“I really have discovered something at last. Through watching so much at night, when it changes so, I have finally found out. The front pattern does move – and no wonder! The woman behind shakes it! Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over. Then in the very ‘ bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard. And she is all the time trying to climb through. But nobody could climb through that pattern – it strangles so:…”
― Charlotte Perkins Gilman, The Yellow Wall-Paper

SALON DETAILS ***In light of the current epidemic, the London Literary Salon is offering VIRTUAL studies- we will be using ZOOM for our seminars– so you can join from anywhere in the world***

• Facilitated by Toby Brothers
• Monday March 30th  
• One meeting; two hours 4-6 PM GMT
• Meeting on line
• Recommended edition:  (this can be found in many short story anthologies or on-line: http://image.guardian.co.uk/sys-files/Books/documents/2009/01/09/TheYellowWallpaper.pdf
  

TO REGISTER for the study, please use the secure Paypal payment button donate-anything from 1£ or 1 EURO or $1 is fine.

This is a virtual study: a study like this is priced at £25 for the two hours– to participate you will need to subscribe to Zoom (free) and donate £1/$1 minimum. All donations will be going to my local foodbank to help those in need in this COVID-19 crisis. Your donation is your registration. The study is limited to 10 participants. Please contact us if you have any questions.

Below you will find some further readings and background information about Charlotte Perkins Gilman and her most famous short story.  I can email  an outline regarding the Turn of the Century (that would be 19^th-20^th) and the impact of major paradigm shifts of the time on women.

All of this will be useful to our discussion, but as always the purpose of the Salon is to engage with the words on the page.  In my research on TYW, I have found many writers summarizing the story as showing how the rest cure resulted in madness for the patient. This is positioned as an extension of the societal oppression of women at the time that Gilman exposes using her passionate narrator. But this is too simple- and disregards the intrigue and complexity of the mind that changes over the course of the story. Pay close attention to the images and patterns of narration: how does Gilman bring the reader into the world of the narrator? How is this world made plausible- up to and through the end?

To position this work as a feminist writing can be useful but also runs the risk of reducing the peculiarities of the piece. We may discuss the rubric of feminist writings and how that can be useful to our understanding of the historical context of the story while we attend to the range of questions raised in the piece. What is madness, for example, and can we definitively describe the narrator as mad?

Notes on Charlotte Perkins Gilman (outlined from the Norton Anthology of American Literature)

1860-1935: CPG lived her life on the margins of a society whose economic assumptions about women she vigorously repudiated. Through her resistance to the ‘masculinist ideals’ of the time came the body of work, both fiction and non-fiction, that she produced to question and offer a new societal vision.

Raised by her mother alone in Rhode Island after her father abandoned her family, Charlotte describes her upbringing as painful and lonely. Her mother tried to prevent her children from dependency on broken relationships by withholding all expressions of physical love. Charlotte struggled to support herself as a governess and designer of greeting cards before she married, and quickly came to understand the lack of economic opportunities available to women. She became involved in the suffrage movement, writing in defense of prostitutes among other subjects. When she married, she struggled to continue her growing career as a writer and lecturer while taking on the mantle of wife and mother. Her growing despondency led to her treatment at the hands of Dr. S. Weir Mitchell and the use of his rest cure (please read the one page description cited below).  Gilman chose to separate from her husband when she became convinced her marriage threatened her sanity; her private choices reflected her championing of non-traditional roles for women. Her writings included Women and Economics wherein she argues that women’s economic dependency on men stunts not only the growth of women but that of the whole human species. In Herland, Gilman imagines a feminist utopia populated only by women (reproduced by parthenogenesis) in a society that is collectively administrated and ecologically sound.

*Rest Cure: http://www.chsbs.cmich.edu/Melinda_Kreth/Silas%20Weir%20Mitchell.pdf

*Google book introduction from Dr. S. Weir Mitchell: http://www.archive.org/stream/doctorandpatien00mitcgoog#page/n13/mode/1up

“Alive, Miss Emily had been a duty and a care; a sort of hereditary obligation upon the town.” But now that she’s gone, what secrets will they learn?

Meet Miss Emily. She’s the object of small-town gossip and speculation, a symbol of a lost Southern aristocracy, a victim of her father and the rigid social constraints placed on women, an odd lady who looks down on the small town from her lonely window.  Or worse.

As a character, she’s inspired popular songs, for example this one by the Zombies, which retells the story to focus on Emily’s otherness, her isolation, frustration at missed opportunities, her pride.  Give it a listen:

https://www.youtube.com/watch?v=gs-bVMs1LKU

Many have argued that “A Rose for Emily” can be read as a symbolic story about the North and the South of the United States after the American Civil War, which ended slavery and with it the genteel southern aristocracy.

But Faulkner himself said he was “simply writing about people, a story which [I] thought was—was tragic and true because it … came out of the human heart, of human aspiration … of the conflict of conscience with … the Old Adam [evil or reckless side of human nature].”

(transcript from McAleers Literature class, 13 March 1957)

In our discussion we will talk about how we view Emily.  We’ll consider the themes of isolation and privacy, the past and change, and how the way this story is told—much like gossip, out of order and full of conjecture– allows us space to empathize with Emily (or not).  Perhaps we will think about how we as humans face a changing world, the effects of loneliness and pride, and the loss that can come with change.

SALON DETAILS ***In light of the current epidemic, the London Literary Salon is offering VIRTUAL studies- we will be using ZOOM for our seminars– so you can join from anywhere in the world***

• Facilitated by Alison Cable
• Tuesday March 31st 
• One meeting; two hours 4-6 PM GMT
• Meeting on line
• Cost: this study would usually cost £20 — but Alison is requesting all earnings to be donated to our local food banks that have exceptional needs…£1 minimum donation is required to secure your place– any amount is appreciated. Please use the PayPal button below to donate– this completes your registration. 

Recommended edition:  (this can be found in many short story anthologies or on-line: http://www.eng.fju.edu.tw/~eng/English_Literature/Rose/el-text-E-Rose.htm

Below you will find some further readings and background information about William Faulkner and his much-anthologized short story. All of this will be useful to our discussion, but don’t get bogged down because the purpose of the Salon is to engage with the words on the page.

William Faulkner speaks on “A Rose for Emily” in 1955:

I feel sorry for Emily’s tragedy; her tragedy was, she was an only child, an only daughter. At first when she could have found a husband, could have had a life of her own, there was probably some one, her father, who said, “No, you must stay here and take care of me.” And then when she found a man, she had had no experience in people. She picked out probably a bad one, who was about to desert her. And when she lost him she could see that for her that was the end of life, there was nothing left, except to grow older, alone, solitary; she had had something and she wanted to keep it, which is bad—to go to any length to keep something; but I pity Emily. I don’t know whether I would have liked her or not, I might have been afraid of her. Not of her, but of anyone who had suffered, had been warped, as her life had been probably warped by a selfish father . . . .

[The title] was an allegorical title; the meaning was, here was a woman who had had a tragedy, an irrevocable tragedy and nothing could be done about it, and I pitied her and this was a salute . . . to a woman you would hand a rose.

From Faulkner at Nagano, ed. Robert Jelliffe (Tokyo: Kenkyusha Ltd., 1956), pp. 70–71.

Here you can listen to Faulkner discussing his work with Edward McAleer’s Literature Class on 13 March 1957:

https://faulkner.lib.virginia.edu/display/wfaudio05_1#wfaudio05_1.6

Here you will find information on Faulkner’s life:

https://www.nobelprize.org/prizes/literature/1949/faulkner/biographical/

This is his Nobel Prize acceptance speech:

https://www.nobelprize.org/prizes/literature/1949/faulkner/speech/

Find out more about the Southern Gothic style:

http://www.oprah.com/oprahsbookclub/Southern-Gothic-Distinguising-Features

An abundance of information, including links to critical essays, photographs, bibliographies:

http://mwp.olemiss.edu//dir/faulkner_william/

Virtual Study of James Baldwin’s exquisite short story “Sonny’s Blues”

“ You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.”    James Baldwin

‘Sonny’s Blues‘ by James Baldwin
Set in racially-divided Harlem in the 1950s, Baldwin’s long short story tells of a lost brother, mean streets, inheritance, nobility and cowardice, and ultimately of the transcendence available in art. This piece- with its riffs, swoops and echoes comes as close as almost any text I have read to the experience of musicality in writing (although passages from Invisible Man may challenge this proposal).

Our discussion will focus on the language, the narrator and what he tells us, what he does not tell us and his relationship with his brother. I find the writing itself to be beautiful: if there are passages that speak to you, note those and we will share some of the most lyric. You can access this story on-line or find it in many short story anthologies–please contact me if you have any difficulties accessing a copy. I recommend you print it out and write on it– circle passages that shout out to you– note places where you have questions— start your conversation with the work by writing on the pages.

“For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it always must be heard. There isn’t any other tale to tell, it’s the only light we’ve got in all this darkness.”–Sonny’s Blues

As this story brings up issues around racism and difference, our discussion requires thoughtful openness and honesty. My experience has shown me that discussing powerful issues in reflection of a work of literature provides a solid platform for us to launch into the areas that are the ugliest aspects of our humanity—and tend to be difficult to discuss.

3.27 THIS STUDY IS NOW FULL– please contact us if you are interested in this study– I plan to offer another one…

SALON DETAILS ***In light of the current epidemic, the London Literary Salon is offering VIRTUAL studies- we will be using ZOOM for our seminars– so you can join from anywhere in the world*** please contact me if you need help with ZOOM.

• Facilitated by Toby Brothers
•  Thursday April 2nd : 5 PM to 7:30PM (GMT)
• One meeting: 2.5 hours total
• Meeting on line
• Recommended edition:  
• £25 includes notes and commentary
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £25. Opening notes will be sent shortly after registration. The study is limited to 10 participants. Please contact us if you have any questions.

To register for April 2nd– Thursday

“All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.”
― James Baldwin, Sonny’s Blues 

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

If there was ever an ideal time to read Ulysses, this moment: future uncertain, present controlled by world leaders blinded by greed, xenophobia rising, identities re-imagined– this moment offers the space. Our work with this book will widen your perspective and deepen your experience of the power of language.

When Joyce was asked (as Tom Stoppard relates) what he did during WWI, he replied: “I wrote Ulysses.  What did you do?” Here is your chance to mark this strange halt to life as normal with a huge reading project that will make you a better reader. For this unique time, I am offering this intensive study (two meetings a week for eight weeks) to get us more than halfway through the book (up to Oxen of the Sun). I will be prepared to continue with the second half, but as the future for all of us is ever-changing dependent on the progress of the COVID-19, I want to re-assess towards the end of this study. We start slowly: about 20-25 pages per meeting– and I will support you with LOADS of resources. So you can respond when asked “What did you do during the pandemic?”

“I read Ulysses“.

There is a strong argument for studying this huge and intimidating text—book list chart-topper of 100 greatest books of all time, critics’ darling, most lauded/least read, the book that many literary academics dedicate their lives to studying—but you will only know for yourself by diving in. I believe the only way to study it is with a group of hungry, curious readers who all contribute to evoking meaning, through their questions as well as their insights.

The good news: reading Ulysses is fun. And I don’t mean in a frustrating, overly-analytical see-how-much-you-know-way. The language is amazing—even when I don’t understand it. Perhaps, especially when I don’t understand it, because meaning sneaks in through more than my critical faculty. Meaning slides in through sound, through the lushness of the language, through the filmy and substantial images, and suddenly I find myself transported from a walk on a beach to a contemplation of the origins of man—thanks, James Joyce.

Any time spent studying Joyce leaves one a better reader—a broader thinker—even if all the references, repetitions, epiphanies and allusions are not immediately understood.

The only  expectation for the first meeting is to have read the first 28 pages.

“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
See more participant feedback here…

SALON DETAILS

• Study starts April 6th- May 28th
• We will meet for 16 Sessions: Every Monday and Thursday 5-7PM BST
• We will be meeting on ZOOM– this is free for participants and simply requires registration
• Please purchase these editions in preparation for our study:
  • Ulysses, by James Joyce, Annotated Students’ Edition; (Penguin Modern Classics), ISBN-10: 0141184434. (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
• The total cost for the 16-meeting study, with all notes and resources materials, is £320
• IF there is space and you are interested but uncertain, you may have the option of registering for the first wee for £50 & then decide if you want to continue– that amount will be credited to the balance.
• Please contact me if you are very interested but unable to pay the full amount. I am committed to offering this support as much as possible to all.

TO REGISTER, Please use the Paypal button below to pay for the study; upon receipt of payment, you will receive opening notes and loads of resources to start the study.

If you have any questions about this study, please contact us.

“I am nothing to you. You say I am wilderness. I am. Is that a tremble on your mouth, in your eye? Are you afraid? You should be.”

― Toni Morrison, A Mercy

Morrison has commented that she wrote A Mercy  to explore a time before slavery was identified with race. This may help readers to consider race more as ‘an interplay with other social determiners, such as gender and class. Moreover, we must resist the trigger reaction that interprets “race” to reference black-white relations, given that in colonial America another different people lived here who were subjected to biological mayhem as well as painstakingly plotted genocide” (Tally & Stave, intro to Critical Approaches: Toni Morrison’s A Mercy) .

Please notice as you read the differing perspectives and narrative styles that tell the story. Notice also how the land—the specific geographical settings—impact character and tellings. Notice how you read different paradigms: for example, what is ownership to one character is different to another….

SALON DETAILS 

The legend of the Trojan War is one of the most enduring stories in our culture, inspiring some of our most creative and moving literature and art—from Homer to Shakespeare to Joyce and the present day. The famous Golden Apple and the Trojan Horse are familiar to most everyone, along with the names of Achilles, Odysseus, Hector and Aeneas—and, of course, the ever-enigmatic Helen at the centre of it all.

After 3000 years, Troy and the Trojan War continue to inspire retellings and alt-tellings. Here in 2020, you’ll find at least three current bestselling novels in bookstore windows based on the war and its aftermath, and a steady stream of new translations of Homer’s Iliad and Odyssey receives prominent attention. From Homer’s time onward, the Trojan War has provided a setting for stories of heroism, glory and conquest—and even more often of grief, sorrow and loss.

This Salon study follows on from the  British Museum’s 2020 special exhibition Troy: Myth and Reality. Over the eight weeks of this study, we’ll explore the continuing fascination of Troy, through discussions of five works of literature that span the breadth of the Trojan War story, and a close look at images of key objects from the Troy exhibition.

Central to the myth of Troy is Homer’s Iliad, which we’ll read over four sessions; we’ll also read the Classical Greek plays Iphigeneia at Aulis and The Trojan Women, both by Euripides, and Philoctetes by Sophocles; we’ll finish the study with a modern contribution to the Troy legend, the very well-reviewed novel The Silence of the Girls, by Pat Barker. To round out the study we’ll look at excerpts from ancient source texts that tell the stories of the Golden Apple, the attempts by various heroes to avoid the war, the Trojan Horse, the death of Achilles, and numerous other variations on the Troy myth.

SALON DETAILS

• Facilitated by Mark Cwik
• Thursday evenings 6:00 pm – 8:30 pm GMT
  
• Eight-session study, 09 April to 28 May 2020
  
• Online discussions using Zoom meeting interface. Zoom is free for participants, instructions will be sent upon registration.
  
• Recommended editions:
  
  • The Iliad, by Homer, translated by Robert Fagles, introduction by Bernard Knox; Penguin Classics; ISBN-13: 978-014027536
  • The Complete Euripides Volume I: Trojan Women and Other Plays (Greek Tragedy in New Translations), edited by Peter Burian and Alan Shapiro; Oxford Univ Press (2010); ISBN: 978-0195388671
  • The Complete Euripides Volume II: Iphigenia in Tauris and Other Plays (Greek Tragedy in New Translations), edited by Peter Burian and Alan Shapiro; Oxford Univ Press (2010); ISBN: 978-0195388695
  • The Complete Sophocles Volume II: Electra and Other Plays (Greek Tragedy in New Translations), edited by Peter Burian and Alan Shapiro; Oxford Univ Press (2009); ISBN-13: 978-0195373301
  • The Silence of the Girls, by Pat Barker; Penguin (2019); ISBN-13: 978-0241983201
• £180 for eight-week study.
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £180. Opening notes will be sent shortly after registration.

ABOUT THE FACILITATOR: Mark Cwik has been organizing and leading great books discussion groups for adults for over twenty years in London, Chicago and Toronto. He was trained as a discussion facilitator while at the Great Books Foundation in Chicago and has been a passionate advocate for great books education since attending St. John’s College, Santa Fe and the University of Chicago Basic Program in Liberal Education.

“I’ve been coming to Mark’s discussion groups for about 15 years . . . Mark is amazing in his ability to keep the group functioning smoothly. He asks questions that get to the heart of the piece and he keeps the group focused on those questions. You don’t feel that he’s trying to steer us to any conclusion; he’s in it with us to figure out what the author is saying. He makes everyone feel welcome and their opinions are respectfully heard. He’s always prepared and totally dedicated to advancing our understanding of the great books.” — Chicago group participant.

If you have any questions about this study, please contact us.

Socrates was described as poor and ugly, called a “numbfish,” compared to a satyr—and that was just his friends talking. We are told he was a courageous soldier, the best drinker in the house, who never lost an argument in his life. He seems to have spent most of his days walking around Athens and talking. And he was tried and executed for corrupting the youth of Athens and for impiety against the city’s gods. He never wrote a thing, claimed not to be a teacher, and yet he is considered a founder of western philosophy. Who was this enigmatic and seemingly-contradictory man, and why are we still talking about him today?

Socrates is known to us mostly through the writings of his follower Plato. In the six weeks of this study we’ll read four of Plato’s dialogues that together paint a rich portrait of Socrates, his character and ideas. In the first of our dialogues, the Meno, Socrates and the title speaker Meno search for a solid definition of virtue, and discover themselves confronted by some of philosophy’s most basic and profound questions: what can we know, how can we know it, how can we teach, how can we learn? The three dialogues Apology, Crito and Phaedo take us through the trial and death of Socrates, as Socrates makes an impassioned defence of his way of life and prepares to face the unjust sentence declared against him.

Plato’s dialogues are very approachable—and a great deal of fun to read together as a group. If you are new to reading Plato—the best way to start reading the dialogues is simply to start reading them. For new and veteran readers alike, every reading unfolds more depth and complexity.

SALON DETAILS

• Facilitated by Mark Cwik
• Friday evenings 5:00 pm – 7:30 pm GMT
  
• Six-week study, 10 April to 15 May 2020
  
• Online discussions using Zoom meeting interface. Zoom is free for participants, instructions will be sent upon registration.
  
• Recommended edition: Five Dialogues: Euthyphro, Apology, Crito, Meno, Phaedo, by Plato, translated by G.M.A. Grube, revised by John M. Cooper; Hackett Publishing Co, Inc; 2nd edition (2002); ISBN-13: 978-0872206335
• £125 for six-week study.
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £125. Opening notes will be sent shortly after registration.

ABOUT THE FACILITATOR: Mark Cwik has been organizing and leading great books discussion groups for adults for over twenty years in London, Chicago and Toronto. He was trained as a discussion facilitator while at the Great Books Foundation in Chicago and has been a passionate advocate for great books education since attending St. John’s College, Santa Fe and the University of Chicago Basic Program in Liberal Education.

“I’ve been coming to Mark’s discussion groups for about 15 years . . . Mark is amazing in his ability to keep the group functioning smoothly. He asks questions that get to the heart of the piece and he keeps the group focused on those questions. You don’t feel that he’s trying to steer us to any conclusion; he’s in it with us to figure out what the author is saying. He makes everyone feel welcome and their opinions are respectfully heard. He’s always prepared and totally dedicated to advancing our understanding of the great books.” — group participant.

If you have any questions about this study, please contact us.

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

― Ralph Ellison, Invisible Man

I consider this to be one of the greatest 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.

SALON DETAILS

• Facilitated by Toby Brothers
• Monday afternoons 2-4 pm  ** If you are interested in an early-evening study of this work, please contact us
• Seven meetings over seven weeks 
• Meetings in Kentish Town
• Recommended edition: Invisible Man by Ralph Ellison, Penguin Modern Classics (Aug. 2001); ISBN-13: 978-0141184425
• £165 for the seven-week study
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £165. Opening notes will be sent shortly after registration. The study is limited to 10 participants. Please contact us if you have any questions.

From Saul Bellow’s essay:

“Man Underground”

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.”

“Freeing yourself was one thing, claiming ownership of that freed self was another.”

 Toni Morrison, writer, professor and essayist on issues including race, gender and forces of life, won the Nobel Prize in Literature and the Pulitzer Prize in 1988. Beloved is regarded by many as Morrison’s best work, and once you have spent some time in the text, it is easy to understand why. Morrison works to help the reader grasp the psychological devastation wreaked by the institution of slavery by close observation of a community of ex-slaves creating lives in Ohio in the second half of the 19th century.

This text is meaty and evocative, and also quite difficult to read alone. The work also offers endless possibilities in terms of discussion of the formation of self, claiming of self, mother/child relationships, the fury of love, the permeable boundaries between the living and the not living, as well as the more predictable (but no less provocative) issues of race, gender and role of history.

But what you need to know– along with the history and context which will be provided as part of the Salon–is that the writing is so gorgeous. Morrison tackles the most painful aspects of human experience with an honesty and lyricism that will leave you breathless. If this is your first reading of the book, try not to read around too much until you have read the whole book: many reviews and commentary give away the central traumatic event that Morrison reveals carefully and purposefully in her own time. I think Morrison is very purposeful in the way she tells this story—we will discuss the framing and the narrative progression and her purpose there. You are strongly encouraged to read the whole novel before the study begins– and then we will consider it section by section. This study is appropriate for first-time readers of Beloved as well as those who have previously read and studied Beloved in the Salon.

SALON DETAILS 

Jane Austen needs no introduction or explanation. She’s a writer unmatched in her ability to parse the workings of the human psyche and the nuances of social interactions. And her novels are simply delightful. In this four-week study we’ll read two of her best: Persuasion and Emma.

SALON DETAILS

• Facilitated by Mark Cwik
• Monday evenings 5:00 pm – 7:00 pm GMT
  
• Four-week study, 27 April to 18 May 2020
  
• Online discussions using Zoom meeting interface. Zoom is free for participants, instructions will be sent upon registration.
  
• Recommended editions (these are recommended, but if you have others on hand, feel free to use those):
  • Persuasion by Jane Austen; Penguin Classics (2003); ISBN 13: 978-0141439686
  • Emma, by Jane Austen; Penguin Classics (2003): ISBN 13: 978-0141439587
• £105 for four-week study.
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £105. Opening notes will be sent shortly after registration.

ABOUT THE FACILITATOR: Mark Cwik has been organizing and leading discussions of great literature with adults for over twenty years in London, Chicago and Toronto. He was trained as a discussion facilitator while at the Great Books Foundation in Chicago and has been a passionate advocate for great books education since attending St. John’s College, Santa Fe and the University of Chicago Basic Program in Liberal Education.

“I’ve been coming to Mark’s discussion groups for about 15 years . . . Mark is amazing in his ability to keep the group functioning smoothly. He asks questions that get to the heart of the piece and he keeps the group focused on those questions. You don’t feel that he’s trying to steer us to any conclusion; he’s in it with us to figure out what the author is saying. He makes everyone feel welcome and their opinions are respectfully heard. He’s always prepared and totally dedicated to advancing our understanding of the great books.” — group participant.

If you have any questions about this study, please contact us.

Salon Weekend Retreats

Building on the success of our London-based studies, we are excited to offer travel studies that place participants in locales that reflect and contextualize the literature. Journeying together to beautiful sites, the London Lit Salon retreat offers a more intensive immersion in the book while opening the mind to a part of the world illuminated through the beauty of the language.

A Portrait of  A Lady by Henry James

The book is a painted portrait or even a kaleidoscope.  We watch and guess what Isabel will do. But like a portrait, she is (perhaps) caught in a frame and frozen by the artistry –or the terms of her world.

Previous studies have included considerations of gender roles, the negotiated space between self and other, the corruption or freedom offered by privilege, the challenge of looking at nationalities in generalizations (and the tempting ease to do so), the ways in which humans reveal themselves…these Salon discussions are full of wonder: the meeting of the gathered minds and the provoking text is a powerful thing.

Ralph Waldo Emerson seems to echo in the lines and characters of Henry James, Isabel in particular: “You think of me the child of my circumstances: I make my circumstance…I—this thought which is called I, –is the mould into which the world is poured like melted wax. The mould is invisible, but the world betrays the shape of the mould. You call it the power of circumstance, but it is the power of me.” –from Emerson’s essay The Transcendentalist 

Our study of PoAL may include a consideration of this quote in light of Isabel’s life and choices: how much do we make ourselves? How does the world impose itself on the individual in the act of self-creation?

Salon Details and Registration

• Weekend Meeting :May 15th-17th 2020
• Meeting in Rye–The Mermaid Inn and (as weather permits) garden at Henry James House
• Facilitated by Salon Director Toby Brothers
• Cost £165 includes notes and critical resources; rooms at the Mermaid range from £90 per night to £125
• RECOMMENDED EDITION: Norton Critical Edition Oct. 2017; ISBN-10: 0393938530

Jan 2020: THIS STUDY IS NOW FULL– please contact us to be placed on the wait list

To register for the Salon study, please use the Paypal button below to pay £165: (Please pay for the  room directly to The Mermaid Inn once your registration has been confirmed):

About the Mermaid Inn–

This famous and historic Inn is a real find– it is usually booked out but we were able to secure three singles for GBP 90 each per night including breakfast, and 10 double-for-single rooms for GBP 125 each per night for a total of 13 rooms (out of 31 total rooms in the hotel).  There are two lounges for meetings offered at no cost.  WJ’s historic house is 1 minute walk away.

See images and further details here: https://www.mermaidinn.com/about-the-hotel/

 

From J. Smiley’s 13 Ways of Looking at the Novel

“The question (could a novel be art) were…framed in terms of technique, but the ideal was no longer just to promote the novel’s ability to communicate more and more details about more and more things, but also to have an aesthetic shape or effect that would be intended by the author and felt by the reader as consciously graceful, beautiful or ‘right.’  Foremost proponent of these ideas was Henry James…” p. 134

“Everything that Isabel has learned about love and marriage growing up in the United States turns out to be wrong—in Europe, marriage is a pure commodity relationship, and it is the fate girls to be bought, sold, and dominated. Their only choices are to accept their fate knowingly or undergo it without understanding it. ..In Pofa Lady James does what he intended to do…uses intense psychological analysis and careful depiction of settings to fill the spots where the vulgar might have been. “ p. 135

“H. James …recognized that, as vital and satisfying as the English novel was, English novels were missing something that French novels possessed—psychological refinement and depth. …HJ wanted to write…important novels about the progress of the inner life, in which the climax might be only a silent recognition by the protagonist that she has made a commitment fatal to her happiness. Readers had to be educated to understand the weight of such subterranean drama…” p.136

Reading the Body Umbria Retreat: Mind & Body interplay

Providing space and material for thought and play towards greater connection to the world we inhabit-through expansion of the mind and body.

Jackie and Toby have both developed approaches to understanding the self in the world. Jackie’s work uses the body as a space of exploration & understanding, while Toby employs literature as a platform for discovery.

Each day will include two sessions of yoga and one to two sessions of literature study. This will leave hours across the day for down time: explore the local area, rest and resource, reading, swimming, hiking, stretching.

SALON RETREAT DETAILS

• Facilitated by Toby Brothers and Jackie Seigler
• May 31st- June 7th  2020; program will run approx. four to five hours per day (one day open) leaving time for other activities
• Recommended editions: The Portrait of A Lady by Henry James (Norton Critical Edition, ISBN-10: 0393938530);  The Silent Duchess by Dacia Maraini (Arcadia Books Jun. 2010 ISBN-10: 190641372X)

Fees: Includes all yoga and salon study, accommodation , 3 meals a day & tea/biscuits and fruit.

• £1,200 Single
• £875 Shared Double
• £785 Triple shared
• £750 for non-participating partners

  Not included: Travel to the retreat (flights to Rome)

Further queries and reservation instructions, please contact:  Jackie – Jackie@seigler.co.uk

Opening notes will be sent after registration.

 The Place– La locanda della Quercia Calante

In the heart of verdant Umbria, in Castel Giorgio, only hills and nature surround the Locanda della Quercia Calante, charming holiday farm in an old farm house, renovated according to natural architectural principles. 18 kilometers from Orvieto, in the province of Terni, it is the ideal spot for those who want a fully natural vacation, in an environmentally friendly atmosphere at a natural pace of life. Energizing water pool, holistic spa center with yoga room, restaurant with local and vegetarian cuisine, fourteen rooms without electromagnetic fields…

http://www.querciacalante.com/home-en/

• full board in single or double/twin rooms /triple rooms/ quadruple (family)rooms with services and private veranda on the park.
• two coffee-tea-herbal teas, fruit etc. Breaks each day.
• use of one of the large yoga studios
• free use of the large complex of two swimming pools (300 m2) and one large spa in the park (during the summer). Salt filtering systems without chlorine.
• excellent and fresh food, mostly organic, very well cooked. Possibility of traditional Italian, mixed, vegetarian or vegan food (one choice for the entire group).
• all the rooms are perfectly heated in winter and cooled during the summer.

In your free time you can visit the beautiful surroundings: art cities of Orvieto, Siena, Todi or Etruscan and medieval sites, Bolsena Lake and thermal springs.

The Yoga:

Jackie Seigler – Yoga teacher

Jackie’s teaching style is very much drawn from Ashtanga yoga.  Her practice is continually evolving; she describes her style of yoga modern postural yoga with an emphasis on core stability as well as flexibility. Her goal in teaching is for students across all ages and body types to establish a more regular and fulfilling practice.

Jackie continually reviews, investigates and modifies her self-practice to make her teaching practice more accessible to everyone.

When one becomes a yoga practitioner you become an eternal student.

The idea of our retreat together is ‘Reading The Body’:  our yoga and meditation practice in the morning will be a great place to begin that work.

The afternoon class will be a combination of Restorative yoga, yoga Nidra and technical alignment-based sessions so we can work and build on a specific pose.

Restorative yoga is all about slowing down and opening your body through passive stretching, the centring of your breath and body, and aligning the physical and mental by practicing stillness or gentle movement for extended periods of time. The props assist in helping you to hold poses longer. During the long holds of restorative yoga your muscles can relax deeply. It’s a unique feeling because props, rather than your muscles, are used to support your body. Restorative classes are very mellow, making them a good complement to more active practices and an excellent antidote to stress.

Yoga Nidra, a state of conscious deep sleep, is a simple yet profound technique that unwinds the nervous system and induces complete physical and mental relaxation with inner awareness.

The Literary Salon:

Toby Brothers – London Literary Salon Director

The London Literary Salon creates community around the study of great literature. The Salon offers unique and inclusive discussion-based studies of literature—weaving the ideas of participants with questions the books raise about what it is to be human. Carefully facilitated, each study is dynamic and expansive in scope.

Drawing on the success of the LLS, we are expanding the studies by offering retreats that place participants in locales that reflect and open up the literature. The LLS retreat offers a more intensive immersion in the book while opening the mind to a part of the world illuminated through the beauty of the language.

I am considering two works for this study: A Portrait of a Lady by Henry James and The Silent Duchess by Dacia Maraini. Both of these works consider Italy as both setting and cultural idea, and both explore the struggle for an independent mind to be authentic in stifling cultural roles and relationships.

A Portrait of a Lady by Henry James

The book is a painted portrait or even a kaleidoscope.  We watch and guess what Isabel will do. But like a portrait, she is (perhaps) caught in a frame and frozen by the artistry –or the terms of her world.

Previous studies have included considerations of gender roles, the negotiated space between self and other, the corruption or freedom offered by privilege, the challenge of looking at nationalities in generalizations (and the tempting ease to do so), the ways in which humans reveal themselves…these Salon discussions are full of wonder: the meeting of the gathered minds and the provoking text is a powerful thing.

Ralph Waldo Emerson seems to echo in the lines and characters of Henry James, Isabel in particular.

“You think of me the child of my circumstances: I make my circumstance…I—this thought which is called I, –is the mould into which the world is poured like melted wax. The mould is invisible, but the world betrays the shape of the mould. You call it the power of circumstance, but it is the power of me.” –from Emerson’s essay The Transcendentalist 

Our study of PoAL may include a consideration of this quote in light of Isabel’s life and choices: how much do we make ourselves? How does the world impose itself on the individual in the act of self-creation?

The Silent Duchess by Dacia Maraini

Finalist for the International Man Booker Prize, winner of the Premio Campiello, short-listed for the Independent Foreign Fiction Award upon its first English-language publication in the UK, and published to critical acclaim in fourteen languages, this historical novel by one of Italy’s premier women writers has mesmerized readers globally.

In luminous language that conveys both the keen visual sight and the deep human insight possessed by her remarkable main character, Dacia Maraini captures the splendor and the corruption of Marianna’s world and the strength of her unbreakable spirit.

Maraini paints a vivid and unflinching representation of 18th century Sicilian Italy. It is often shocking in its honest portrayal of the inequalities at the heart of that society. From the excesses indulged in by the nobility while the majority lived in abject poverty or were subject to the most barbaric punishments should they err, to the utter powerlessness and abuse of women of any class.

The silent duchess of the title, Marianna, is deaf and mute. Her muteness is symbolic of all women of her time who had no say in anything at all. In the patriarchal system which prevailed, all decisions and choices were made for them. Not that many choices were afforded them; they either ended up in a convent or were married off at an appallingly young age for paternal gain. It seemed the convent was preferable, as Marianna’s sister thrived in her role as a healing nun.  (from Jenny Lloyd, Goodreads Review)

If you have any questions about this study, please contact us.

“I am nothing to you. You say I am wilderness. I am. Is that a tremble on your mouth, in your eye? Are you afraid? You should be.”

― Toni Morrison, A Mercy

Morrison has commented that she wrote A Mercy  to explore a time before slavery was identified with race. This may help readers to consider race more as ‘an interplay with other social determiners, such as gender and class. Moreover, we must resist the trigger reaction that interprets “race” to reference black-white relations, given that in colonial America another different people lived here who were subjected to biological mayhem as well as painstakingly plotted genocide” (Tally & Stave, intro to Critical Approaches: Toni Morrison’s A Mercy) .

Please notice as you read the differing perspectives and narrative styles that tell the story. Notice also how the land—the specific geographical settings—impact character and tellings. Notice how you read different paradigms: for example, what is ownership to one character is different to another….

SALON DETAILS 

Drawing on the success of the LLS, we are excited to expand the studies by offering retreats that place participants in locales that reflect and expand the literature. By taking participants to beautiful places, the LLS retreat offers a more intensive immersion in the book while opening the mind to a part of the world illuminated through the beauty of the language.

The Greek Odyssey study for May 2020 will use Homer’s epic poem to consider closely the guest-host relationship, the defining struggle of humans against overwhelming nature, the struggle to know ourselves in foreign spaces, our understanding of the heroic and the role of myth and epic in lived experience. Actor Jane Wymark and Poet Caroline Donnelly will be assisting Salon Director Toby Brothers in this week-long study, sharing their insights into the spoken word, metre and translation.  In an era where the epic poem is in eclipse, the novel and film having taken over as the preferred vehicles for  complex narratives, we will explore aspects of the Odyssey as a work in the oral tradition.

We have found the perfect site to host this study providing the ideal combination of a local space run by someone who understands our mission & can provide us room & board that has some cultural and adventure offerings — and is easy to access. We will be staying at Rosy’s Village on the stunning Island of Agistri. The study is scheduled for the 3rd (arrival) to the 10th (departure) of May 2020.

** UPDATE: This Salon is now full as of Nov 5th 2019***  If you are interested, please contact us to be added to the waiting list– or to be on the list for the May 2021 Odyssey

SALON DETAILS

• Facilitated by Toby Brothers, Jane Wymark and Caroline Donnelly
• September 5th-12th 2020; program will run approx. five to six hours per day (one day open) leaving time for other activities (optional kayaking adventure and trip to The Pidavros theatre or Temple of Aphasia
• Preparatory meeting Tuesday Sept. 1st 7:00-9:30 in London (Skype option available)
• Recommended editions: The Odyssey by Homer, translated by Robert Fagles AND the Emily Wilson translation  (more details below)
• £475 for the Salon study includes preparatory meetings, background materials and opening notes

Room and half board (two meals per day) will be paid directly to Rosy’s; after you register, you will receive details on payment.

Room Prices for seven night stay: (including Breakfast & Dinner)

• 574 euro  Single  (approx. £510)
• 413 euro    Double      (approx. £365)
• 392 eruo  triple/family room

Other costs: Flights (Right now can be found for £120-200 r/t British Air), ferry to Agistri (usually 14 euro each way but may be 30 euro for arrival if the group chooses private water taxi), one meal a day and extra trips. For flight purchase, please make sure you can be in Piraeus by 3 PM for May 3rd to make the ferry.  We will not be meeting on the 10th so you have choices about your return; ferry are frequent (one hour travel from Agistri to Piraeus).

To register and pay for the study or if you would like further information, please contact us . Opening notes will be sent after registration; please read at least one of the translations before arriving on Agistri.

Primary texts edition recommended:

• The Odyssey translated by Robert Fagles (Penguin Classics, various editions) Nov. 1997 ISBN-13:978-0140268867
• The Odyssey translated by Emily Wilson (W.W. Norton & Co., Nov. 2018) ISBN-13: 978-0393356250

Participant reflections May 2019:

“And it was such stirring stuff! It transformed The Odyssey from ever so slightly a form of homework, the better to get to grips with Ulysses, into an unexpectedly powerful, truly immersive and poetic experience – a fascinating study in its own right.”

“The facilitators were great, particularly Jane, who is wonderful, for the readings. That was memorable, for me.

About the epic…      

The Salon has certainly been a place to re-discover- or discover for the first time- the works that form the cornerstones of Western literary tradition. The Odyssey is a root for our understanding of ourselves as well as the words and ways of the ancients. How does it continue to shape our idea of the heroic? What do the dilemmas that Odysseus faces offer to us today? Can we still appreciate the lyric and narrative quality alongside a violent story filled with the suffering and death of nameless servants, slave girls and soldiers?

Many artists have used The Odyssey as an inspiration for their work as Joyce does with Ulysses and the Coen brothers did for their film(winning an Oscar for the best screenplay adaptation from Homer’s original)…the epic struggle to return home and exploration of the guest/relationship remain relevant across time.

David Denby, in his work Great Books, describes his engagement with The Odyssey as an essential exploration of the formation of the self for the reader as well as for Telemachus and Odysseus: “Even at the beginning of the literary tradition of the West, the self has masks, and remakes itself as a fiction and not as a guiltless fiction either. . .

The Odyssey is an after-the-war poem, a plea for relief and gratification, and it turns, at times, into a sensual, even carnal celebration.”

Further reading : http://www.telegraph.co.uk/culture/books/10833515/Alice-Oswald-how-to-read-Homer.html

And here, from Jane, a brief summary of some of the contemporary novels inspired by the Homeric epics….

“All of these books contain major spoilers of the plots of both The Iliadand The Odysseyand so are to be avoided if you’d rather approach the Homeric Epics completely innocent. On the other hand, without some background knowledge of the Greek Pantheon you will soon be at sea so you might consider sacrificing surprise for context…”

Silence of the Girls

Pat Barker

 ‘An important, powerful, memorable book that invites us to look differently not only at The Iliadbut at our own ways of telling stories about the past and the present, an invitation to listen for voices silenced by history and power.’

Emily Wilson

Pat Barker is the author of the much respected award-winning Regenerationtrilogy set during the First World War and is thus very well qualified to retell the story of TheIliadin a style that displays its mythic universality. The first time that Achilles says ‘OK’ it lands as a shocking anachronism, but as you read on you realise that Barker is deliberately showing that the Trojan War has similarities to all wars in all times. Her central character, Briseis, is mentioned no more than a dozen times in Homer: she is an enslaved woman regarded simply as plunder.

The Song of Achilles

Circe

Madeline Miller

 The Song of Achilleswas Miller’s first book and was a major bestseller, published in 23 languages. It retells the story of the siege of Troy from the point of view of Patroclus, whose death Achilles avenged by the killing of the Trojan hero Hector and defiling the corpse by dragging it around the city walls behind his chariot. The book was less popular in some quarters: the NYT described it as having ‘the head of a young adult novel, the body of The Iliadand the hindquarters of Barbara Cartland’ and there’s some truth in that criticism, despite its irritating snobbish tone. It’s certainly a very engaging read and Miller’s second book, Circe, is even more so. Circe is a nymph and witch whose island home Odysseus and his men land up on. The book manages to weave in an enormous amount of Greek myth and legend in palatable form.

A Thousand Ships

Natalie Haynes

 ‘This subversive reseeing of the classics is a many-layered delight’.

Elizabeth Lowry

This is the most recent of the current crop of Homeric retellings. It is written in short chapters and covers the stories of many of the female characters, most of whom get fairly short shrift in Homer. Some are given more than one chapter – especially Penelope and the group Haynes calls The Trojan Women. Penelope’s chapters are written as letters to the absent Odysseus, a device taken from Ovid’s Heroides, but the dry witty tone echoes The Penelopiad written by the great Margaret Attwood fifteen years ago which is definitely worth a read.

If you have any questions about this study, please contact us.

“Millions of things came back to her. Atoms danced apart and massed themselves. But how did they compose what people called a life? She clenched her hands and felt the hard little coins she was holding. Perhaps there’s ‘I’ at the middle of it, she thought; a knot; a centre; and again she saw herself sitting at her table drawing on the blotting paper, digging little holes from which spokes radiated. Out and out they went; thing followed thing, scene obliterated scene.”

–Virginia Woolf, The Years

Each study in St Ives is magical. The light, the smell and sound of the sea gilds the intensive study with a unique sense of stepping into another world. This study of The Years, the last novel published by Virginia Woolf while she was still alive, expands our time in Cornwall to five days as requested by past participants. We will meet Wednesday evening for our first exploration with six more meetings spread over the coming days to allow time for enjoyment of the natural and cultural gems offered in this beautiful place. This will be the Salon’s first study of The Years; this study will have the exploratory energy that a first Salon study offers.

IN LIGHT OF THE CURRENT PANDEMIC, the dates for this study are shifted: October 14th-18th 2020 …there  are three spaces available.

The Years is described as a family saga–and is often considered more accessible than other works by Woolf. With the experience of many studies of To The Lighthouse, Between the Acts, The Waves and Mrs Dalloway, I have come to relish the subtle profundity beneath the language experimentation and interior explorations that Woolf offers. The Years engages history– the personal history of a family, the mantel of history of a people, the sense of a denigrated future in the shadow of historical myths and mistakes–and considers how various characters negotiate this troubled inheritance. Woolf moves deftly between the individual and the larger cultural landscapes–illuminating how one person can exist in their vulnerable selfhood amidst the waves of the world around them.

To understand this book, you will want to read with a wide awake mind and then re-read once you have played on the surface of plot and character. Notice how the descriptions along the edges—the fragments, the other stories invoked, the changing weather passages—all comment on and expand the central narrative. We will also consider essays from her work, The Pargiters — the theoretical framework that Woolf wrote alongside The Years but then excluded from the text. This has become available in Mitchell Leaska’s edition: “The Pargiters is interesting in its own right for the insight it offers into Woolf’s politics, which she expresses more bluntly in the novel-essay than she ever had before.” (R. Higney, Modernism Lab)

SALON DETAILS: 

• Five-day Meeting in St Ives — approximately 14 hours of study
• Meeting St Ives Cornwall; facilitated by Salon Director Toby Brothers
• Cost £325 includes notes and critical resources (transport and housing not included)
• RECOMMENDED EDITION: The Years by Virginia Woolf (Vintage Classics Woolf Series) Paperback – 6 Oct 2016 ISBN-10: 1784872237
• If possible, please also purchase The Pargiters–  this book is difficult to find and tends to be pricey– if you can not find an affordable edition, please contact us— I have a few editions for purchase or loan.

To register for the Salon study, please use the Paypal button below to pay £325: (Please pay for the  room directly to No4St Ives once your registration has been confirmed):

*Apologies– it appears that this Paypal button is only working for those with a Paypal account– I am working with Paypal to fix this issue– in the meantime, if you wish to register and don’t have nor want a PP account, please Contact Us directly.

‘A brilliant fantasia of all Time’s problems, age and youth, change and permanence, truth and illusion’ The Times Literary Supplement

The Years is the story of the Pargiter family – their intimacies and estrangements, anxieties and triumphs – mapped out against the bustling rhythms of London’s streets during the first decades of the twentieth century, as their Victorian upbringing gives way to a new world, where the rules of etiquette have shifted from the drawing room to the air-raid shelter. Virginia Woolf’s penultimate novel is a celebration of the resilience of the individual amid time, change, life, death and renewal.

Virginia Woolf:  “If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my bowl without doubt stands upon this memory.  It is of lying in bed, half-asleep, haf awake, in bed in the nursery at St Ives.  It is of hearing the waves breaking, one, two, one, two, and sending a splash of water over the beach; and then breaking, one, two, one two, behind a yellow blind […}.  If I were a painter I should paint these impressions in pale yellow, silver, and green.  There was the pale yellow blind; the green sea; and the silver of the passion flowers.”

“Here is the past and all its inhabitants miraculously sealed as in a magic tank.”

“The past only comes back when the present runs so smoothly that it is like the sliding surace of a deep river.  Then one sees through the surface to the depths.  The past sometimes presses so close that you can feel nothing else.”

—“Sketch of the Past,” begun in June 1939.

St IVES:  Virginia Woolf spent much of her childhood in St. Ives.  The London Literary Salon invites you to join us in St Ives to explore this lovely coastal town and have it serve as a prism through which we will explore Woolf’s perspectives on landscape, domesticity, historical inheritance and identity in her novel The Years. We have already completed four magical weekends with Woolf’s writings in the environment that inspired it– this is an incredible experience!

You will have the opportunity to  visit the iconic Tate St Ives gallery overlooking the Atlantic Ocean, built between 1988 and 1993 on the site of an old gasworks, and there will be an optional boat trip to Godrevy Lighthouse.

We may also look at Talland House, now privately owned, her childhood summer home.  For several months of the year the elegant house overlooking St Ives Bay would be the Stephens’ family home until 1895 when Virginia’s mother Julia Stephen died.  Although the complete family never returned to St Ives following their mother’s death, her children travellled back in 1905 following the death of their father in 1904.

Accommodation:  We are working with No4 St Ives which is just steps from Talland House and has an elevated position overloooking St Ives Bay.  It is a 5 minute walk from the beach and St Ives Town Centre.

Approximate cost: 

 Rooms at No4 St Ives range from £110-£140 per night– if the room is shared, the cost is halved; breakfast included. Some of us plan to stay Sunday night as well to be able to enjoy an extra day in this beautiful site. The entire cost is to be paid upfront. If for some reason you are unable to attend, we will work to find someone to replace you & reimburse you for the room but can not guarantee that is possible. The Salon cost may be applied to a later study. 

Train cost is approx.  £70  each way(cheaper if bought earlier) 

Salon cost is  £325: We will meet around 14 hours over the five days. The first meeting starts at 5:45 Wednesday evening; the last meeting is scheduled for 9:30-11:30 Sunday morning. On previous trips, many have stayed in St Ives through Sunday evening to have time for further exploration and reflection. Please discuss this option with Sue and Mike from No4 St Ives if you are interested. 

We will enjoy dinner out on Wednesday and Saturday…other costs will include the optional boat trip & visit to the St Ives gallery. 

Getting there:  The train from London takes just over five hours, with one change at St Erth for the branch line to St Ives.

This event and other in-depth explorations of  Virginia Woolf and her works can be found on the website of the Virginia Woolf Society of Great Britain

Part of the challenge when reading Woolf is to understand it is not the action that matters but the impression of thoughts; it is by attending to the pattern and signification of thoughts and impressions that we will uncover meaning, innovation. As one of the primary modernist writers, Woolf plays with language; testing its ability to truly reflect human experience by recording the life of the mind not just action. Her narrative form reflects one of the characteristics of Modernist writing in its shifting centre of narrative perspective reflecting a questioning of ultimate and moral authority that characterized the time with the dissolution of Imperialism and absolute values.

Writing from the edge of the violent shift from Victorian to Modernist era, the loss of an old world in the violent destruction of war and massive social change, Woolf’s ambivalence is demonstrated in her work. She struggles against the boundaries and structures of the Victorian era while holding a great longing and nostalgia for the noble traditions of the time.

If you have any questions about this study, please contact us.

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

There is a strong argument for studying this huge and intimidating text—book list chart-topper of 100 greatest books of all time, critics’ darling, most lauded/least read, the book that many literary academics dedicate their lives to studying—but you will only know for yourself by diving in. I believe the only way to study it is with a group of hungry, curious readers who all contribute to evoking meaning, through their questions as well as their insights.

The good news: reading Ulysses is fun. And I don’t mean in a frustrating, overly-analytical see-how-much-you-know-way. The language is amazing—even when I don’t understand it. Perhaps, especially when I don’t understand it, because meaning sneaks in through more than my critical faculty. Meaning slides in through sound, through the lushness of the language, through the filmy and substantial images, and suddenly I find myself transported from a walk on a beach to a contemplation of the origins of man—thanks, James Joyce.

Any time spent studying Joyce leaves one a better reader—a broader thinker—even if all the references, repetitions, epiphanies and allusions are not immediately understood.

“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 skillfully 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 marvelous work was immense.”

—Ulysses Salon participant
See more participant feedback here…

SALON DETAILS

A) DAYTIME: Tuesdays 12-2 PM
B) EVENINGS : Tuesdays 5:00-7:00 PM 

• Both afternoon and evening studies start January 12th and finish June 20th (combined Sunday evening) 2021 ; there will be a few special Sunday evening meetings for both afternoon & evening groups to address the longer chapters.
• We will meet for 21 meetings; there will be a few breaks around school half-terms
• Please purchase these editions in preparation for our study:
  • Ulysses, by James Joyce, Annotated Students’ Edition; (Penguin Modern Classics), ISBN-10: 0141184434. (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
• The total cost for the 20-meeting study, with all notes and resources materials, is £420

TO REGISTER, Please use the Paypal button below to pay for the study; upon receipt of payment, you will receive opening notes and loads of resources to start the study.

For the daytime study on Tuesdays :

For the early evening  study on Tuesdays :

If you have any questions about this study, please contact us.

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

After wandering through these rich pages with many wonderful readers, I am keen to offer a study of Ulysses for those who have already passed through once (or more) and are ready to dig deeper. The reading schedule will be the same, but we will approach with an understanding of the structure already in mind. This will allow us to flesh out the themes from the start of the work and engage more thoroughly the historical, social and aesthetic structures that Joyce inhabits and overturns. Hopefully this will also give seasoned readers the opportunity to feel grounded in the text and discover motifs, connections and explorations that they may have missed in the madness of the first reading.

If you have not previously read Ulysses, please join either the afternoon study or the early evening study.

“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 skillfully 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 marvelous work was immense.”

—Ulysses Salon participant
See more participant feedback here…

SALON DETAILS

• Studies start January 12th and finish June 20th (Sunday combined meeting) ; there will be a few special Sunday evening meetings for both afternoon & evening groups to address the longer chapters.
• We will meet for 21 meetings; there will be a few breaks around school half-terms
• Please purchase these editions in preparation for our study:
  • Ulysses, by James Joyce, Annotated Students’ Edition; (Penguin Modern Classics), ISBN-10: 0141184434. (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
• The total cost for the 21-meeting study, with all notes and resources materials, is £420

TO REGISTER, Please use the Paypal button below to pay for the study; upon receipt of payment, you will receive opening notes and loads of resources to start the study.

If you have any questions about this study, please contact us.