“You should approach Joyce’s Ulysses as the illiterate Baptist preacher approaches the Old Testament: with faith.”

William Faulkner

First published on 2 February 1922 – James Joyce’s 40th birthday – UIysses was immediately controversial, described by one Irish critic as “The most infamously obscene book in ancient or modern literature”.

The ‘Slow Read’ is an opportunity to read and relish of one of the greatest novels of all time in the company of others. The ‘Slow’ approach has proved popular within the Salon as our approach is not driven by completion of the text within a defined timescale, rather we focus on full enjoyment of the material.

In a typical session we might discuss – inter alia – the immaculate conception (who does or does not have a navel?), language as a tool of colonialism (and how to subvert it), space between thought and speech, amor matris, cubist paintings, Thoth (Egyptian bird-headed god), changing understandings of Hamlet, Shakespeare’s sex life, the occult, cypher jugglers, Norse mythology, the dialectic within Stephen’s head, the Daedalus-Icarus myth . . . We are all here for the tangents!

Every time I run a study of Ulysses, there is SO much we do not get to consider: I know we may still not get to everything, but this will be an opportunity to go deeper and wider in this amazing work than ever before in Salon studies. Our run rate is about 5-8 pages a week, with frequent check- ins to see if, as a group, we want to slow down, speed up or just wallow.

The ‘Slow Read’ is served in tranches of two-hour sessions – usually between six and ten in number. As long as there is continued interest, I will keep offering this study until we reach the final notes on the text.

If you are interested in this study but have not previously read Ulysses, please contact us to discuss using the enquiry form below.

“Joining the Ulysses salon was one of the best things I have ever done. This was a book I had wanted to read for years but never got past the first section. I had no idea what the salon would be like and was very apprehensive about joining up. But Toby so skilfully guided us through it, her knowledge of the text seemingly inexhaustible, that with her warmth and generosity and sensitivity she got everyone involved and the satisfaction of participating in the salon and in getting an understanding of this marvellous work was immense.”

Ulysses Salon participant

I offer many resources for reading around, but the richness of our work comes from the contributions and independent research from participants. This study is particularly opportune given the abundance of new resources available thanks to the 2022 Ulysses centenary, including the offerings of the recently published Cambridge Centenary Ulysses, the brainchild of Catherine Flynn. 

Toby Brothers, Director, London Literary Salon

JOINING DETAILS:

• This is the seventh section of the ‘Slow Read’ Ulysses study led by Toby Brothers and occasional guest facilitators from within the group, 14 two-hour sessions, Tuesdays from 2.30-4.30 pm (UK), starting on 23 April and ending on 10 September 2024 (see full dates below).
• If you are interested in joining this study but have not participated in the first six sections please email the facilitator toby@litsalon.co.uk.
• The total cost for this section with all notes and resources is £375.00, we expect to read an average of 8 pages per week.
• Please have available these editions in preparation for our study:

  • Ulysses, by James Joyce, Annotated Students’ Edition, Penguin Modern Classics 2011, ISBN: 9780141197418. There are many editions of Ulysses — I find this edition is most coherent and the notes and introduction by Declan Kieberd very helpful; as we will constantly be referencing particular passages, having the same edition will be extremely useful.
  • The New Bloomsday Book: A Guide Through Ulysses, by Harry Blamires, ISBN-10: 0415138582

‘What sort of diary should I like mine to be?  Something loose knit and not slovenly, so elastic it will embrace anything, solemn, slight or beautiful that comes into my mind.  I would like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking them through.’

Virginia Woolf, A Writer’s Diary: Being Extracts from the Diary of Virginia Woolf

Freeing? Playful? Empowering? Reflective writing in the safety of a private journal is a good way to take a deeper, more imaginative look at life’s experiences. Not sure how to get started, or in need of support to keep a regular practice going?  These monthly workshops will introduce you to a range of creative ideas for your own reflective journal, keeping you engaged and committed in a non-critical space.  Each month’s workshop will offer inspiring themes and tools for reflection and expression – and opportunities to share with the group if you choose to.  Join us to brighten and expand your writing practice in 2024.

We are offering the workshops in quarterly blocks of three (or two in the case of February and March following the ‘taster’ session in January).

Alison will also send each participant a weekly self-guided prompt to keep their practice going between workshop sessions!

STUDY DETAILS:

• A series of workshops on Zoom, each on the last Wednesday of the month, 5.30-7.30 pm (UK) led by Alison Cable.
• Offered in blocks: February/March (following the free ‘taster’ session in January); April/May/June; July/August/September; October/November/December.
• Three two-hour workshops on 24 April, 29 May and 26 June 2024, £75 (including notes, resources and weekly writing prompts).

‘What sort of diary should I like mine to be?  Something loose knit and not slovenly, so elastic it will embrace anything, solemn, slight or beautiful that comes into my mind.  I would like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking them through.’

Virginia Woolf, A Writer’s Diary: Being Extracts from the Diary of Virginia Woolf

Freeing? Playful? Empowering? Reflective writing in the safety of a private journal is a good way to take a deeper, more imaginative look at life’s experiences. Not sure how to get started, or in need of support to keep a regular practice going?  These monthly workshops will introduce you to a range of creative ideas for your own reflective journal, keeping you engaged and committed in a non-critical space.  Each month’s workshop will offer inspiring themes and tools for reflection and expression – and opportunities to share with the group if you choose to.  Join us to brighten and expand your writing practice in 2024.

January’s workshop offers a free ‘taster’ session. You are under no obligation, but if you enjoy the workshop you may register for the remaining eleven meetings here.

STUDY DETAILS:

• Wednesday 31 January 2024, 7.00-8.30 pm (UK)
• Initial ‘taster’ session for a series of twelve workshops on Zoom on the last Wednesday of the month, 7.00-8.30 pm (UK) led by Alison Cable
• First meeting free of charge (series of twelve meetings £220)

After three exhilarating trips to the beautiful island of Agistri on the Saronic Gulf to study Homer and Aeschylus, we plan to return in 2024, this time to immerse ourselves in Homer’s Iliad.

“When I first ran studies of The Iliad, I had the great privilege of working with the sparkling Liane Aukin, who had directed the productions of Christopher Logue’s War Music, a modern re-telling of Homer’s great chronicle of rage and loss. Now we meet this epic again, this time in the moment of Emily Wilson’s new translation – eagerly anticipated after her Odyssey – bringing the ancient poem to modern readers as a fresh and vibrant work. “

Toby Brothers, Founding Director, The London Literary Salon

The Iliad and The Odyssey, the twin roots of classical epic literature, call to us across the ages. To truly understand where we are in our cultural development today, we must first know where we have come from: how our ideas around honour, community, justice, love, conflict and loyalty arise from the stories and lives of those who came before us. We have offered The Odyssey in many Salon studies previously: the heat of the work considered through our contemporary lens is fierce. We still grapple with the wavering line between cunning and deceit; the decision to sacrifice a few lives to save more; the modification of oaths sworn in war or love when unforeseeable circumstances exert their force.

The Iliad is about much more than the war fought between the two most powerful armies of the ancient world. To study the Iliad, it is necessary to confront the reality of war, in both the past and in the present, which is perhaps why Homer’s very modern sounding account does not make the Greeks the good guys and the Trojans the bad . . . the heroes are flawed, the battles remain murky and unresolved. The gorgeousness of the language lies in the cries for forgiveness, for honour of the dead, for the loss of loved ones, and how the quiet moments of life become exquisite in the face of loss.

In these studies we will focus on Emily Wilson’s wonderful new translation of The Iliad and this interview with Charlotte Higgins in the Guardian explains what makes it so fresh, rewarding and relevant to our times. Of course, The Iliad is first and foremost a book about war, and that is perhaps why I have avoided studying it previously. Today, I understand that the horror of war is not to be avoided; in fact, the choices in the moment of battle, the sacrifices and force of the moment are not someone else’s story, this is my story, this is everyone’s story. If I have the good fortune not to experience war in my immediate world, this is an illusion created by layers of privilege and technology; war happens now, and is still a terrible and authentic determinant of the human story. When I first wrote about this some years ago, I was in that privileged position of experiencing war only indirectly. Today, with my daughter working in Ukraine, providing humanitarian aid in the face of a war prompted by Russia’s invasion, I am no longer at that remove. I witness through her the way war clarifies choices and heightens all encounters.

In this book I am struck by how present the Greek gods and goddesses are: they argue, they interfere, they are wounded in battles – much more so than in The Odyssey. The huge themes of honour (the physical expression seen in the form of gifts and war booty) and fame (Kleos: eternal glory, what is spoken aloud about you) are explored and dramatised. These ideas are fundamental to the warrior ethos, but in the modern world we have lost neither our sensitivity to nor our desire for these rewards. The Homeric epics are foundational, at the core of Western culture and literary tradition. Their treatment of the meaning of mortality, the impact of time, the complexity of relationships between men and women – and men and men – continue to resonate in human experience to the present day.

Actor Jane Wymark and poet Caroline Donnelly will add their considerable talents and energy to this study, bringing their understanding of the dramatic possibilities of the text, the poetry inspired by the Homeric original and illuminating the poetic structures. They will guide us to play within this phenomenal work.

STUDY DETAILS:

• Two seven-day studies of Homer’s Iliad on the island of Agistri: 6-13 and 15-22 May 2024 (N.B. the first week is now fully booked and there is a waiting list for places).
• Facilitated by: Toby Brothers, Jane Wymark and Caroline Hammond.
• Cost: £680 for the Salon study, to include preparatory meeting in April (via Zoom, date to be confirmed), background materials and opening notes. Opening notes will be sent after registration.
• The study programme will run for four to five hours per day for five days, with one day left open and travel at each end. There will be time for other optional activities including kayaking adventures, a trip to the Temple of Aphaia on Aegina, or pure relaxation.
• We will ask you to read the recommended translation before arriving on Agistri: Homer’s Iliad translated by Emily Wilson (WW Norton & Co, publication date 26 September 2023), ISBN-10: 1324001801, ISBN-13: 978-1324001805.
• You may also find it helpful (although it is not necessary) to read Emily Wilson’s translation of The Odyssey (WW Norton & Co, ISBN-10: 0393356256; ISBN-13: 978-0393356250). Alternatively, Ian McKellen’s audio reading of Robert Fagles’ translation would also be a great way to experience The Odyssey.
• Payment: we understand that you may not want to pay the entire charge at once, so we ask for an initial (non-returnable) deposit of £200 on registration and the balance of £480 by 31 January 2024.
• Refunds: please note that any refunds will be entirely at the discretion of the London Literary Salon, dependent on our ability to fill the place, and will be subject to a charge to cover our administration costs.

BOOKING

To make a booking or ask questions please email us at litsalon@gmail.com using ‘Agistri 2024’ as the subject line. Payment will be by bank transfer (N.B. we will supply bank details which will be different from any you may have used on previous occasions). Please indicate whether you wish to book for the second week (15-22 May) or be added to the waiting list for the first week. 

ADDITIONAL COSTS

Room and half board (breakfast and dinner each day) will be arranged by each participant with the hotel and paid for directly to them. A deposit to cover two nights accommodation will be required by the hotel. We will send you full contact details for payment on registration. We have set out the anticipated charges below, but these may be subject to change at the time of booking at the discretion of the hotel.

Accommodation prices per night at the hotel – Rosy’s Little Village – based on 2023 charges:

• Single – €65 per night plus half board (breakfast and dinner) estimated at €50 per day
• Double – €71 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Triple – €77 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for two people – €83 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for three people – €98 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for four people – €110 per night plus half board (breakfast and dinner) estimated at €50 per person per day

Flights to Athens: when booking please make sure you can arrive in Piraeus by 15.00 local time on the first day of your study to catch the ferry. We will not be meeting formally on the final day of each study, so you have choices about your return (ferries are frequent and the travel time to Piraeus is one hour).

Ferry to Agistri: normally €14 each way, but may be €30 for arrival if the group chooses to use a private water taxi.

Incidental expenses: drinks, lunches, extra trips etc.

Insurance: we hope this will be entirely redundant, but we do ask you to arrange your own travel and health insurance to protect you in case of anything untoward happening.

Dante’s epic journey through the afterlife continues in the Purgatorio. Here the poet explores self-transformation: How do we let go of pride, hatred, lust, jealousy and greed? How can we move from cruelty and to kindness, from sin to salvation? 

Dante writes in the first person as a very human voyager, reacting with strong and varied emotions to the characters before him, just as the reader might. As we pass through an array of landscapes, each appropriate to the sins and purgations there, Dante undergoes a kind of transformation himself. And he challenges us to do the same. 

You don’t need to have read Dante’s Inferno to join this study. Dante, like Joyce, is an ideal author for in-depth study at the LitSalon. The Divine Comedy has multiple meanings that provide rich material for discussion, weaving together myth, theology, history and the contemporary life of Dante’s time. We will explore Dante’s relationship with Virgil and Beatrice, and with several other vivid personalities he meets along his way.  

According to T.S. Eliot, “The whole study and practice of Dante seems to me to teach that the poet should be the servant of his language, rather than the master of it.” Join us in reading one of the classics of world literature. You will be welcome to use whichever translation of Dante you prefer, but Sean will be using the translation by D.M. Black, whose notes and commentary are especially focused on the Purgatorio’s implications for psychological self-transformation.

JOINING DETAILS:

• Twelve meeting study (on Zoom) led by Sean Forester
• Sundays, 4.00-6.00 pm BST
• 12, 19, 26 May; 2, 9, 16, 23, 30 June; 7, 14, 21, 28 July (+ 28 April, review of Inferno free of charge)
• £360 for twelve two-hour meetings, to include opening notes and resources
• You may use any edition of the book but Sean will be using D.M. Black’s translation, ISBN-13: ‎ 978-1681376059

“Do you remember your childhood? I am always coming across these marvellous accounts by writers who declare that they remember ‘everything’. I certainly don’t. The dark stretches, the blanks, are much bigger than the bright glimpses. I seem to have spent most of my time like a plant in a cupboard.”

Katherine Mansfield

This LitSalon Special, a lecture by Dr Gerri Kimber, acknowledged as the world expert on Katherine Mansfield, serves as an introduction to our six week reading of Mansfield’s work: The Child Who Was Tired & other stories led by Karina Jakubowicz but can also be booked as a standalone event. Gerri Kimber has contributed to over 40 books on Mansfield’s life and work, was President of the Katherine Mansfield Society for ten years (2010-2020) and is currently working on a new biography of Mansfield for Reaktion Books.

Katherine Mansfield was a master of the modern short story. She crafted precise pictures of individual moments and scenes, resulting in deft narratives that are as devastating as they are beautiful. While the early 20th century novel has received a significant amount of critical attention, the short story has been somewhat overlooked. Nonetheless, as Mansfield’s biographer states, the short story ‘was often the most aesthetically experimental, formally innovative, emotionally powerful prose form of the early twentieth century.’ One critic has gone so far as to call it ‘the chosen form of the exile’, due to its daring and artistically marginal status.

Our six-week study following the introductory lecture will consider themes including childhood, motherhood and female relationships. We will ask how Mansfield responds to the vulnerability of children while also addressing the difficulty of motherhood. We may also consider the fate of reluctant parents and the role of older carers.

JOINING DETAILS:

• A LitSalon Special from world expert on Katherine Mansfield, Dr Gerri Kimber.
• Monday 13 May 2024, 6.00-8.00 pm BST on Zoom
• £30 (or £20 if booked as part of The Child Who Was Tired)

“Do you remember your childhood? I am always coming across these marvellous accounts by writers who declare that they remember ‘everything’. I certainly don’t. The dark stretches, the blanks, are much bigger than the bright glimpses. I seem to have spent most of my time like a plant in a cupboard.”

Katherine Mansfield

We will open this study with a LitSalon Special lecture by Dr Gerri Kimber which can also be booked as a standalone event.

Katherine Mansfield was a master of the modern short story. She crafted precise pictures of individual moments and scenes, resulting in deft narratives that are as devastating as they are beautiful. While the early 20th century novel has received a significant amount of critical attention, the short story has been somewhat overlooked. Nonetheless, as Mansfield’s biographer states, the short story ‘was often the most aesthetically experimental, formally innovative, emotionally powerful prose form of the early twentieth century.’ One critic has gone so far as to call it ‘the chosen form of the exile’, due to its daring and artistically marginal status.

This six-week study will consider themes including childhood, motherhood and female relationships. We will ask how Mansfield responds to the vulnerability of children while also addressing the difficulty of motherhood. We may also consider the fate of reluctant parents and the role of older carers.

These stories cover a broad geographical landscape, including Germany, Paris, London and New Zealand, and represent different stages in Mansfield’s career. This study is perfect for those who are new to Mansfield’s work as well as those who have already participated in our reading and discussion of her wonderful writing.

JOINING DETAILS:

• Seven meetings on Zoom facilitated by Karina Jakubowicz, including single introductory LitSalon Special lecture on Monday 13 May, 6.00-8.00 pm BST from the world expert on Katherine Mansfield, Dr Gerri Kimber.
• Mondays, 6.00-8.00 pm (UK), 13 May-24 June 2024, stories to be studied (in order, weeks 2-7):
  Week 2. Something Childish But Very Natural
  Week 3. The Child Who Was Tired
  Week 4. At Lehmanns
  Week 5. How Pearl Button Was Kidnapped
  Week 6. Je ne Parle Pas Francais
  Week 7. Life of Ma Parker
  Most are available free of charge from the Katherine Mansfield Society
• £200 for seven meetings and introductory notes (including LitSalon Special Lecture at discounted rate of £20)

After three exhilarating trips to the beautiful island of Agistri on the Saronic Gulf to study Homer and Aeschylus, we plan to return in 2024, this time to immerse ourselves in Homer’s Iliad.

“When I first ran studies of The Iliad, I had the great privilege of working with the sparkling Liane Aukin, who had directed the productions of Christopher Logue’s War Music, a modern re-telling of Homer’s great chronicle of rage and loss. Now we meet this epic again, this time in the moment of Emily Wilson’s new translation – eagerly anticipated after her Odyssey – bringing the ancient poem to modern readers as a fresh and vibrant work. “

Toby Brothers, Founding Director, The London Literary Salon

The Iliad and The Odyssey, the twin roots of classical epic literature, call to us across the ages. To truly understand where we are in our cultural development today, we must first know where we have come from: how our ideas around honour, community, justice, love, conflict and loyalty arise from the stories and lives of those who came before us. We have offered The Odyssey in many Salon studies previously: the heat of the work considered through our contemporary lens is fierce. We still grapple with the wavering line between cunning and deceit; the decision to sacrifice a few lives to save more; the modification of oaths sworn in war or love when unforeseeable circumstances exert their force.

The Iliad is about much more than the war fought between the two most powerful armies of the ancient world. To study the Iliad, it is necessary to confront the reality of war, in both the past and in the present, which is perhaps why Homer’s very modern sounding account does not make the Greeks the good guys and the Trojans the bad . . . the heroes are flawed, the battles remain murky and unresolved. The gorgeousness of the language lies in the cries for forgiveness, for honour of the dead, for the loss of loved ones, and how the quiet moments of life become exquisite in the face of loss.

In these studies we will focus on Emily Wilson’s wonderful new translation of The Iliad and this interview with Charlotte Higgins in the Guardian explains what makes it so fresh, rewarding and relevant to our times. Of course, The Iliad is first and foremost a book about war, and that is perhaps why I have avoided studying it previously. Today, I understand that the horror of war is not to be avoided; in fact, the choices in the moment of battle, the sacrifices and force of the moment are not someone else’s story, this is my story, this is everyone’s story. If I have the good fortune not to experience war in my immediate world, this is an illusion created by layers of privilege and technology; war happens now, and is still a terrible and authentic determinant of the human story. When I first wrote about this some years ago, I was in that privileged position of experiencing war only indirectly. Today, with my daughter working in Ukraine, providing humanitarian aid in the face of a war prompted by Russia’s invasion, I am no longer at that remove. I witness through her the way war clarifies choices and heightens all encounters.

In this book I am struck by how present the Greek gods and goddesses are: they argue, they interfere, they are wounded in battles – much more so than in The Odyssey. The huge themes of honour (the physical expression seen in the form of gifts and war booty) and fame (Kleos: eternal glory, what is spoken aloud about you) are explored and dramatised. These ideas are fundamental to the warrior ethos, but in the modern world we have lost neither our sensitivity to nor our desire for these rewards. The Homeric epics are foundational, at the core of Western culture and literary tradition. Their treatment of the meaning of mortality, the impact of time, the complexity of relationships between men and women – and men and men – continue to resonate in human experience to the present day.

Actor Jane Wymark and poet Caroline Donnelly will add their considerable talents and energy to this study, bringing their understanding of the dramatic possibilities of the text, the poetry inspired by the Homeric original and illuminating the poetic structures. They will guide us to play within this phenomenal work.

N.B. This study is separate from but complementary to our eight-week Iliad study led by Mark Cwik on Zoom starting on 16 January 2024.

STUDY DETAILS:

• Two seven-day studies of Homer’s Iliad on the island of Agistri: 6-13 and 15-22 May 2024 (N.B. the first week is now fully booked and there is a waiting list for places).
• Facilitated by: Toby Brothers, Jane Wymark and Caroline Hammond.
• Cost: £680 for the Salon study, to include preparatory meeting in April (via Zoom, date to be confirmed), background materials and opening notes. Opening notes will be sent after registration.
• The study programme will run for four to five hours per day for five days, with one day left open and travel at each end. There will be time for other optional activities including kayaking adventures, a trip to the Temple of Aphaia on Aegina, or pure relaxation.
• We will ask you to read the recommended translation before arriving on Agistri: Homer’s Iliad translated by Emily Wilson (WW Norton & Co, publication date 26 September 2023), ISBN-10: 1324001801, ISBN-13: 978-1324001805.
• You may also find it helpful (although it is not necessary) to read Emily Wilson’s translation of The Odyssey (WW Norton & Co, ISBN-10: 0393356256; ISBN-13: 978-0393356250). Alternatively, Ian McKellen’s audio reading of Robert Fagles’ translation would also be a great way to experience The Odyssey.
• Payment: we understand that you may not want to pay the entire charge at once, so we ask for an initial (non-returnable) deposit of £200 on registration and the balance of £480 by 31 January 2024.
• Refunds: please note that any refunds will be entirely at the discretion of the London Literary Salon, dependent on our ability to fill the place, and will be subject to a charge to cover our administration costs.

BOOKING

To make a booking or ask questions please email us at litsalon@gmail.com using ‘Agistri 2024’ as the subject line. Payment will be by bank transfer (N.B. we will supply bank details which will be different from any you may have used on previous occasions). Please indicate whether you wish to book for the second week (15-22 May) or be added to the waiting list for the first week. 

ADDITIONAL COSTS

Room and half board (breakfast and dinner each day) will be arranged by each participant with the hotel and paid for directly to them. A deposit to cover two nights accommodation will be required by the hotel. We will send you full contact details for payment on registration. We have set out the anticipated charges below, but these may be subject to change at the time of booking at the discretion of the hotel.

Accommodation prices per night at the hotel – Rosy’s Little Village – based on 2023 charges:

• Single – €65 per night plus half board (breakfast and dinner) estimated at €50 per day
• Double – €71 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Triple – €77 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for two people – €83 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for three people – €98 per night plus half board (breakfast and dinner) estimated at €50 per person per day
• Family room for four people – €110 per night plus half board (breakfast and dinner) estimated at €50 per person per day

Flights to Athens: when booking please make sure you can arrive in Piraeus by 15.00 local time on the first day of your study to catch the ferry. We will not be meeting formally on the final day of each study, so you have choices about your return (ferries are frequent and the travel time to Piraeus is one hour).

Ferry to Agistri: normally €14 each way, but may be €30 for arrival if the group chooses to use a private water taxi.

Incidental expenses: drinks, lunches, extra trips etc.

Insurance: we hope this will be entirely redundant, but we do ask you to arrange your own travel and health insurance to protect you in case of anything untoward happening.

“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

Please note, participants can sign up for individual sessions or the whole study, joining details below.

Session 1: Appearance x Essence

Sixteenth-century England was a place of spectacle: court pageants, public theatres, the progresses of Elizabeth I, public executions. How can literature speak truth to power in a world where each word might mean promotion or death?

This is one of four meetings which can be attended individually or as a series. In each we will explore the literature of sixteenth and seventeenth century England through some of its texts, placing them in dialogue with iconic images or objects.

With guest appearances from writers including Wyatt, Shakespeare, Herbert, Sidney, Raleigh and Donne, during each session we will read together two unseen texts that engage with a defining theme. We will discuss how writers in Renaissance England expressed their experience of living in a world as precarious as it was exciting and consider how similar or different it is to our own.

JOINING DETAILS:

• The first of four meetings on Zoom led by Vivien Kogut, 20 May 2024, 5.30-7.30 pm (UK)
• Participants can sign up for individual sessions or the whole study: Mondays 5:30-7:30 pm (UK), 20, 27 May & 3, 10 June 2024
• Each session can be booked individually at £35 to include opening notes and resources (if you wish to book all four please email us using the heading ‘English Renaissance’ and we will arrange a discounted price of £120 for the series).

Thelma: [with her gun to the state trooper’s head] “I swear three days ago neither one of us would’ve EVER pulled a stunt like this, but if you’d ever meet my husband you’d understand why.“

Thelma and Louise (1991), directed by Ridley Scott and written by Callie Khouri, is a controversial film that has only gained in reputation from the wide spectrum of responses it has attracted over time. Though often described as an American ‘buddy’ road movie, by inverting the traditional gender roles and brutally exposing challenges to female autonomy, this landmark film raises questions about female friendship, justice, sexual pleasure and the use of violence.

The power of Thelma and Louise remains with viewers long after the closing credits. From the stunning vision of the wide open spaces of the western USA to the foot-tapping soundtrack and whip-smart dialogue, we remember its vivid and searing movement. Since last year’s Barbie Forum we have wanted to add more film studies to the Salon’s menu of offerings, so when Toby and Julie discovered a shared love for this film we decided it was the perfect choice to kick off a rich new area of exploration under the heading ‘The Art of Film’. 

For this LitSalon Short we will use clips of the film as the launchpad for our discussion. In preparation, we ask participants to view the film (or refresh your memory if it has been a while). As part of the study we will provide participants with a short list of cinema terminology and techniques and use the skills we have developed in exploring narrative form to consider what creates the memorable aesthetic and emotional power of this film. 

Although initially a ‘Short’, we believe this study may have potential to open up a longer series of discussions about subjects such as the portrayal of sexual violence and abuse and female representation (particularly in films of the 1980s and 1990s). We are both interested in how, in this period, art attempted to chronicle female experience and to what extent shifts in gender roles and resistances were reflected in cinematic presentation.

JOINING DETAILS:

• A FREE OF CHARGE LitSalon Short on the Art of Film
• Sunday 26 May 2024, 4.00-6.00pm (UK) on Zoom
• Discussion led by Toby Brothers and Julie Sutherland
• Thelma and Louise is available on DVD and to download from Amazon and other platforms.

“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

Please note, participants can sign up for individual sessions or the whole study, joining details below.

Session 2: Transformation

For Europeans this was a time of extraordinary inventions and discoveries: the printing press, the telescope, the microscope, the mechanical clock, atlases, blood circulation, the New World and heliocentrism, are just some of them. The understanding of oneself and the world was in constant flux. How did writers respond to this in England? Could words fully encompass this metamorphosis?

This is one of four meetings which can be attended individually or as a series. In each we will explore the literature of sixteenth and seventeenth century England through some of its texts, placing them in dialogue with iconic images or objects.

With guest appearances from writers including Wyatt, Shakespeare, Herbert, Sidney, Raleigh and Donne, during each session we will read together two unseen texts that engage with a defining theme. We will discuss how writers in Renaissance England expressed their experience of living in a world as precarious as it was exciting and consider how similar or different it is to our own.

JOINING DETAILS:

• The second of four meetings on Zoom led by Vivien Kogut, 27 May 2024, 5.30-7.30 pm (UK)
• Participants can sign up for individual sessions or the whole study: Mondays 5:30-7:30 pm (UK), 20, 27 May & 3, 10 June 2024
• Each session can be booked individually at £35 to include opening notes and resources (if you wish to book all four please email us using the heading ‘English Renaissance’ and we will arrange a discounted price of £120 for the series).

“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

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.”

While another observes: “I feel really privileged to be gaining a better understanding of Proust’s amazing work and be able to enjoy the intricacies of his language and thoughts . . . the meetings allow plenty of time and space for exploration and our study is reinforced by emails and relevant essays in between meetings. I am very grateful to have this opportunity to join the study.”

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 with what our senses perceive that moulds our consciousness.

JOINING DETAILS:

• It may be possible for new members to join this group of readers. If you are interested please email litsalon@gmail.com using the subject heading: ‘Joining Proust Group’.
• Facilitated by Toby Brothers
• Mondays, 1.00-3.00 pm (UK time)
• Thirteen meeting study: 5 weeks from 3 June – 1 July 2024, resuming for 8 weeks from 9 September (beginning with a free ‘regathering’ session for all three Proust groups together from 6.00-8.00 pm) and then 16 September – 18 November 2024 at the normal times (N.B. no meetings on 30 September and 7 October)
• Recommended edition: Vintage Classics (Moncrieff/Kilmartin/Enright)  ISBN-13: 978-0099362418
• £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

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.”

While another observes: “I feel really privileged to be gaining a better understanding of Proust’s amazing work and be able to enjoy the intricacies of his language and thoughts . . . the meetings allow plenty of time and space for exploration and our study is reinforced by emails and relevant essays in between meetings. I am very grateful to have this opportunity to join the study.”

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 with what our senses perceive that moulds our consciousness.

JOINING DETAILS:

• It may be possible for new members to join this group of readers. If you are interested please email litsalon@gmail.com using the subject heading: ‘Joining Proust Group’.
• Facilitated by Toby Brothers
• Mondays, 3.30-5.30 pm (UK time) 
• Thirteen meeting study: 5 weeks from 3 June – 1 July 2024, resuming for 8 weeks from 9 September (beginning with a free ‘regathering’ session for all three Proust groups together from 6.00-8.00 pm) and then 16 September – 18 November 2024 at the normal times (N.B. no meetings on 30 September and 7 October)
• Recommended edition: Vintage Classics (Moncrieff/Kilmartin/Enright)  ISBN-13: 978-0099362418
• £390 for thirteen meetings, includes background materials, literary criticism, opening notes and discussion notes

“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

Please note, participants can sign up for individual sessions or the whole study, joining details below.

Session 3: Human Passions

In Renaissance England control was part of existence: laws regulated every aspect of life, from what you wore to what you believed in. Texts for publication or performance had to pass the censor. And yet (and yet!), literature was able to find ingenious ways of channelling violent passions. How, from our place in the 21^st century, can we access Renaissance literature sensitivities?

This is one of four meetings which can be attended individually or as a series. In each we will explore the literature of sixteenth and seventeenth century England through some of its texts, placing them in dialogue with iconic images or objects.

With guest appearances from writers including Wyatt, Shakespeare, Herbert, Sidney, Raleigh and Donne, during each session we will read together two unseen texts that engage with a defining theme. We will discuss how writers in Renaissance England expressed their experience of living in a world as precarious as it was exciting and consider how similar or different it is to our own.

JOINING DETAILS:

• The third of four meetings on Zoom led by Vivien Kogut, 3 June 2024, 5.30-7.30 pm (UK)
• Participants can sign up for individual sessions or the whole study: Mondays 5:30-7:30 pm (UK), 20, 27 May & 3, 10 June 2024
• Each session can be booked individually at £35 to include opening notes and resources (if you wish to book all four please email us using the heading ‘English Renaissance’ and we will arrange a discounted price of £120 for the series).

“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

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.”

While another observes: “I feel really privileged to be gaining a better understanding of Proust’s amazing work and be able to enjoy the intricacies of his language and thoughts . . . the meetings allow plenty of time and space for exploration and our study is reinforced by emails and relevant essays in between meetings. I am very grateful to have this opportunity to join the study.”

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 with what our senses perceive that moulds our consciousness.

JOINING DETAILS:

• It may be possible for new members to join this group of readers. If you are interested please email litsalon@gmail.com using the subject heading: ‘Joining Proust Group’.
• Facilitated by Toby Brothers and Ralph Kleinman
• Mondays, 6.00-8.00 pm (UK time) 
• Thirteen meeting study: 5 weeks from 3 June – 1 July 2024, resuming for 8 weeks from 9 September (beginning with a free ‘regathering’ session for all three Proust groups together from 6.00-8.00 pm) and then 16 September – 18 November 2024 at the normal times (N.B. no meetings on 30 September and 7 October)
• Recommended edition: Vintage Classics (Moncrieff/Kilmartin/Enright)  ISBN-13: 978-0099362418
• £390 for thirteen meetings, includes background materials, literary criticism, opening notes and discussion notes

Join us for a rare opportunity to visit Pyports in Cobham, Surrey, the childhood family home of Kitty Lushington, who was the model for her friend Virginia Woolf’s Mrs Dalloway and whose engagement to the journalist and political writer Leopold Maxse also served as the basis for a fictional coming together in To the Lighthouse.

The house remains privately owned and is not open to the general public. It offers a glimpse of the lives once lived within it by three generations of Lushingtons, a family closely involved with some of the most notable writers and artists from the early nineteenth to the early twentieth centuries, embracing the Romantics, the Pre-Raphaelites and then the modernist age and the world of Virginia Woolf and Bloomsbury. More information about the family can be found here.

At Pyports we will discuss the links and correspondence between Virginia Woolf and Kitty Maxse (née Lushington) as part of a two-hour exploration of how real lives and relationships inspire narrative art, during which we will also consider the sometimes tricky dynamics of representing living people in fiction. After an early evening aperitif – we hope, if weather allows, in the gardens of Pyports – we will move on to enjoy dinner at the Coppa Club restaurant in Cobham.

Kitty’s story is woven into key aspects of two of Woolf’s most famous novels. Toby Brothers, founder of the London Literary Salon, Woolf scholar Karina Jakubowicz and Cobham historian David Taylor, author of The Remarkable Lushington Family: Reformers, Pre-Raphaelites, Positivists and the Bloomsbury Group (who was also responsible for placing the historic blue plaque at Pyports) will lead our discussions.

JOINING DETAILS:

• Saturday 8 June 2024, 3.00-8.00 pm
• Pyports, Cobham, Surrey, followed by dinner at the Coppa Club in Cobham
• Study led by Toby Brothers, David Taylor and Karina Jakubowicz
• £60 to cover visiting Pyports, two hour discussion and aperitif
• Dinner will be paid for by individual guests at the restaurant
• There are regular trains from Waterloo to Cobham & Stoke d’Abernon (about 1.5 miles from Pyports) and car parking is available nearby

“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

Please note, participants can sign up for individual sessions or the whole study, joining details below.

Session 4: Swift-footed Time

The average lifespan in 1500s England was just thirty-five years: living was a constant dodging of “the heart-ache and the thousand natural shocks that flesh is heir to”, as Hamlet describes life’s afflictions. Time was short and life had to be lived to the full. How does this brevity impact on English Renaissance literature?

This is one of four meetings which can be attended individually or as a series. In each we will explore the literature of sixteenth and seventeenth century England through some of its texts, placing them in dialogue with iconic images or objects.

With guest appearances from writers including Wyatt, Shakespeare, Herbert, Sidney, Raleigh and Donne, during each session we will read together two unseen texts that engage with a defining theme. We will discuss how writers in Renaissance England expressed their experience of living in a world as precarious as it was exciting and consider how similar or different it is to our own.

JOINING DETAILS:

• The final session of a four meeting study on Zoom led by Vivien Kogut, Monday 10 June 2024, 5.30-7.30 pm (UK)
• Participants can sign up for individual sessions or the whole study: Mondays 5:30-7:30 pm (UK), 20, 27 May & 3, 10 June 2024
• Each session can be booked individually at £35 to include opening notes and resources (if you wish to book all four please email us using the heading ‘English Renaissance’ and we will arrange a discounted price of £120 for the series).

‘What sort of diary should I like mine to be?  Something loose knit and not slovenly, so elastic it will embrace anything, solemn, slight or beautiful that comes into my mind.  I would like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking them through.’

Virginia Woolf, A Writer’s Diary: Being Extracts from the Diary of Virginia Woolf

Freeing? Playful? Empowering? Reflective writing in the safety of a private journal is a good way to take a deeper, more imaginative look at life’s experiences. Not sure how to get started, or in need of support to keep a regular practice going?  These monthly workshops will introduce you to a range of creative ideas for your own reflective journal, keeping you engaged and committed in a non-critical space.  Each month’s workshop will offer inspiring themes and tools for reflection and expression – and opportunities to share with the group if you choose to.  Join us to brighten and expand your writing practice in 2024.

We are offering the workshops in quarterly blocks of three (or two in the case of February and March following the ‘taster’ session in January).

Alison will also send each participant a weekly self-guided prompt to keep their practice going between workshop sessions!

STUDY DETAILS:

• A series of workshops on Zoom, each on the last Wednesday of the month, 5.30-7.30 pm (UK) led by Alison Cable.
• Offered in blocks: February/March (following the free ‘taster’ session in January); April/May/June; July/August/September; October/November/December.
• Three two-hour workshops on 31 July, 28 August and 25 September 2024, £75 (including notes, resources and weekly writing prompts).

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.

An extract from “Man Underground”, Saul Bellow’s review of Ralph Ellison’s Invisible Man, published in Commentary (June 1952):

“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 that Bendix and Studebaker and the nylon division of Du Pont, and the University of Chicago, or Columbia or Harvard or Kenyon College, have once more proved mightier than the single soul of an individual; to find that one more lightly manned position has been taken. But what a great thing it is when a brilliant individual victory occurs, like Mr. Ellison’s, proving that a truly heroic quality can exist among our contemporaries. People too thoroughly determined and our institutions by their size and force too thoroughly determine can’t approach this quality. That can only be done by those who resist the heavy influences and make their own synthesis out of the vast mass of phenomena, the seething, swarming body of appearances, facts, and details. 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.”

Saul Bellow

JOINING DETAILS:

• Virtual study (via Zoom) facilitated by Toby Brothers and Deborah Lawunmi
• Thursdays, 5.00 – 7.00 pm (UK time)
• Seven meetings starting 19 September (N.B. no meeting on 3 October)
• Recommended edition: Invisible Man by Ralph Ellison, Penguin Modern Classics (August 2001) ISBN-13: 978-0141184425
• £245 for seven-meeting study with two facilitators