson, wife of his father’s business partner. Complications ensue when Benjamin falls for the one woman that Mrs Robinson will do anything to keep him away from, her daughter Elaine. The ensuing conflicts lead to a memorable conclusion when Benjamin finally takes action and goes all out to capture Elaine’s heart on the very day she marries another man . . .

We want to consider this film as it was at the time – described by renowned critic Roger Ebert as “the funniest American comedy of the year” – and returning to it (or viewing for the first time) more than half a century later. Has it aged well?

Just some of the questions we will discuss in our review of the film as a whole and the selected clips we will watch together:

• What can we learn about the social mores of middle-class North America in the 1960s? How much have things changed? Does the scandal of an extramarital affair resonate with us differently in the 2020s?
• How do we perceive Mrs Robinson – cheating wife, sexual predator, unfulfilled domestic prisoner – and how differently would we respond if the seducer were an older male and the graduate female? Incidentally, Anne Bancroft was just 35 to Dustin Hoffman’s 30 when the film was made!
• How do the life challenges facing a twenty-one-year-old in 2025’s digital world compare to those of 1968 (when the Vietnam War was ongoing and young men in the US who were not studying at university were still liable to be drafted into the armed services)?

JOINING DETAILS:

• A five hour LitSalon Study on the Art of Film.
• Friday 24 & Friday 31 January 2025, 3.30-6.00 pm (UK/BST) on Zoom.
• Discussion led by Julie Sutherland and John Allemand.
• £125 for two-session five hour study, including background notes and resources (N.B. participants in this study will be limited to a maximum of 10), discount available for those who attended The Graduate study in December 2024.
• The Graduate is widely available on DVD/video and to download from Amazon and other platforms, we will invite participants to view a number of clips during the course of the study.

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.“

Marcel Proust

After completing incredibly satisfying studies of Ulysses and Magic Mountain, we have turned to the next big mountain of Modernism, Marcel Proust’s In Search of Lost Time. This is my seventh tour through the Search and each visit reveals new nuggets and gasping moments. This fourth volume, Sodom and Gomorrah, considers closely the draw of the social dance and the realm of social power: you might not think the anxious aristocracy of the Belle Epoque will teach you anything about the world you live in, but you will be surprised. The group that has made it through the first three volumes in the last six months is lively and welcoming and we may have room for two or three more participants. If you have not read the first three volumes previously, please contact us to discuss.

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment  and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

Reading Proust teaches the reader to observe how the world is experienced, to be aware that although humans are tempted to give greater weight to the perceptual universe, it is the entwining of memory, idealised experience (dreams) and relationships, together with what our senses perceive, that moulds our consciousness.

I’d  like to share with you part of Edmund White’s essay on this section from Andre Aciman’s collection The Proust Project:

“In these pages, Proust alludes to so many conflicting theories of homosexuality that they end up by casting doubt on one another — and on all such theories.  In fact they suggest, finally, that only the conventions of a few cultures (but not all or even most cultures) determine the definition of normality; mere convention and nothing more absolute defines the status of homosexuality.

On the face of it nothing could seem further from the Proustian position.  He starts out with the most extreme (and the most offensive) theory; that male homosexuals are inverts, i.e., women disguised as men.  this whole initial disquisition on homosexuality is triggered by Marcel’s realization that Charlus’s face in repose is that of a woman since ‘he was one.’  This is the theory of ‘the soul of a woman enclosed in the body of a man’ first worked out by the German sexologist Karl Heinrich Ulrichs in 1868.

Proust plays with the theories and homophobia of his time – and exposes societal hypocrisies in all forms.”

JOINING DETAILS:

• Facilitated by Toby Brothers
• Mondays, 1.00-3.00 pm (UK)
• Thirteen-meeting study on Zoom starting on 27 January 2025 (N.B. no meetings on 3 March, 14 & 28 April, 5 & 12 May)
• Recommended editions: Penguin, ISBN 9780141180342, Christopher Prendergast (Editor), John Sturrock (Translator) OR Vintage Classics, ISBN 9780099362517
• £390 for thirteen meetings (includes background materials, literary criticism, opening notes and discussion notes)

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.“

Marcel Proust

This ‘second time around’ study is designed specifically for people who, having completed their journey through Proust’s monumental creation at least once, have the urge to do it again.

Facilitator Toby Brothers writes:

Marcel Proust’s In Search of Lost Time is one of the mountains of Modernism. This is my seventh tour through the Search and each visit reveals new nuggets and gasping moments. This fourth volume considers closely the draw of the social dance and the realm of social power: you might not think the anxious aristocracy of the Belle Epoque will teach you something about the world you live in, but you will be surprised. 

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment  and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

Reading Proust teaches the reader to observe how the world is experienced, to be aware that although humans are tempted to give greater weight to the perceptual universe, it is the entwining of memory, idealised experience (dreams) and relationships, together with what our senses perceive, that moulds our consciousness.

I’d  like to share with you part of Edmund White’s essay on this section from Andre Aciman’s collection The Proust Project:

“In these pages, Proust alludes to so many conflicting theories of homosexuality that they end up by casting doubt on one another — and on all such theories.  In fact they suggest, finally, that only the conventions of a few cultures (but not all or even most cultures) determine the definition of normality; mere convention and nothing more absolute defines the status of homosexuality.

On the face of it nothing could seem further from the Proustian position.  He starts out with the most extreme (and the most offensive) theory; that male homosexuals are inverts, i.e., women disguised as men.  this whole initial disquisition on homosexuality is triggered by Marcel’s realization that Charlus’s face in repose is that of a woman since ‘he was one.’  This is the theory of ‘the soul of a woman enclosed in the body of a man’ first worked out by the German sexologist Karl Heinrich Ulrichs in 1868.

Proust plays with the theories and homophobia of his time – and exposes societal hypocrisies in all forms.”

JOINING DETAILS:

• Facilitated by Toby Brothers
• Mondays, 3.30-5.30 pm (UK)
• Thirteen-meeting study on Zoom starting on 27 January 2025 (N.B. no meetings on 3 March, 14 & 28 April, 5 & 12 May)
• Recommended editions: Penguin, ISBN 9780141180342, Christopher Prendergast (Editor), John Sturrock (Translator) OR Vintage Classics, ISBN 9780099362517
• £390 for thirteen meetings (includes background materials, literary criticism, opening notes and discussion notes)

This study offers a rare opportunity to read Virginia Woolf’s famed mock-biography, Orlando, with Karina Jakubowicz, Woolf scholar and creator of The Virginia Woolf Podcast. Readers will be guided through the text step-by-step, explaining the desires, jealousies and rivalries behind what has been called ‘the longest love letter in the English language.’ There will be opportunities to discuss Woolf’s inspiration, Vita Sackville West, and to consider Woolf’s treatment of history, gender and the genre of biography.

To guide our readings, each week will feature one object drawn from the archives at Knole House or Sissinghurst Castle, or from Virginia Woolf’s own collections. Orlando is a story that spans 400 years, so each object will relate to the time period that we are looking at in the text itself. These pieces may simply serve as bookmarks to help readers navigate the text, or they may develop into talking points that furnish our understanding of the history that Woolf describes. 

The eight-session study will begin with a lecture on the background to the text that can be booked as a standalone event or as part of the whole. The following seven sessions will be discussion-based and split according to the timetable below.

Session 1: Lecture

Session 2: Preface and first half of Chapter 1, up to the beginning of The Great Frost (p. 22)

Session 3: Read until the end of Chapter 1

Session 4: Chapter 2.

Session 5: Chapter 3

Session 6: Chapter 4

Session 7: Chapter 5

Session 8: Chapter 6 

N.B. If you are interested in developing your critical or written skills, this can be done via a weekly written task with feedback at additional cost. For more information on this, please email us using the subject line ‘Orlando feedback’. 

JOINING DETAILS:

• Eight meeting study on Zoom led by Karina Jakubowicz
• 27 January to 17 March 2025
• Mondays, 6.00-8.00 pm
• £30 for the lecture alone, £240 for the whole course
• Recommended edition: Oxford World’s Classics, edited by Michael H. Whitworth, ISBN: 9780199650736 (but any decent edition will work). 

This lecture is available to book as a standalone event or as an introduction to a complete eight-week study giving participants a rare opportunity to read Virginia Woolf’s famed mock-biography, Orlando, with Karina Jakubowicz, Woolf scholar and creator of The Virginia Woolf Podcast. Readers will be guided through the text step-by-step, explaining the desires, jealousies and rivalries behind what has been called ‘the longest love letter in the English language.’ There will be opportunities to discuss Woolf’s inspiration, Vita Sackville West, and to consider Woolf’s treatment of history, gender and the genre of biography..

To guide our readings, each week will feature one object drawn from the archives at Knole House or Sissinghurst Castle, or from Virginia Woolf’s own collections. Orlando is a story that spans 400 years, so each object will relate to the time period that we are looking at in the text itself. These pieces may simply serve as bookmarks to help readers navigate the text, or they may develop into talking points that furnish our understanding of the history that Woolf describes. 

The complete study consists of eight sessions which will be discussion-based and split according to the timetable below and may be booked here.

Session 1: Lecture

Session 2: Preface and first half of Chapter 1, up to the beginning of The Great Frost (p. 22)

Session 3: Read until the end of Chapter 1

Session 4: Chapter 2.

Session 5: Chapter 3

Session 6: Chapter 4

Session 7: Chapter 5

Session 8: Chapter 6 

N.B. If you are interested in developing your critical or written skills, this can be done via a weekly written task with feedback at additional cost. For more information on this, please email us using the subject line ‘Orlando feedback’. 

JOINING DETAILS:

• Introductory lecture by Karina Jakubowicz on Zoom
• Monday 27 January 2025, 6.00-8.00 pm
• £30 for the lecture alone (£240 for lecture and seven further meetings)
• Recommended edition: Oxford World’s Classics, edited by Michael H. Whitworth, ISBN: 9780199650736 (but any decent edition will work). 

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.“

Marcel Proust

After completing incredibly satisfying studies of Ulysses and Magic Mountain, we have turned to the next big mountain of Modernism, Marcel Proust’s In Search of Lost Time. This is my seventh tour through the Search and each visit reveals new nuggets and gasping moments. This fourth volume, Sodom and Gomorrah, considers closely the draw of the social dance and the realm of social power: you might not think the anxious aristocracy of the Belle Epoque will teach you anything about the world you live in, but you will be surprised. The group that has made it through the first three volumes in the last six months is lively and welcoming and we may have room for two or three more participants. If you have not read the first three volumes previously, please contact us to discuss.

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment  and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

Reading Proust teaches the reader to observe how the world is experienced, to be aware that although humans are tempted to give greater weight to the perceptual universe, it is the entwining of memory, idealised experience (dreams) and relationships, together with what our senses perceive that moulds our consciousness.

I’d  like to share with you part of Edmund White’s essay on this section from Andre Aciman’s collection The Proust Project:

“In these pages, Proust alludes to so many conflicting theories of homosexuality that they end up by casting doubt on one another — and on all such theories.  In fact they suggest, finally, that only the conventions of a few cultures (but not all or even most cultures) determine the definition of normality; mere convention and nothing more absolute defines the status of homosexuality.

On the face of it nothing could seem further from the Proustian position.  He starts out with the most extreme (and the most offensive) theory; that male homosexuals are inverts, i.e., women disguised as men.  this whole initial disquisition on homosexuality is triggered by Marcel’s realization that Charlus’s face in repose is that of a woman since ‘he was one.’  This is the theory of ‘the soul of a woman enclosed in the body of a man’ first worked out by the German sexologist Karl Heinrich Ulrichs in 1868.

Proust plays with the theories and homophobia of his time – and exposes societal hypocrisies in all forms.”

JOINING DETAILS:

• Facilitated by Toby Brothers and Ralph Kleinman
• Mondays, 6.00-8.00 pm (UK)
• Thirteen-meeting study on Zoom starting on 27 January 2025 (N.B. no meetings on 3 March, 14 & 28 April, 5 & 12 May)
• Recommended editions: Penguin, ISBN 9780141180342, Christopher Prendergast (Editor), John Sturrock (Translator) OR Vintage Classics, ISBN 9780099362517
• £390 for thirteen meetings (includes background materials, literary criticism, opening notes and discussion notes)

” . . .Today, guess what, we became beekeepers!  We went to the local meeting last week (attended by the rector, the midwife, and assorted beekeeping people from neighboring villages) to watch a Mr Pollard make three hives out of one (by transferring his queen cells) under the supervision of the official Government bee-man.  We all wore masks and it was thrilling.  It is expensive to start beekeeping (over $50 outlay), but Mr Pollard let us have an old hive for nothing, which we painted white and green, and today he brought over the swarm of docile Italian hybrid bees we ordered and installed them.  We placed the hive in a sheltered out-of-the-way spot in the orchard the bees were furious from being in a box.  Ted had only put a handkerchief over his head where the hat should go in the bee-mask, and the bees crawled into his hair, and he flew off with half-a-dozen stings.  I didn’t get stung at all, and when I went back to the hive later, I was delighted to see bees entering with pollen sacs full and leaving with them empty at least I think that’s what they were doing.  I feel very ignorant but shall try to read up and learn all I can.  If we’re lucky, we’ll have our own honey, too!“

From Letters Home, 15 June 1962

When Sylvia Plath died on 11^th February 1963 she left a black spring binder on her desk containing a manuscript of forty poems with the title Ariel.*  The final five poems are a sequence about bees: The Bee-Meeting, The Arrival of the Bee-Box, Stings, Swarm and Wintering.  In this powerful sequence Plath purposefully changes her poetic tone as she uses the natural metaphor of bees to explore issues of female self-assertion, rites of death and rebirth, creativity and survival.  She also writes with loving precision about the details of beekeeping and the bees themselves.  The final poem, Wintering, is a tour de force evoking cold and despair but, ultimately, hope for the coming spring.  

Over the course of two hours we will study Wintering in depth, look at its form and construction and, through repeated readings, unlock the secrets of this acclaimed poem. 

*This is not the version of Ariel published in 1965, which has four of the bee poems in the middle of the book, but Faber did publish Ariel the Restored Edition in 2004, with a foreword by Frieda Hughes. 

JOINING DETAILS:

• Single meeting study facilitated by Caroline Hammond 
• Tuesday 28 January 2025, 6.00 – 8.00 pm (GMT)
• £30 (includes background materials and opening notes)

“I seemed to be lying neither asleep nor awake looking down a long corridor of gray half light where all stable things had become shadowy paradoxical all I had done shadows all I had felt suffered taking visible form antic and perverse mocking without relevance inherent themselves with the denial of the significance they should have affirmed thinking I was I was not who was not was not who.”

William Faulkner, The Sound and the Fury

In William Faulkner’s first truly modernist work, he attempts to break through the confines of time and sequence to get at the essence of human nature. As Malcolm Bradbury explains, “Faulkner’s preoccupation with time has to do with the endless interlocking of personal and public histories and with the relation of the past to the lost, chaotic present.” The Sound and the Fury exposes a crumbling world through inference and allusion rather than through direct social critique. In the modernist method, Faulkner employs stream of consciousness and symbolism as connecting fibres against individual interior realities that must compete for authority.

This study will draw upon participants’ questions and ideas to shed light on this complex text. The book is richer when discussed, enabling the first time reader access to Faulkner’s vision, while those re-reading will find greater depth and resonance. Upon a first reading, the narratives appear jumbled and opaque; but as the pieces start to fit together, the complex and careful planning that Faulkner employs becomes apparent. Does the work expose the depths and hidden realms of the human spirit? This is what we must grapple with in our study.

JOINING DETAILS:

• Led by Toby Brothers & John Allemand on Zoom
• Wednesday evenings 5.00 – 7.00 pm (UK)
• Five-meeting study 29 January – 26 February 2025
• Recommended edition: The Sound and the Fury by William Faulkner, Norton Critical Edition (edited by Michael Gorra); ISBN-13: 978-0393912692
• £200 for five sessions

‘Give me an example,’ I said quietly. ‘Of something that means something. In your opinion.’
‘Wuthering Heights‘ she said without hesitation . . .
‘But that’s unreasonable. You’re talking about a work of genius.’
‘It was, wasn’t it? My sweet wild Cathy. God, I cried buckets. I saw it ten times.’
I said ‘Oh’ with recognizable relief, ‘oh’ with a shameful, rising inflection, ‘the movie.’

Truman Capote, Breakfast at Tiffany’s

Ironically, this exchange between the unnamed narrator of Breakfast at Tiffany’s and its unlikely heroine, Holly Golightly, prefigures the eclipse of Truman Capote’s original 1958 novella by the 1961 film. Whether you love or loathe the iconic movie starring Audrey Hepburn, the book is different – romantic but devoid of sentimentality – painting a complex, funny and poignant portrait of a 1940’s New York demi-monde.

Credited as the inventor of the ‘non-fiction novel’, Capote’s prose style in Breakfast at Tiffany’s prompted Norman Mailer to describe him as “the most perfect writer of my generation”. In our two-meeting study we will consider whether and why this judgement was justified, as we discuss how the author evokes character – most notably the unique and irrepressible Holly Golightly – and, in less than a hundred pages, immerses the reader in his plot.

Please note, the book contains some language and cultural tropes that are true to the period described but which some readers may find offensive today.

JOINING DETAILS:

• Two-meeting study on Zoom led by Toby Brothers and Deborah Lawunmi
• Thursday 30 January & 6 February, 5.00-7.00 pm UK (GMT)
• Recommended edition: Truman Capote, Breakfast at Tiffany’s, Penguin Modern Classics, ISBN: 9780141182797
• £70 for two meetings to include opening notes and resources

       “Don’t bargain.
Just grab the swishing tail
of your nerve’s latest adventure
and go with the inevitable tide.“

Dorothy Porter  The Sea Hare

Blaise Pascal wrote that what makes humans distinct is that we know we are attached to a dying animal, and that the universe knows nothing of this. Our knowledge of death, our awareness of our mortality is so fundamental to our human experience.

This study looks at the ways poets have written about death, taking up different responses to the theme in a variety of poems, reading works that face – unstintingly at times, but also tenderly and deeply – the universal yet oft avoided fact of our mortality.

My idea for this salon is that we come to it with an open curiosity about the ways that poets have thought poetically about death.

Starting with Milton’s pastoral elegy Lycidas we go on a journey to the underworld with Rilke’s Orpheus, and through the surreal musings of Neruda and deep existential fear explored in Larkin’s Aubade. Studying eleven poems over four meetings we will finish with poems that contemplate our own mortality, in Dorothy Porter ‘s The Sea Hare and in a selection of haiku known as death poems, written by Japanese poets as their last words of goodbye.

Meeting One
Lycidas, John Milton
The Funeral of Sarpedon, Constantine Cavafy
Sylvia’s Death, Anne Sexton

Meeting Two
Orpheus, Euridice and Hermes, Rainer Maria Rilke
Lenox Hill, Agaha Shahid Ali ­

Meeting Three
Aubade, Philip Larkin
Nothing but Death, Pablo Neruda
To Whoever is Reading Me, Jorge Luis Borges

Meeting Four
The Sea Hare, Dorothy Porter
Japanese Death Poems
In Praise of Dreams, Wistawa Szymborska

JOINING DETAILS:

• Four week study on Zoom led by Desma Lawrence
• Tuesdays, 12.00 – 2.00 pm (UK)
• 4, 11, 18 and 25 February 2025
• £120 for four meetings, including notes and texts

The Tyger, first published in 1794, is the product of a revolutionary age. Societal transformations in Europe and North America were radically altering industry, statehood, philosophy, law and religion. In the vanguard of the Romantic movement that was to produce a generation of poets including Wordsworth, Byron, Shelley, Keats and Clare, Blake was a master of the lyric form, finding connections between the natural world and the introspective workings of the heart and mind. 

For many readers The Tyger is also woven into their earliest childhoods, one of the first poems they were introduced to, heard before it was read. Whether The Tyger is part of your personal canon or completely new, as we explore the lyricism, images and Blake’s unique voice we will uncover new and unexpected meanings through reading and discussing the poem. 

JOINING DETAILS:

• Single meeting study facilitated by Caroline Hammond
• Tuesday 4 February 2025, 6.00 – 8.00 pm GMT
• £30 (includes background materials and opening notes)

Arnica, eyebright, the
draft from the well with the
star-die on top,

in the
Hütte,

Thus begins Paul Celan’s poem Todtnauberg, setting the scene for his meeting with the philosopher Martin Heidegger.

This short poem is Celan’s record of his meeting at the philosopher’s Black Forest retreat in Todtnauberg in 1967. The two men were admirers of each other’s work, though on Celan’s side the admiration was fraught. Celan was a survivor of the European Shoah, carried out by the Third Reich, that claimed the life of both his parents. Living most of his life in France, Celan composed his poetry in German (his mother tongue and the language of his beloved mother), utilising the language that was also infused with the Reich, and which he called “the deathbringing speech” to work through the individual and collective trauma of the Shoah.   

Heidegger, one of the monumental figures in European continental philosophy of the twentieth century, had a well known affiliation with the Nazi party which he never denied, redressed, or ever spoke about publicly. Their meeting, not surprisingly, attracted much scrutiny.  

The poem, a chronicle of that meeting, closely follows the inscription that Celan left in Heidegger’s visitor’s book: “In the Hütte, with the view from the star in the well, with the hope of a coming word in the heart” (“Ins Hüttenbuch, mit dem Blick auf den Brunnenstern, mit einer Hoffnung auf eines kommendes Wort im Herzen”). 

There are many ways to read, interpret and translate the poem, a poem about silence and the hope for words. We will read the poem together, many times, hoping ourselves to come to an understanding and interpretation of this very moving and concise work. 

JOINING DETAILS:

• Single meeting study led by Desma Lawrence and Emilia Steuerman
• Wednesday 12 February 2025, 12.00 – 2.00 pm (UK)
• £40 for single meeting with two facilitators
• We will provide the German text with English Translation(s) and background notes on both Celan and Heidegger.

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

The eighth century English monk Bede wrote a famous parable in which man’s life is compared to the flight of a sparrow crossing a warm hall on a dark, wet night: the sparrow comes “from winter into winter again”, his time in light and warmth lasting but the “blink of an eye”. Eight hundred years later, English poets believed they could trick all-devouring time through the power of words.

And today, another five centuries later, what does poetry tell us about time? And what different ‘times’ do we find in poetry? Can Medieval and Renaissance literature speak to our own perception of time? And what can objects tell us about our relationship with words across time?

This study invites readers to dive into poems and objects from the past in search of dialogues around time and literature. Focusing on the experience of reading poetry from the 10^th to the 17^th century we will try to rethink our notions of brevity and eternity, of rush and delay, of beginnings and endings. 

Each of four sessions will focus on a different genre of poetry expressing ‘time’:

1.      Old English elegies

“Thus this middle-earth droops and decays every single day;
and so a man cannot become wise, before he has weathered
his share of winters in this world”

Anonymous, The Wanderer

2.     Old English riddles

“It was swift in its going:
Faster than birds it flew through the sky”

Anonymous, Riddle 51

3.     Medieval ballads

“O’er his white bones, when they are bare,
The wind shall blow for evermore.“

Anonymous, The Two Corbies

4.     Elizabethan poems

“Where whenas death shall all the world subdue,
Our love shall live, and later life renew.“

Edward Spenser, Amoretti: LXXV

JOINING DETAILS:

• Four meeting study on Zoom led by Vivien Kogut
• Thursdays, 6.30 – 8.30 pm (UK)
• 13, 20, 27 February and 6 March
• £120 for four meetings, including notes and resources

In 2025, ahead of our soon to be announced travel study in Paris this autumn, we continue Sean Forester’s Looking at Pictures Salon with two new studies focusing on 19th century art in France. Walking through the halls of the Louvre and the Musée d’Orsay we see masterpieces by David and Ingres, Gericault and Delacroix, Courbet and Manet, Monet and Degas. What a fascinating range of styles and techniques! With the political and social tumult that characterised 19th century France, art movements followed fast upon one another: Neoclassicism, Romanticism, Realism and Impressionism. Participants will explore all of this together, discussing both the formal qualities and the emotions and ideas to be found in these remarkable works of art.  

Part I: Art in France 1780-1870

Kenneth Clark was one of the great art critics of the last century, and we will take The Romantic Rebellion: Romantic Versus Classic Art as our text. The topics of our meetings will be: 

1.  David 
2.  Ingres, Raphael
3.  Gericault 
4.  Delacroix, Goya 
5.  Turner, Corot, The Barbizon School
6.  Millet, Courbet, Bastien-Lepage

  N.B. We will also discuss Neoclassical and Romantic sculpture.

JOINING DETAILS:

• Six-week study on Zoom led by Sean Forester
• Thursdays, 4.00-6.00pm (UK)
• 20, 27 February, 6,13, 20, 27 March 2025
• Reference text: The Romantic Rebellion: Romantic Versus Classic Art by Kenneth Clarke is currently out of print but second-hand copies are available to purchase online.
• £180 for six meetings

“I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.”

Ralph Ellison, Invisible Man

This is what Nobel laureate Saul Bellow had to say about this extraordinary book:

“It is commonly felt that there is no strength to match the strength of those powers which attack and cripple modern mankind. And this feeling is, for the reader of modern fiction, all too often confirmed when he approaches a new book. He is prepared, skeptically, to find what he has found before, namely, that family and class, university, fashion, the giants of publicity and manufacture, have had a larger share in the creation of someone called a writer than truth or imagination … From this harassment and threatened dissolution by details, a writer tries to rescue what is important. Even when he is most bitter, he makes by his tone a declaration of values and he says, in effect: There is something nevertheless that a man may hope to be. This tone, in the best pages of Invisible Man, those pages, for instance, in which an incestuous Negro farmer tells his tale to a white New England philanthropist, comes through very powerfully; it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence. In a time of specialized intelligences, modern imaginative writers make the effort to maintain themselves as unspecialists, and their quest is for a true middle-of-consciousness for everyone. What language is it that we can all speak, and what is it that we can all recognize, burn at, weep over, what is the stature we can without exaggeration claim for ourselves; what is the main address of consciousness?

“I was keenly aware, as I read this book, of a very significant kind of independence in the writing. For there is a way for Negro novelists to go at their problems, just as there are Jewish or Italian ways. Mr. Ellison has not adopted a minority tone. If he had done so, he would have failed to establish a true middle-of-consciousness for everyone.”

As co-facilitators with different cultural backgrounds and experiences, we both consider this to be one of the greatest and most influential works of American literature. The unnamed protagonist’s search for identity in a world that will not see him gives us as readers an opportunity to try to understand the psychological devastation of racism in its subtle as well as its violent forms, and to consider how each of us participates in the fate of all humanity. Ellison weaves in themes and images from Virgil, Dante, Emerson and TS Eliot while also using the structure and transcendence of jazz to create a work that haunts and stirs to the core of our experience.

Why read this book? Toby explains in more detail here:

Includes extracts from the recording of the spiritual ‘No More Auction Block‘ performed by Martha Redbone, accompanied by Aaron Whitby on piano, in the BAM Howard Gilman Opera House on 21 March 2017. Based on the work of Howard Zinn (1922–2010), directed by Anthony Arnove In association with Voices of a People’s History of the United States (peopleshistory.us), co-presented by Brooklyn Academy of Music and the Onassis Cultural Center New York Part of Onassis Programs at BAM. View the whole performance here.

JOINING DETAILS:

• Virtual study (via Zoom) facilitated by Toby Brothers and Deborah Lawunmi
• Thursdays, 5.00 – 7.00 pm (UK time)
• Seven meetings starting 20 February 2025
• Recommended edition: Invisible Man by Ralph Ellison, Penguin Modern Classics (August 2001) ISBN-13: 978-0141184425
• £245 for seven-meeting study with two facilitators

Widely regarded as one of the greatest works of literature in any language, Crime and Punishment is a murder story in which we know the name of the murderer (Raskolnikov) right from the start. Even the title indicates that there will be some punishment in store and we are offered a straightforward reason for why he did it, but Dostoevsky’s tale takes us far beyond such a simple narrative, and it is in the complex vision which he unravels for us that the greatness of his novel is achieved.

Perhaps his most important decision as a writer is to tell the story from the murderer’s perspective. The character of the detective whose deciphering skills are often at the centre of such tales, is seen from the outside and may seem rather puzzling to us, whereas the inner psychological world of the murderer is exposed in astonishing detail. In Dostoevsky’s conversations with his fellow convicts in Siberia, he heard disturbing details of real life murders, and, it seems, wanted to include some of this acquired knowledge in his book. The result is a central character who has the power to intrigue, disturb and move us, despite being in the grip of dark, misguided ideas. From one angle, as readers, we may find him self-centred, bitter, repellent, even wicked, or in the grip of an evil spirit. On the other hand, we may discover a sensitive, impulsive and compassionate man of ideals, struggling with grief and poverty, and pursuing existential ideas around freedom and moral autonomy. We may of course oscillate in our judgment.

Dostoevsky’s complex skill is also evident in his creation of a chorus of vividly depicted characters, reacting in a variety of ways as they respond to Raskolnikov’s increasingly erratic behaviour. The resulting polyphonic effect in which, as suggested by the Russian critic Bakhtin, characters interact without a controlling authorial voice, reflects the fact that very general ideas have a place in the world of this novel, written in the 1860s when the liberalisation of Russian society went into reverse following an attempt on the life of the Tsar. Western political ideas and the growth of nihilism were seen to be in conflict with traditional Russian ideas, especially those concerning the role of the Tsar and the Russian Orthodox church. These conflicts provide a background to the events of the novel.

In the end, however, what is front of stage and stays with us is the extraordinarily vivid presentation of the characters, their confusions, their sense of being thrown from side to side by destabilising events. We may certainly include here the character of the city itself, St Petersburg, with its orderly neo-classical exteriors and dark complex interiors. It is no surprise that Dostoevsky’s exploration of the depths of the human psyche has been seen as a precursor to psychoanalysis, as well as to the literary experiments of modernism.

JOINING DETAILS:

• Seven week study on Zoom led by Keith Fosbrook and Sarah Snoxall
• Tuesdays, 5.30-7.30 pm (UK), 25 February to 8 April 2025
• Recommended edition: Crime and Punishment, Fyodor Dostoevsky, translated by Richard Pevear and Larissa Volokhonsky, Vintage Classics, ISBN: 9781784871970
• £280 for seven meeting study

During the late reign of Queen Elizabeth I, an English writer penned a revenge tragedy for the public theatre, which unfolded like this:

Spurred on by the murder of a kinsman, a bereaved man, brought to the brink of madness by grief, seeks revenge on a royal. The information he receives urging him to exact vengeance is potentially legitimate, yet he is filled with doubt and is compelled to put it to the test. The grief-stricken man is then confronted by a terrifying vision about his delay. Growing more self-assured, he publicizes the nature of the crime through a play-within-a-play. The tragedy closes with the bloody and violent deaths of numerous characters.

Not Hamlet, this is Thomas Kyd’s The Spanish Tragedy.

Kyd’s immense influence on English Renaissance drama cannot be overstated. To the playwrights already writing in the revenge tradition of the Roman Seneca (1^st century CE), Kyd added a flair and formula that was all his own and brought into sharp relief questions about life, death and justice that were pertinent to the age in which he wrote.

A box office blockbuster, The Spanish Tragedy was the third most performed play in 1590s London (after The Jew of Malta and the now-lost The Wise Men of West Chester). Its publication history was equally phenomenal. Going into at least 11 editions between 1592 and 1633, the revenge tragedy’s life in print outstripped any of Shakespeare’s plays.

In this 7-session study, participants will engage in an exhaustive reading of an edition based on the play’s earliest quarto (not dated). Pre-session resources will include the additions Ben Jonson was commissioned to write, which appeared in the 1602 edition of the play, and were a testament to The Spanish Tragedy’s ongoing popularity. Kyd himself did not live to see its astounding success.

As we examine this play together, we will consider a question central to the period’s revenge tragedies: How far must we go, what options do we have, when we must take the law into our own hands?

English Revenge Tragedy Series

“Revenge is a kind of wild justice; which the more man’s nature runs to, the more ought law to weed it out.”

Francis Bacon

The Spanish Tragedy is the second in a series of studies on English Renaissance revenge tragedy led by Julie Sutherland, which begins with Hamlet (8 January to 12 February 2025). Each study is completely self-contained, but participants are welcome (and encouraged!) to consider taking part in the entire series. 

JOINING DETAILS:

• Seven week study led by Julie Sutherland
• Wednesdays, 5.00 -7.00 pm UK time
• 26 February-9 April 2025
• £210 for seven meetings
• Recommended edition: Five Revenge Tragedies: The Spanish Tragedy, Hamlet, Antonio’s Revenge, The Tragedy of Hoffman, The Revenger’s Tragedy, Penguin Classics, ISBN: 9780141192277

‘There is not a part of the writings of this Poet wherein is found in equal compass a greater number of exquisite feelings felicitously expressed.’

William Wordsworth on Shakespeare’s Sonnets

Shakespeare’s sonnets have inspired, fascinated and disturbed readers for centuries. Full of mystery and imagination, they dazzle us even as they drive us mad: Who is the fair youth to whom so many of these sonnets are addressed? Who is the dark lady, the complex beloved of so many others? Who is the rival poet and what power does he possess? Are these lyric expressions of tortured love – among other themes – the key to understanding the mysterious life of Shakespeare, or are they not autobiographical at all?

Through close analysis and hands-on interpretive work, we will examine Shakespeare’s kaleidoscopic exploration of his speaker’s romantic and tortured feelings and experiences.

We are offering these self-contained, individual studies of Shakespeare’s sonnets in a workshop style setting. Over time we will cover all of the 154 sonnets that comprise Shakespeare’s celebrated sequence. Participants are invited to join as few or many sessions as they please.

JOINING DETAILS:

• Session 1: Sonnets 1-4, facilitated by Julie Sutherland (on Zoom)
• Friday 28 February, 3.00 – 5.00 pm (UK)
• £25 for two-hour study
• Before the session, Julie Sutherland will send links to online versions or attach specific copies for discussion. It is highly recommended that you print these off before joining this hands-on session. If you have a printed edition, please also have it ready so we can consider variations between texts. Have a notebook and pencil on hand as well!

Absalom, Absalom! is arguably Faulkner’s most difficult, but also his most brilliant work. It presents the story of Thomas Sutpen, an enigmatic stranger who came to Jefferson in the early 1830s to wrest his mansion out of the muddy bottoms of the north Mississippi wilderness. He was a man, Faulkner said, “who wanted sons and the sons destroyed him.”

Described as ‘hard-core Faulkner’, one review says: “The words and writing are critically acclaimed since your parents were in school. The examples of how a war can raze an entire culture’s edifice of identity are compelling, each person’s doom and curse being common among her kin and her countrymen: ghosts and sex and violence and cruelty, gut wrenching drama to challenge any soap opera or miniseries or movie. There are themes and studies aplenty within the nightmare realm of Faulkner’s masterpiece.”

Some feedback from participants in a previous study of Faulkner’s The Sound and the Fury:

“I am so happy to have had this opportunity to immerse myself in The Sound and the Fury in such a structured way and with such expert guidance!  . . . While I probably would have found my way there eventually, the Salon gave me a container, a holding space and chorus of passionate and challenging voices with which to engage the difficult psychological, emotional, and artistic questions it raises.”

“You can get guidance elsewhere – with a discussion group you get more of a creative interaction and that’s what to me is important and exciting . . . you’re really involved in the reading so much more actively.”

“I always finish these sessions with insights I would never have reached on my own.”

“The support to read these difficult books is one of the things I come here for.” 

JOINING DETAILS:

• Seven-week study led by Toby Brothers & John Allemand on Zoom
• Wednesdays, 5.00-7.00 pm (UK)
• 12 March – 23 April 2025
• £280 for seven-week study
• Recommended edition: Absalom, Absalom!, Vintage Classics, ISBN: 9780099475118

“In these random impressions, with no desire to be anything other than random, I indifferently narrate my factless autobiography, my lifeless history, and if in them I say nothing, its because I have nothing to say.”

The Book of Disquiet, the prose masterpiece by Portuguese poet Fernando Pessoa, is unique among modernist literary texts.

Even to categorise this work, authored by Pessoa under the name of Bernardo Soares, is difficult. Not quite fiction, not quite memoir, it is an aphoristic, fragmented exploration of life through philosophical and metaphorical modes of thought. The fragments of text, themselves individual texts, ponder – sometimes deeply and artfully and sometimes despondently and abstrusely, but always imaginatively – with equal weight, the profound mysteries and the boring everydayness of life.

“It’s raining, raining, raining…

It’s raining constantly, plaintively…

My body sets my soul shivering with cold, not the cold that exists in space, but the cold of me being that space…”

These are the musings of a Lisbon bookkeeper who is preoccupied with the nature of existence and who regards the world as by turns fictive, profound, pointless, symbolic, sad, written as a sort of journal. Not composed as an organised text, never completed or arranged by Pessoa (who was the progenitor of numerous literary heteronyms) this book is ‘a fiction of itself’. This makes for one of the most unusual of Europe’s great modernist literary masterpieces. A mesmerising, fascinating text, The Book of Disquiet reflects on the enigmas of self.

“I’m a navigator engaged in unknowing myself… And behind all this, O sky my sky, I secretly constellate and have my infinity.”

JOINING DETAILS:

• Eight week study on Zoom led by Desma Lawrence
• Tuesdays, 12.00 – 2.00 pm (UK)
• 18 March – 6 May 2025
• Recommended edition: Fernando Pessoa, The Book of Disquiet, edited and translated by Richard Zenith, Penguin Classics, ISBN: 9780241200131
• £240 for eight meetings, including notes and resources