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)