Melvyn Bragg and guests discuss Lewis Carroll's book which first appeared in print in 1865 with illustrations by John Tenniel. It has since become one of the best known works in English, captivating readers who follow young Alice as she chases a white rabbit, pink eyed, in a waistcoat with pocket watch, down a rabbit hole that becomes a well and into wonderland. There she meets the Cheshire Cat, the Hatter, the March Hare, the Mock Turtle and more, all the while growing smaller and larger, finally outgrowing everyone at the trial of Who Stole the Tarts from the Queen of Hearts and exclaiming 'Who cares for you? You’re nothing but a pack of cards!' With Franziska Kohlt Leverhulme Research Fellow in the History of Science at the University of Leeds and the Inaugural Carrollian Fellow of the University of Southern California Kiera Vaclavik Professor of Children’s Literature and Childhood Culture at Queen Mary, University of London And Robert Douglas-Fairhurst Professor of English Literature at Magdalen College, University of Oxford Producer: Simon Tillotson Reading list: Kate Bailey and Simon Sladen (eds), Alice: Curiouser and Curiouser (V&A Publishing, 2021) Gillian Beer, Alice in Space: The Sideways Victorian World of Lewis Carroll (University of Chicago Press, 2016) Will Brooker, Alice's Adventures: Lewis Carroll and Alice in Popular Culture (Continuum, 2004) Humphrey Carpenter, Secret Gardens: A Study of the Golden Age of Children’s Literature (first published 1985; Faber and Faber, 2009) Lewis Carroll (introduced by Martin Gardner), The Annotated Alice: The Definitive Edition, (W. W. Norton & Company, 2000) Gavin Delahunty and Christoph Benjamin Schulz (eds), Alice in Wonderland Through the Visual Arts (Tate Publishing, 2011) Robert Douglas-Fairhurst, The Story of Alice: Lewis Carroll and the Secret History of Wonderland (Harvill Secker, 2015) Colleen Hill, Fairy Tale Fashion (Yale University Press, 2016) Franziska Kohlt, Alice through the Wonderglass: The Surprising Histories of a Children's Classic (Reaktion, forthcoming 2025) Franziska Kohlt and Justine Houyaux (eds.), Alice: Through the Looking-Glass: A Companion (Peter Lang, forthcoming 2024) Charlie Lovett, Lewis Carroll: Formed by Faith (University of Virginia Press, 2022) Elizabeth Sewell, The Field of Nonsense (first published 1952; Dalkey Archive Press, 2016) Kiera Vaclavik, 'Listening to the Alice books' (Journal of Victorian Culture, Volume 26, Issue 1, January 2021) Diane Waggoner, Lewis Carroll's Photography and Modern Childhood (Princeton University Press 2020) Edward Wakeling, The Man and his Circle (IB Tauris, 2014) Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (University of Texas Press, 2015)

Melvyn Bragg and guests discuss one of Shakespeare’s great comedies, which plays in the space between marriage, love and desire. By convention a wedding means a happy ending and here there are three, but neither Orsino nor Viola, Olivia nor Sebastian know much of each other’s true character and even the identities of the twins Viola and Sebastian have only just been revealed to their spouses to be. These twins gain some financial security but it is unclear what precisely the older Orsino and Olivia find enduringly attractive in the adolescent objects of their love. Meanwhile their hopes and illusions are framed by the fury of Malvolio, tricked into trusting his mistress Olivia loved him and who swears an undefined revenge on all those who mocked him. With Pascale Aebischer Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter Michael Dobson Professor of Shakespeare Studies and Director of the Shakespeare Institute at the University of Birmingham And Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford Produced by Simon Tillotson, Victoria Brignell and Luke Mulhall Reading list: C.L. Barber, Shakespeare’s Festive Comedies: A Study of Dramatic Form and Its Relation to Social Custom (first published 1959; Princeton University Press, 2011) Simone Chess, ‘Queer Residue: Boy Actors’ Adult Careers in Early Modern England’ (Journal for Early Modern Cultural Studies 19.4, 2020) Callan Davies, What is a Playhouse? England at Play, 1520-1620 (Routledge, 2023) Frances E. Dolan, Twelfth Night: Language and Writing (Bloomsbury, 2014) John Drakakis (ed.), Alternative Shakespeares (Psychology Press, 2002), especially ‘Disrupting Sexual Difference: Meaning and Gender in the Comedies’ by Catherine Belsey Bart van Es, Shakespeare’s Comedies: A Very Short Introduction (Oxford University Press, 2016) Sonya Freeman Loftis, Mardy Philippian and Justin P. Shaw (eds.), Inclusive Shakespeares: Identity, Pedagogy, Performance (Palgrave Macmillan, 2023), especially ‘”I am all the daughters of my father’s house, and all the brothers too”: Genderfluid Potentiality in As You Like It and Twelfth Night’ by Eric Brinkman Ezra Horbury, ‘Transgender Reassessments of the Cross-Dressed Page in Shakespeare, Philaster, and The Honest Man’s Fortune’ (Shakespeare Quarterly 73, 2022) Jean Howard, ‘Crossdressing, the theatre, and gender struggle in early modern England’ (Shakespeare Quarterly 39, 1988) Harry McCarthy, Boy Actors in Early Modern England: Skill and Stagecraft in the Theatre (Cambridge University Press, 2022) Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge University Press, 1996) William Shakespeare (eds. Michael Dobson and Molly Mahood), Twelfth Night (Penguin, 2005) William Shakespeare (ed. Keir Elam), Twelfth Night (Arden Shakespeare, 2008) Emma Smith, This is Shakespeare: How to Read the World's Greatest Playwright (Pelican, 2019) Victoria Sparey, Shakespeare’s Adolescents: Age, Gender and the Body in Shakespearean Performance and Early Modern Culture (Manchester University Press, 2024)

Melvyn Bragg and guests discuss the Dutch artist famous for starry nights and sunflowers, self portraits and simple chairs. These are images known the world over, and Vincent van Gogh (1853-1890) painted them and around 900 others in the last decade of his short, brilliant life and, famously, in that lifetime he made only one recorded sale. Yet within a few decades after his death these extraordinary works, with all their colour and life, became the most desirable of all modern art, propelled in part by the story of Vincent van Gogh's struggle with mental health. With Christopher Riopelle The Neil Westreich Curator of Post 1800 Paintings at the National Gallery Martin Bailey A leading Van Gogh specialist and correspondent for The Art Newspaper And Frances Fowle Professor of Nineteenth Century Art at the University of Edinburgh and Senior Curator at National Galleries Scotland Producer: Simon Tillotson Reading list: Martin Bailey, Living with Vincent Van Gogh: The Homes and Landscapes that shared the Artist (White Lion Publishing, 2019) Martin Bailey, Studio of the South: Van Gogh in Provence (Frances Lincoln, 2021) Martin Bailey, Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln, 2021) Nienke Bakker and Ella Hendriks, Van Gogh and the Sunflowers: A Masterpiece Examined (Van Gogh Museum, 2019) Nienke Bakker, Emmanuel Coquery, Teio Meedendorp and Louis van Tilborgh (eds), Van Gogh in Auvers-sur-Oise: His Final Months (Thames & Hudson, 2023) Frances Fowle, Van Gogh's Twin: The Scottish Art Dealer Alexander Reid, 1854-1928 (National Galleries of Scotland, 2010) Bregje Gerritse, The Potato Eaters: Van Gogh’s First Masterpiece (Van Gogh Museum, 2021) Steven Naifeh and Gregory White Smith, Van Gogh: The Life (Random House, 2012) Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh: The Letters: The Complete Illustrated and Annotated Edition (Thames and Hudson Ltd, 2009) Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh, A Life in Letters (Thames and Hudson Ltd, 2020) Hans Luitjen, Jo van Gogh Bonger: The Woman who Made Vincent Famous Bloomsbury, 2022 Louis van Tilborgh, Martin Bailey, Karen Serres (ed.), Van Gogh Self-Portraits (Courtauld Institute, 2022) Ingo F. Walther and Rainer Metzger, Van Gogh. The Complete Paintings (Taschen, 2022)

Melvyn Bragg and guests discuss Poe (1809-1849), the American author who is famous for his Gothic tales of horror, madness and the dark interiors of the mind, such as The Fall of the House of Usher and The Tell-Tale Heart. As well as tapping at our deepest fears in poems such as The Raven, Poe pioneered detective fiction with his character C. Auguste Dupin in The Murders in the Rue Morgue. After his early death, a rival rushed out a biography to try to destroy Poe's reputation but he has only become more famous over the years as a cultural icon as well as an author. With Bridget Bennett Professor of American Literature and Culture at the University of Leeds Erin Forbes Senior Lecturer in 19th-century African American and US Literature at the University of Bristol And Tom Wright Reader in Rhetoric at the University of Sussex Producer: Simon Tillotson Reading list: Peter Ackroyd, Poe: A Life Cut Short (Vintage, 2009) Amy Branam Armiento and Travis Montgomery (eds.), Poe and Women: Recognition and Revision (Lehigh University Press, 2023) Joan Dayan, Fables of Mind: An Inquiry into Poe's Fiction (Oxford University Press, 1987) Erin Forbes, ‘Edgar Allan Poe in the Great Dismal Swamp’ (Modern Philology, 2016) Kevin J. Hayes (ed.), Edgar Allan Poe in Context (Cambridge University Press, 2012) J. Gerald Kennedy and Scott Peeples (eds.), The Oxford Handbook of Edgar Allan Poe (Oxford University Press, 2018) Jill Lepore, 'The Humbug: Poe and the Economy of Horror' (The New Yorker, April 20, 2009) Toni Morrison, Playing in the Dark (Vintage, 1993) Scott Peeples and Michelle Van Parys, The Man of the Crowd: Edgar Allan Poe and the City (Princeton University Press, 2020) Edgar Allan Poe, The Portable Edgar Allan Poe (Penguin, 2006) Shawn Rosenhelm and Stephen Rachman (eds.), The American Face of Edgar Allan Poe (Johns Hopkins University Press, 1995)

Melvyn Bragg and guests discuss Marguerite, Queen of Navarre (1492 – 1549), author of the Heptaméron, a major literary landmark in the French Renaissance. Published after her death, The Heptaméron features 72 short stories, many of which explore relations between the sexes. However, Marguerite’s life was more eventful than that of many writers. Born into the French nobility, she found herself the sister of the French king when her brother Francis I came to the throne in 1515. At a time of growing religious change, Marguerite was a leading exponent of reform in the Catholic Church and translated an early work of Martin Luther into French. As the Reformation progressed, she was not afraid to take risks to protect other reformers. With Sara Barker Associate Professor of Early Modern History and Director of the Centre for the Comparative History of Print at the University of Leeds Emily Butterworth Professor of Early Modern French at King’s College London And Emma Herdman Lecturer in French at the University of St Andrews Producer: Simon Tillotson Reading list: Giovanni Boccaccio (trans. Wayne A. Rebhorn), The Decameron (Norton, 2013) Emily Butterworth, Marguerite de Navarre: A Critical Companion (Boydell &Brewer, 2022) Patricia Cholakian and Rouben Cholakian, Marguerite de Navarre: Mother of the Renaissance (Columbia University Press, 2006) Gary Ferguson, Mirroring Belief: Marguerite de Navarre’s Devotional Poetry (Edinburgh University Press, 1992) Gary Ferguson and Mary B. McKinley (eds.), A Companion to Marguerite de Navarre (Brill, 2013) Mark Greengrass, The French Reformation (John Wiley & Sons, 1987) R.J. Knecht, The Rise and Fall of Renaissance France (Fontana Press, 2008) R.J. Knecht, Renaissance Warrior and Patron: The Reign of Francis I (Cambridge University Press, 2008) John D. Lyons and Mary B. McKinley (eds.), Critical Tales: New Studies of the ‘Heptaméron’ and Early Modern Culture (University of Pennsylvania Press, 1993) Marguerite de Navarre (trans. Paul Chilton), The Heptameron (Penguin, 2004) Marguerite de Navarre (trans. Rouben Cholakian and Mary Skemp), Selected Writings: A Bilingual Edition (University of Chicago Press, 2008) Marguerite de Navarre (trans. Hilda Dale), The Coach and The Triumph of the Lamb (Elm Press, 1999) Marguerite de Navarre (trans. Hilda Dale), The Prisons (Whiteknights, 1989) Marguerite de Navarre (ed. Gisèle Mathieu-Castellani), L’Heptaméron (Libraririe générale française, 1999) Jonathan A. Reid, King’s Sister – Queen of Dissent: Marguerite of Navarre (1492-1549) and her Evangelical Network (Brill, 2009) Paula Sommers, ‘The Mirror and its Reflections: Marguerite de Navarre’s Biblical Feminism’ (Tulsa Studies in Women’s Literature, 5, 1986) Kathleen Wellman, Queens and Mistresses of Renaissance France (Yale University Press, 2013)

Melvyn Bragg and guests discuss the most influential work of Thorstein Veblen (1857-1929). In 1899, during America’s Gilded Age, Veblen wrote The Theory of the Leisure Class as a reminder that all that glisters is not gold. He picked on traits of the waning landed class of Americans and showed how the new moneyed class was adopting these in ways that led to greater waste throughout society. He called these conspicuous leisure and conspicuous consumption and he developed a critique of a system that favoured profits for owners without regard to social good. The Theory of the Leisure Class was a best seller and funded Veblen for the rest of his life, and his ideas influenced the New Deal of the 1930s. Since then, an item that becomes more desirable as it becomes more expensive is known as a Veblen good. With Matthew Watson Professor of Political Economy at the University of Warwick Bill Waller Professor of Economics at Hobart and William Smith Colleges, New York And Mary Wrenn Senior Lecturer in Economics at the University of the West of England Producer: Simon Tillotson Reading list: Charles Camic, Veblen: The Making of an Economist who Unmade Economics (Harvard University Press, 2021) John P. Diggins, Thorstein Veblen: Theorist of the Leisure Class (Princeton University Press, 1999) John P. Diggins, The Bard of Savagery: Thorstein Veblen and Modern Social Theory (Seabury Press, 1978) John Kenneth Galbraith, The Affluent Society (Penguin, 1999) Robert Heilbroner, The Worldly Philosophers: The Lives, Times and Ideas of the Great Economic Thinkers (Penguin, 2000), particularly the chapter ‘The Savage Society of Thorstein Veblen’ Ken McCormick, Veblen in Plain English: A Complete Introduction to Thorstein Veblen’s Economics (Cambria Press, 2006) Sidney Plotkin and Rick Tilman, The Political Ideas of Thorstein Veblen (Yale University Press, 2012) Juliet B. Schor, The Overspent American: Why We Want What We Don't Need (William Morrow & Company, 1999) Juliet B. Schor, Born to Buy: The Commercialized Child and the New Consumer Culture (Simon & Schuster Ltd, 2005) Thorstein Veblen, The Theory of the Leisure Class (first published 1899; Oxford University Press, 2009) Thorstein Veblen, The Theory of Business Enterprise (first published 1904; Legare Street Press, 2022) Thorstein Veblen, The Higher Learning in America (first published 2018; Johns Hopkins University Press, 2015) Thorstein Veblen, Absentee Ownership and Business Enterprise in Recent Times: The Case of America (first published 1923; Routledge, 2017) Thorstein Veblen, Conspicuous Consumption (Penguin, 2005) Thorstein Veblen, The Complete Works (Musaicum Books, 2017) Charles J. Whalen (ed.), Institutional Economics: Perspective and Methods in Pursuit of a Better World (Routledge, 2021)

Melvyn Bragg and guests discuss Emile Zola's greatest literary success, his thirteenth novel in a series exploring the extended Rougon-Macquart family. The relative here is Etienne Lantier, already known to Zola’s readers as one of the blighted branch of the family tree and his story is set in Northern France. It opens with Etienne trudging towards a coalmine at night seeking work, and soon he is caught up in a bleak world in which starving families struggle and then strike, as they try to hold on to the last scraps of their humanity and the hope of change. With Susan Harrow Ashley Watkins Chair of French at the University of Bristol Kate Griffiths Professor in French and Translation at Cardiff University And Edmund Birch Lecturer in French Literature and Director of Studies at Churchill College & Selwyn College, University of Cambridge Producer: Simon Tillotson Reading list: David Baguley, Naturalist Fiction: The Entropic Vision (Cambridge University Press, 1990) William Burgwinkle, Nicholas Hammond and Emma Wilson (eds.), The Cambridge History of French Literature (Cambridge University Press, 2011), particularly ‘Naturalism’ by Nicholas White Kate Griffiths, Emile Zola and the Artistry of Adaptation (Legenda, 2009) Kate Griffiths and Andrew Watts, Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio, and Print (University of Wales Press, 2013) Anna Gural-Migdal and Robert Singer (eds.), Zola and Film: Essays in the Art of Adaptation (McFarland & Co., 2005) Susan Harrow, Zola, The Body Modern: Pressures and Prospects of Representation (Legenda, 2010) F. W. J. Hemmings, The Life and Times of Emile Zola (first published 1977; Bloomsbury, 2013) William Dean Howells, Emile Zola (The Floating Press, 2018) Lida Maxwell, Public Trials: Burke, Zola, Arendt, and the Politics of Lost Causes (Oxford University Press, 2014) Brian Nelson, Emile Zola: A Very Short Introduction (Oxford University Press, 2020) Brian Nelson (ed.), The Cambridge Companion to Emile Zola (Cambridge University Press, 2007) Sandy Petrey, Realism and Revolution: Balzac, Stendhal, Zola, and the Performances of History (Cornell University Press, 1988) Arthur Rose, ‘Coal politics: receiving Emile Zola's Germinal’ (Modern & contemporary France, 2021, Vol.29, 2) Philip D. Walker, Emile Zola (Routledge, 1969) Emile Zola (trans. Peter Collier), Germinal (Oxford University Press, 1993) Emile Zola (trans. Roger Pearson), Germinal (Penguin Classics, 2004)

In the 1000th edition of In Our Time, Melvyn Bragg and guests discuss arguably the most celebrated film of the Swedish director Ingmar Bergman (1918-2007). It begins with an image that, once seen, stays with you for the rest of your life: the figure of Death playing chess with a Crusader on the rocky Swedish shore. The release of this film in 1957 brought Bergman fame around the world. We see Antonius Block, the Crusader, realising he can’t beat Death but wanting to prolong this final game for one last act, without yet knowing what that act might be. As he goes on a journey through a plague ridden world, his meeting with a family of jesters and their baby offers him some kind of epiphany. With Jan Holmberg Director of the Ingmar Bergman Foundation, Stockholm Claire Thomson Professor of Cinema History and Director of the School of European Languages, Culture and Society at University College London And Laura Hubner Professor of Film at the University of Winchester Producer: Simon Tillotson Reading list: Alexander Ahndoril (trans. Sarah Death), The Director (Granta, 2008) Ingmar Bergman (trans. Marianne Ruuth), Images: My Life in Film (Faber and Faber, 1995) Ingmar Bergman (trans. Joan Tate), The Magic Lantern: An Autobiography (Viking, 1988) Ingmar Bergman (trans. Joan Tate), The Best Intentions (Vintage, 2018) Ingmar Bergman (trans. Joan Tate), Sunday’s Children (Vintage, 2018) Ingmar Bergman (trans. Joan Tate), Private Confessions (Vintage, 2018) Stig Björkman, Torsten Manns and Jonas Sima (trans. Paul Britten Austin), Bergman on Bergman: Interviews with Ingmar Bergman (Da Capo Press, 1993) Melvyn Bragg, The Seventh Seal: BFI Film Classics (British Film Institute, 1993) Paul Duncan and Bengt Wanselius (eds.), The Ingmar Bergman Archives (Taschen/Max Ström, 2018) Erik Hedling (ed.), Ingmar Bergman: An Enduring Legacy (Lund University Press, 2021) Laura Hubner, The Films of Ingmar Bergman: Illusions of Light and Darkness (Palgrave Macmillan, 2007) Daniel Humphrey, Queer Bergman: Sexuality, Gender, and the European Art Cinema (University of Texas Press, 2013) Maaret Koskinen (ed.), Bergman Revisited: Performance, Cinema, and the Arts (Wallflower Press, 2008) Selma Lagerlöf (trans. Peter Graves), The Phantom Carriage (Norvik Press, 2011) Mariah Larsson and Anders Marklund (eds.), Swedish Film: An Introduction and Reader (Nordic Academic Press, 2010) Paisley Livingston, Ingmar Bergman and the Rituals of Art (Cornell University Press, 2019) Birgitta Steene (ed.), Focus on The Seventh Seal (Prentice Hall, 1972) Birgitta Steene, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2014)

Death in Venice is Thomas Mann’s most famous – and infamous - novella. Published in 1912, it’s about the fall of the repressed writer Gustav von Aschenbach, when his supposedly objective appreciation of a young boy’s beauty becomes sexual obsession. It explores the link between creativity and self-destruction, and by the end Aschenbach’s humiliation is complete, dying on a deckchair in the act of ogling. Aschenbach's stalking of the boy and dreaming of pederasty can appal modern readers, even more than Mann expected. With Karolina Watroba, Post-Doctoral Research Fellow in Modern Languages at All Souls College, University of Oxford Erica Wickerson, a Former Research Fellow at St Johns College, University of Cambridge Sean Williams, Senior Lecturer in German and European Cultural History at the University of Sheffield Sean Williams' series of Radio 3's The Essay, Death in Trieste, can be found here: https://www.bbc.co.uk/programmes/m001lzd4

Sophocles’ play Oedipus Rex begins with a warning: the murderer of the old king of Thebes, Laius, has never been identified or caught, and he’s still at large in the city. Oedipus is the current king of Thebes, and he sets out to solve the crime. His investigations lead to a devastating conclusion. Not only is Oedipus himself the killer, but Laius was his father, and Laius’ wife Jocasta, who Oedipus has married, is his mother. Oedipus Rex was composed during the golden age of Athens, in the 5th century BC. Sophocles probably wrote it to explore the dynamics of power in an undemocratic society. It has unsettled audiences from the very start: it is the only one of Sophocles’ plays that didn’t win first prize at Athens’ annual drama festival. But it’s had exceptionally good write-ups from the critics: Aristotle called it the greatest example of the dramatic arts. Freud believed it laid bare the deepest structures of human desire. With: Nick Lowe, Reader in Classical Literature at Royal Holloway, University of London Fiona Macintosh, Professor of Classical Reception and Fellow of St Hilda’s College at the University of Oxford Edith Hall, Professor of Classics at Durham University

In the year 29 BC the great Roman poet Virgil published these lines: Blessed is he who has succeeded in learning the laws of nature’s working, has cast beneath his feet all fear and fate’s implacable decree, and the howl of insatiable Death. But happy too is he who knows the rural gods… They’re from his poem the Georgics, a detailed account of farming life in the Italy of the time. ‘Georgics’ means ‘agricultural things’, and it’s often been read as a farming manual. But it was written at a moment when the Roman world was emerging from a period of civil war, and questions of land ownership and management were heavily contested. It’s also a philosophical reflection on humanity’s relationship with the natural world, the ravages of time, and the politics of Virgil’s day. It’s exerted a profound influence on European writing about agriculture and rural life, and has much to offer environmental thinking today. With Katharine Earnshaw Senior Lecturer in Classics and Ancient History at the University of Exeter; Neville Morley Professor of Classics and Ancient History at the University of Exeter and Diana Spencer Professor of Classics at the University of Birmingham Producer: Luke Mulhall

Melvyn Bragg and guests discuss Virginia Woolf's highly influential essay on women and literature, which considers both literary history and future opportunity. In 1928 Woolf gave two lectures at Cambridge University about women and fiction. In front of an audience at Newnham College, she delivered the following words: “All I could do was offer you an opinion upon one minor point - a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved”. These lectures formed the basis of a book she published the following year, and Woolf chose A Room Of One’s Own for its title. It is a text that set the scene for the study of women’s writing for the rest of the 20th century. Arguably, it initiated the discipline of women’s history too. With Hermione Lee Emeritus Professor of English Literature at the University of Oxford Michele Barrett Emeritus Professor of Modern Literary and Cultural Theory at Queen Mary, University of London and Alexandra Harris Professor of English at the University of Birmingham Producer Luke Mulhall

In 1957 Stevie Smith published a poetry collection called Not Waving But Drowning – and its title poem gave us a phrase which has entered the language. Its success has overshadowed her wider work as the author of more than half a dozen collections of poetry and three novels, mostly written while she worked as a secretary. Her poems, printed with her pen and ink sketches, can seem simple and comical, but often beneath the surface lurk themes of melancholy, loneliness, love and death. With Jeremy Noel-Tod Associate Professor in the School of Literature, Drama and Creative Writing at the University of East Anglia Noreen Masud Lecturer in Twentieth Century Literature at the University of Bristol and Will May Professor of Modern and Contemporary Literature at the University of Southampton The photograph above shows Stevie Smith recording her story Sunday at Home, a finalist in the BBC Third Programme Short Story competition in 1949.

Melvyn Bragg and guests discuss Donne (1573-1631), known now as one of England’s finest poets of love and notable in his own time as an astonishing preacher. He was born a Catholic in a Protestant country and, when he married Anne More without her father's knowledge, Donne lost his job in the government circle and fell into a poverty that only ended once he became a priest in the Church of England. As Dean of St Paul’s Cathedral, his sermons were celebrated, perhaps none more than his final one in 1631 when he was plainly in his dying days, as if preaching at his own funeral. The image above is from a miniature in the Royal Collection and was painted in 1616 by Isaac Oliver (1565-1617) With Mary Ann Lund Associate Professor in Renaissance English Literature at the University of Leicester Sue Wiseman Professor of Seventeenth Century Literature at Birkbeck, University of London And Hugh Adlington Professor of English Literature at the University of Birmingham

Melvyn Bragg and guests discuss Jane Austen’s last complete novel, which was published just before Christmas in 1817, five months after her death. It is the story of Anne Elliot, now 27 and (so we are told), losing her bloom, and of her feelings for Captain Wentworth who she was engaged to, 8 years before – an engagement she broke off under pressure from her father and godmother. When Wentworth, by chance, comes back into Anne Elliot's life, he is still angry with her and neither she nor Austen's readers can know whether it is now too late for their thwarted love to have a second chance. The image above is from a 1995 BBC adaptation of the novel, with Amanda Root and Ciarán Hinds With Karen O’Brien Vice-Chancellor of Durham University Fiona Stafford Professor of English Language and Literature at the University of Oxford And Paddy Bullard Associate Professor of English Literature and Book History at the University of Reading Producer: Simon Tillotson

Melvyn Bragg and guests discuss Orson Welles' film, released in 1941, which is widely acclaimed as one of the greatest, if not the greatest, films yet made. Welles plays the lead role of Charles Foster Kane, a newspaper magnate, and Welles directed, produced and co-wrote this story of loneliness at the heart of a megalomaniac. The plot was partly inspired by the life of William Randolph Hearst, who then used the power of his own newspapers to try to suppress the film’s release. It was to take some years before Citizen Kane reached a fuller audience and, from that point, become so celebrated. The image above is of Kane addressing a public meeting while running for Governor. With Stella Bruzzi Professor of Film and Dean of Arts and Humanities at University College London Ian Christie Professor of Film and Media History at Birkbeck, University of London And John David Rhodes Professor of Film Studies and Visual Culture at the University of Cambridge Producer: Simon Tillotson

Melvyn Bragg and guests discuss The Song of the Nibelungs, a twelfth century German epic, full of blood, violence, fantasy and bleakness. It is a foundational work of medieval literature, drawing on the myths of Scandinavia and central Europe. The poem tells of two couples, Siegfried and Kriemhild and Gunther and Brunhilda, whose lives are destroyed by lies and revenge. It was extremely popular in its time, sometimes rewritten with happier endings, and was rediscovered by German Romantics and has since been drawn from selectively by Wagner, Fritz Lang and, infamously, the Nazis looking to support ideas on German heritage. The image above is of Siegfried seeing Kriemhild for the first time, a miniature from the Hundeshagenschen Code manuscript dating from 15th Century. With Sarah Bowden Reader in German and Medieval Studies at King’s College London Mark Chinca Professor of Medieval German and Comparative Literature at the University of Cambridge And Bettina Bildhauer Professor of Modern Languages at the University of St Andrews Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Berlin, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential. The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6 With Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art Alan Powers History Leader at the London School of Architecture And Michael White Professor of the History of Art at the University of York Producer: Simon Tillotson

Melvyn Bragg and guests discuss the celebrated British poet of World War One. Wilfred Owen (1893-1918) had published only a handful of poems when he was killed a week before the end of the war, but in later decades he became seen as the essential British war poet. His works such as Anthem for Doomed Youth, Strange Meeting and Dulce et Decorum Est went on to be inseparable from the memory of the war and its futility. However, while Owen is best known for his poetry of the trenches, his letters offer a more nuanced insight into him such as his pride in being an officer in charge of others and in being a soldier who fought alongside his comrades. With Jane Potter Reader in The School of Arts at Oxford Brookes University Fran Brearton Professor of Modern Poetry at Queen’s University Belfast And Guy Cuthbertson Professor of British Literature and Culture at Liverpool Hope University Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College London Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London. And Claire Moran Reader in French at Queen's University Belfast Producer: Simon Tillotson