“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: 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.

SALON DETAILS 

• FAIRFAX: One- Meeting Salon Intensive  Sunday August 18th 2:30-7:30 PM  We will have an optional pot-luck meal to finish the study.
• Meeting in Fairfax VA (address supplied upon registration)
• Facilitated by Salon Director Toby Brothers
• Cost $40.00 includes notes and critical resources *reduced cost for first-time participants*
• RECOMMENDED EDITION: VINTAGE New ed.  ISBN-10: 0099760118

TO REGISTER, please use the Paypal button below to pay $40.00:

“Where you come from is gone, where you thought you were going to was never there, and where you are is no good unless you can get away from it. Where is there a place for you to be? No place… Nothing outside you can give you any place… In yourself right now is all the place you’ve got.”

― Flannery O’Connor , Wise Blood

The London Literary Salon had a unique opportunity earlier this summer to view the only full-length documentary on Flannery O’Connor with producer and director Bridget Kurt.  The ensuing discussion was full of questions around Flannery O’Connor’s aesthetic vision: how much does her Catholicism impact her writing? And how does the contemporary reader situate themselves in a framework of faith that we may not share? How does a reader’s immersion in a vision that is framed by a particular faith widen our perspective? O’Conner famously wrote that ‘the topical is poison’ in fiction. She was more interested in exploring the inconsistencies in human souls– the grotesque corners of violence, prejudice and ignorance. She argues that her stories also offer glimpses of grace that are afforded to all people: probing this proposal in her work makes for an energised discussion.

” The Displaced Person” directly engages racism, anti-semitism and xenophobia. This is a longer short story– at 50 pages, this will give us a broader canvas to consider and discuss O’Connor’s writing and vision.

Salon Details

• Facilitated by Toby Brothers
• Wednesday evening 7-9:30 pm
• One meeting Intensive August 28th 2019
• Recommended edition: The Complete Stories collection by Flannery O’Connor, Faber & Faber; Main edition (2 April 2009) ; ISBN-10: 9780571245789 (Though the story can also be found on-line)

£35 for Salon Intensive includes background materials and opening notes

STUDY FULL ** Please contact us if you are interested in a similar study in the future**

To register for the study, please use the secure Paypal payment button below to pay £35. Opening notes will be sent shortly after registration.

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

Flannery O’Connor is considered to be the master of the American Gothic short story form. Most readers experience discomfort reading her raw and frequently violent stories. Often set in mid-twentieth century southern United States, her stories do not flinch from portraying human hypocrisy, racism, greed and cruelty. Ironically, she is often claimed as a Catholic writer– her faith in some ways integral to her vision. O’Connor was invested in questioning the bizarre nature of humans– and how anxiously the strangeness at the centre of our being is poorly shielded by custom, charity and convention.

Writer Josh Jones (http://www.openculture.com/2019/02/why-should-we-read-flannery-oconnor-an-animated-video-makes-the-case.html) continues this inquiry:

By use of what she called “a reasonable use of the unreasonable” she shows murder, contempt, and deception as shockingly ordinary states of affairs, belying the polite fictions of civility and social niceness. Perhaps no setting could better illuminate the contrasts than the piously violent segregated mid-century American South. O’Connor’s “mastery of the grotesque,” notes the TED-Ed video by Iseult Gillespie, “and her explorations of the insularity and superstitions of the South led her to be classified as a ‘Southern Gothic’ writer.”

The label may fit superficially, but “her work pushed beyond the purely ridiculous and frightening characteristics associated with the genre to reveal the variety and nuance of human character.” O’Connor herself suggested that what set her apart were “the assumptions… of the central Christian mysteries.” Though we need not read her work this way, she grants, there is “none other by which it could have been written.” We might say that her committed belief in the idea of universal human depravity gave her unique insight into the meaninglessness of class and race distinctions. Few writers have taken the idea as seriously, or approached it with more wicked playfulness.

The London Lit Salon Book Club is a monthly book discussion group in South London that reads the finest 20th and 21st century literature from around the world (with the occasional classic thrown in the mix for good measure).

The Book Club’s monthly schedule offers the same serious discussion and professional facilitation as the Salon’s other studies, while providing the opportunity to explore a world of literature for which we might not offer one of our multi-week, in-depth studies. Like all books we read at the Lit Salon, the book club selections speak to basic and enduring questions of what it means to be human.

The Lit Salon Book Club meets on Sunday evenings from 6:30pm – 8:30pm in the comfortable West Norwood (SE27) bungalow of our discussion facilitator Mark Cwik. Meetings for 2018/19 are scheduled for:

07 October — William Trevor’s Two Lives: Reading Turgenev and My House in Umbria.

18 November — Michael Ondaatje’s Warlight

06 January 2019 — Olga Tokarczuk’s Flights

03 February 2019 — Sjón’s The Blue Fox

03 March 2019 — Cormac McCarthy’s All the Pretty Horses

07 April 2019 — Mikhail Bulgakov’s The Master and Margarita

28 April 2019 — Kazuo Ishiguro’s Never Let Me Go

26 May 2019 —  Paul Auster’s The Music of Chance

28 July 2019 — Bridget Collins’ The Binding

08 September 2019 — Tessa Hadley’s Late in the Day

Our book for 08 September will be Tessa Hadley’s 2019 novel Late in the Day. Waterstones says: “Neatly navigating the ebbs and flows of the relationship between two couples as they weather the impact of a sudden tragedy on the ecosystem of their lives, Tessa Hadley has created a superbly nuanced portrait of friendship and marriage. Echoing the quiet, penetrating observation of Anita Brookner, Hadley writes with subtlety and great skill about the interplay between society, class, history and the passions that shape our everyday experience.”

Michael Upchurch in the Seattle Times says: “Tessa Hadley covers this territory (in Late in the Day) with freshness, subtlety and a deep, shifting empathy. . . . Her prose has the penetrating quality of Henry James at his most accessible (Hadley has written a book-length study of James) and is alert, as Virginia Woolf and Elizabeth Bowen were, to how time sculpts, warps or casually destroys us.”

And, from a review in the Guardian: “(Hadley’s) prose – measured, ironic, disarmingly perceptive – picks up on all the contradictions of human existence. . . .There’s a lovely stillness to Hadley’s writing, like an old house with many rooms.”

Registration for the Lit Salon Book Club is in six-month subscriptions of £90. You can also try us out with a one-month payment of £15. See below for payment options.

SPECIAL OFFER: if you’ve not attended before but would like to try us out, we invite you to attend your first meeting free of charge. Please email facilitator Mark Cwik to RSVP and we’ll provide you with location info.

With our friendly atmosphere of collaborative inquiry, high quality and challenging readings, professional facilitation and focused discussions, we are confident in calling the Lit Salon Book Club the best book discussion group in London.

SALON DETAILS

• Facilitated by Mark Cwik
• Sunday evenings 6:30 pm – 8:30 pm
• Ongoing monthly study, next meeting 08 September 2019
• Meetings in South London (West Norwood SE27)
• 08 September recommended edition: Late in the Day, by Tessa Hadley; Vintage (2019); ISBN: 9781787331112
• £15 per month, registration in six-month subscriptions, or as one-month trial.

TO REGISTER for this ongoing study, please use the secure Paypal payment button below to pay £90 for a six-month subscription:

OR, for monthly payment, use the Paypal button below to pay £15:

“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: 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.

** ONE SPACE REMAINING as of August 9th***

SALON DETAILS 

“Call me Ishmael. .  . .”

First published in 1851, Moby Dick ranks on almost any list as one of the greatest works in the English language. Its three famous opening words, and the image of the one-legged Ahab in mad pursuit of the great White Whale, have become cultural icons. This grand—and occasionally grandiose—adventure tale unites the many voices of Herman Melville in a mongrel mix of epic poetry, Shakespearean tragedy, encyclopedic cataloguing, biblical oratory—and not a small dose of comedy. With Moby Dick, Melville presents an insightful study of obsession, madness and charismatic leadership that anticipates many of our contemporary conversations of democracy, cosmopolitanism, capitalism and environmentalism.

“I am half way in the work . . . It will be a strange sort of book, tho’, I fear; blubber is blubber you know; tho’ you might get oil out of it, the poetry runs as hard as sap from a frozen maple tree;—and to cool the thing up, one must needs throw in a little fancy, which from the nature of the thing, must be ungainly as the gambols of the whales themselves. Yet I mean to give the truth of the thing, spite of this.” —Herman Melville

SALON DETAILS

• Facilitated by Toby Brothers
• Monday early evenings  17:30 pm – 19:30 pm
  
• Nine meeting study starting September 16th 2019, running until 25 November 2019. (No meetings 7 October nor 18th November)
• Recommended edition: Moby Dick (Norton Critical Edition, Third Edition 2018), by Herman Melville, edited by Herschel Parker; W.W. Norton & Co.; ISBN-13: 978-0393285000
• Location: Kentish Town
• £195 for nine meeting study includes opening notes and weekly preparatory notes

TO REGISTER for the study, please use the secure Paypal payment button below to pay £195. Opening notes will be sent shortly after registration.

FOR MONDAY STUDY:

A few years ago, artist Angela Cockayne and writer Philip Hoare convened and curated a unique whale symposium and exhibition at Peninsula Arts, the dedicated contemporary art space at Plymouth University. This grew into an extraordinary compilation of voices (Tilda Swinton, Stephen Fry…) and art to illuminate each chapter…inspiring and inspired by this vast book.http://www.mobydickbigread.com

From the site:

‘I have written a wicked book’, said Melville when his novel was first published in 1851, ‘and I feel as spotless as the lamb’. Deeply subversive, in almost every way imaginable, Moby-Dick is a virtual, alternative bible – and as such, ripe for reinterpretation in this new world of new media. Out of Dominion was born its bastard child – or perhaps its immaculate conception – the Moby-Dick Big Read: an online version of Melville’s magisterial tome: each of its 135 chapters read out aloud, by a mixture of the celebrated and the unknown, to be broadcast online in a sequence of 135 downloads, publicly and freely accessible.

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

Great Ideas, Great Books is our ongoing, monthly Salon where you will encounter the core texts and core ideas in the western intellectual tradition. Each month, we read a key work by authors such as Homer, Sophocles, Plato, Dante, Shakespeare, Machiavelli, Milton, Marx, Austen and Eliot. Through these works, you will wrestle with the basic and enduring questions of what it means to be human: What is right and wrong? How do we come to know things? What do we owe to our families, our society, ourselves? What is happiness? What is a good life? What is a good society? We will talk about justice, morality, beauty, love, honor, death, government, society, goodness, community.

To encourage careful reading, and to fit our discussions into busy lives, we keep each month’s selection to a manageable length. For longer works, we read the book over two or more months, or we read substantial selections that present an author’s most important ideas.

During our discussions, we examine a reading from many different angles, puzzling over difficult passages, exploring the intricacies of a plot line, the layers of meaning in a poetic phrase, the subtleties of an argument or the implications of a thesis. We examine the ideas an author has set out, and consider them seriously.  We also step back from the details to see whether what an author has to say makes sense and is relevant to us or not.

You don’t need any specialized knowledge or background in classic literature to join Great Ideas, Great Books. It is our expectation that most participants will be reading many of the authors for the first time. All you really need is a willingness to read carefully, listen thoughtfully and entertain new and sometimes-challenging ideas.

In our first year since starting in September 2018, Great Ideas, Great Books has dwelt in the ancient Greek world, with Homer, Herodotus, Thucydides, Sophocles, Plato and Aristotle. As the program progresses, we will move to later works including those from the Roman world, from the Judeo-Christian scriptural tradition, the middle ages and enlightenment, up to modern thought. Great Ideas is structured as a  long-term project, with the flexibility to direct our focus to differing topics and time periods according to the interests of the group.

Our readings so far:

September 2018—Homer, The Iliad, Books 1 – 12

October 2018—Homer, The Iliad, Books 13 – 24

November 2018—Herodotus, The Persian Wars, selection

December 2018—Thucydides, The History of the Peloponnesian War, selection

January 2019—Plato, Meno

February 2019—Sophocles, Oedipus Rex

March 2019— Sophocles, Antigone

April 2019—Aristotle, Poetics

May 2019—Plato, Apology, Crito, Phaedo

June 2019—Euripides, Medea

17 September 2019—The Epic of Gilgamesh

15 October 2019—Plato, Republic, Books 1 – 5

19 November 2019—Plato, Republic, Books 6 – 10

The Great Ideas group currently has  two seats available. Registration for Great Ideas, Great Books is in six-month subscriptions. The £25 per month registration includes introductory notes that set the context for each reading, and questions to help focus your reading and prompt your thinking about key aspects of the text.

SALON DETAILS

• Facilitated by Mark Cwik
• Tuesday evenings 6:00 pm – 8:30 pm
• Ongoing monthly study
• Meetings at The Mug House, London Bridge  SE1 2PF
• September recommended edition: The Epic of Gilgamesh, translated by Andrew George; Penguin Classics, revised edition (2002); ISBN-13: 978-0140449198
• £25 per month, registration in six-month subscriptions
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £150. Opening notes will be sent shortly after registration.

‘The Waste Land’ is the early Modernist poem classic. T. S. Eliot was striving to understand a shattered world post WWI and how the inherited cultural knowledge could offer direction or solace in a broken, mechanistic world. His use of literary and cultural allusions may feel overwhelming at first, but an open mind and supportive discussion will illuminate this gorgeous poem.
At this moment of Modernism, the urge was to separate from the oppressing past (‘Make it new!’ charged Ezra Pound, Eliot’s mentor) but this becomes a double gesture. The attempt to repress or break free from the past ends up haunting the writers and thinkers of the modern period—until they negotiate a link with the myths and images of the past that threatened. ‘Waste Land’ demonstrates this in the specific allusions to past works and in its melding of characters of the past and the present (Cleopatra becoming a modern working woman in ‘A Game of Chess’ for example) as well as the use of myth to reconnect our lost modern psyche to a past of ritual and meaning.

The experience of ‘The Waste Land’ combines a dig through allusions to a sense of what we hear: the journey is impressionistic. Eliot struggles to rediscover primitive, authentic emotion against the falseness of modern life. He employs the poetic technique of multiplying references (thinking of form of sedimentary rock—the layers evoking ages but holding discordant impressions together).

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
—from The Burial of the Dead

Tuesdays 7:00-9:00; I plan to offer a five meeting study of Four Quartets  in this same time slot starting October 29 running until the end of November.

To register, please use the paypal button below to pay £70 for this three meeting study. Upon receipt of payment, I will send you the opening notes, resources and preparation suggestions.

The shorter Salon format is a wonderful way to experience the Salon briefly. As we prepare for the fall course offerings, this study will give participants the opportunity to energise the brain with provocative images and philosophical considerations on the tragedy of humanity in the aftermath of WWI.

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

Within a Budding Grove – Vol. II Proust’s A la recherche du Temps Perdu

“When we are in love, our love is too big a thing for us to be able altogether to contain it within ourselves. It radiates towards the loved one, finds there a surface which arrests it, forcing it to return to its starting-point, and it is this repercussion of our own feeling which we call the other’s feelings and which charms us more then than on its outward journey because we do not recognise it as having originated in ourselves.”
― Marcel Proust, Within a Budding Grove

After completing incredibly satisfying studies of Ulysses and Magic Mountain, we have turned to the next big mountain of Modernism, Marcel Proust’s In Search of Lost Time. We  spent eight weeks reading the first volume of the work– now we turn to Vol. II: Within a Budding Grove (recommended edition: Vintage Classics, trans. C. K. Scott Moncrieff).  Even if you have not read the first volume, it is possible to pick up from Vol. II and move forward–you can always go back into the first book.  Here is how one Salonista describes the pleasure and work of reading Proust: ” This is a velvet jewel of a book that demands the attention of a lover full of enchantment  and obsession ,we need not get impatient as all good lovers perfect their art in taking their time.”

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

Proust also uses his curious and attentive narrator to uncover the ombre—the part of the self that hides in the shade or shadow. As we come to know the characters in the narrator’s world, each turns out to have aspects that reveal a savagery or laziness or discrepancy that was not what appeared on the surface. Of course, as soon as Proust reflects this to the reader, we recognize this truth of human nature: all carry a shadow, an untoward or simply unmanageable part of the self that we struggle to contain. In Proust’s world, these aspects are equally a part of the coherent self…this has me thinking a great deal about how carefully we construct the social self—and how we temper what simmers beneath the surface.

In Volume II, Proust will continue to explore class structures and awakening sexuality. As we considered in V1, the form of love as Proust conceives it is an entity not necessarily shared between the lovers—but may often be a projection from one onto the love object—and therefore limited in how much that love depends on the actuality of the other in its conception.

PLEASE NOTE THE  LATER STUDY (7:30-9:30) IS NOW FULL (2nd July 2019) – spaces remaining in the 5-7 PM study

Salon Details

• Facilitated by Toby Brothers
• Wednesday afternoons  5-7 PM OR 7:30-9:30 PM
• Eleven Meeting study from September 18th- December 11th (No meetings Oct. 2nd & 23rd)
• Recommended edition: Vintage Classics Moncrief/Kilmartin/Enright  ISBN-13: 978-0099362319
• £230 for eleven meetings includes background materials, literary criticism, opening notes & discussion notes

 Use the correct Paypal button below to register . The cost is £230 for the eleven-week study–this will cover the entire volume. I will send along opening notes and critical resources once I have received your registration. Studies start September 18th. 

At the London Literary Salon we offer a special blend of great literature, great ideas and great conversation. We also know that our weekly studies are sometimes hard to fit in among the demands of everyday life. If you’re looking to add more meaningful conversation into your life, without another 100 pages a week to read—our Spontaneous Philosophy Study has the answer!

Each month we meet—with no prep necessary—for an on-the-spot close reading of a short passage from the great authors that we read elsewhere in the Salon. This study might also be called Short Works, Big Ideas. We read concise and provocative passages from the likes of Plato, Kant, Marx, Mill, Dewey, James, Confucius, Kafka and lots more.

To add to the fun, the author and reading each month are a surprise: everyone will be seeing the text for the first time, with all the excitement of encountering the ideas fresh together. Together we work our way through one to four pages each time, mostly from the giants of philosophy, but with the occasional short story, poem, or even a fairy tale tossed in—you won’t know until you show up. The emphasis is on close reading and a shared inquiry to build understand of new ideas.

Meetings are on the third or fourth Tuesday of the month, 6:00pm to 8:30pm, at the lovely Rudolf Steiner House just below Regent’s Park.

Registration is £15, which covers our room charge and a bit for the facilitator. After you RSVP, all you’ll need to do is show up and be ready to think! Seats are limited, so be sure to RSVP by registering via Paypal below. If you prefer, you can send an email to facilitator Mark Cwik, as well.

Spontaneous Philosophy is a low-advance-commitment way to practice some intellectual self-care, with a bit of hard thinking and a lot of good discussion.

SALON DETAILS

• Facilitated by Mark Cwik
• Tuesday evenings 6:00 pm – 8:30 pm
• Ongoing monthly study, next meeting 24 September
  
• Meetings in Rudolf Steiner House, Marylebone — 35 Park Road, London, NW1 6XT
• £15 per month, registration via Paypal below
  

TO REGISTER for the Spontaneous Philosophy study, please use the secure Paypal payment button below to pay £15.

Great Ideas, Great Books is our ongoing, monthly Salon where you will encounter the core texts and core ideas in the western intellectual tradition. Each month, we read a key work by authors such as Homer, Sophocles, Plato, Dante, Shakespeare, Machiavelli, Milton, Marx, Austen and Eliot. Through these works, you will wrestle with the basic and enduring questions of what it means to be human: What is right and wrong? How do we come to know things? What do we owe to our families, our society, ourselves? What is happiness? What is a good life? What is a good society? We will talk about justice, morality, beauty, love, honor, death, government, society, goodness, community.

To encourage careful reading, and to fit our discussions into busy lives, we keep each month’s selection to a manageable length. For longer works, we read the book over two or more months, or we read substantial selections that present an author’s most important ideas.

During our discussions, we examine a reading from many different angles, puzzling over difficult passages, exploring the intricacies of a plot line, the layers of meaning in a poetic phrase, the subtleties of an argument or the implications of a thesis. We examine the ideas an author has set out, and consider them seriously.  We also step back from the details to see whether what an author has to say makes sense and is relevant to us or not.

You don’t need any specialized knowledge or background in classic literature to join Great Ideas, Great Books. It is our expectation that most participants will be reading many of the authors for the first time. All you really need is a willingness to read carefully, listen thoughtfully and entertain new and sometimes-challenging ideas.

In our first year since starting in September 2018, Great Ideas, Great Books has dwelt in the ancient Greek world, with Homer, Herodotus, Thucydides, Sophocles, Plato and Aristotle. As the program progresses, we will move to later works including those from the Roman world, from the Judeo-Christian scriptural tradition, the middle ages and enlightenment, up to modern thought. Great Ideas is structured as a  long-term project, with the flexibility to direct our focus to differing topics and time periods according to the interests of the group.

Our readings so far:

September 2018—Homer, The Iliad, Books 1 – 12

October 2018—Homer, The Iliad, Books 13 – 24

November 2018—Herodotus, The Persian Wars, selection

December 2018—Thucydides, The History of the Peloponnesian War, selection

January 2019—Plato, Meno

February 2019—Sophocles, Oedipus Rex

March 2019— Sophocles, Antigone

April 2019—Aristotle, Poetics

May 2019—Plato, Apology, Crito, Phaedo

June 2019—Euripides, Medea

17 September 2019—The Epic of Gilgamesh

15 October 2019—Plato, Republic, Books 1 – 5

19 November 2019—Plato, Republic, Books 6 – 10

The Great Ideas group currently has two seats available. Registration for Great Ideas, Great Books is in six-month subscriptions. The £25 per month registration includes introductory notes that set the context for each reading, and questions to help focus your reading and prompt your thinking about key aspects of the text.

SALON DETAILS

• Facilitated by Mark Cwik
• Tuesday evenings 6:00 pm – 8:30 pm
• Ongoing monthly study
• Meetings at The Mug House, London Bridge  SE1 2PF
• October/November recommended edition: Republic by Plato, translated by G. M. A. Grube, revised by C. D. C. Reeve; Hackett Publishing Co, Inc (1992); ISBN-13: 9780872201361
• £25 per month, registration in six-month subscriptions
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £150. Opening notes will be sent shortly after registration.

“Here came the sun—an illimitable rapture of joy, embracing every flower, every leaf. Then in compassion it withdrew, covering its face, as if it forbore to look on human suffering. There was a fecklessness, a lack of symmetry and order in the clouds, as they thinned and thickened. Was it their own law, or no law they obeyed?”                         —Between the Acts

** THREE SPACES REMAINING as of August 1st***

SALON DETAILS: 

• Weekend Meeting with Tuesday preparation:October 18th-20th 2019; prep meeting Tuesday October 15th 7:30-9:30
• Meeting at Kentish Town Salon & St Ives Cornwall; facilitated by Salon Director Toby Brothers
• Cost £160 includes notes and critical resources
• RECOMMENDED EDITION: Oxford World Classics 2008 (ISBN-10: 0199536570)

To register for the Salon study, please use the Paypal button below to pay £165: (Please pay for the  room directly to No4St Ives once your registration has been confirmed):

*Previous St Ives studies have been oversubscribed- if you do not get into this study, there will be another St Ives excursion in early April 2020– five days study of The Years  expanded with essays

 This is something I have dreamed of doing since I first read Woolf’s magical book To the Lighthouse— it has haunted me always. The opportunity to study Woolf’s writing with a keen group of minds in the place that is so inspired her writing is simply delicious…HUGE thanks to Sharon for being the organisational force here. 

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.

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 Between the Acts. 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  £165– this includes a two-hour meeting Tuesday October 15th to start the study before the trip — as well as copious notes & critical resources. We will meet around eight hours over the weekend. The first meeting starts at 5:45 Friday 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 Friday 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.

More on the study Of Between the Acts:   

Virginia Woolf’s lyric prose and gorgeous vision combine to consider the sense of exhaustion that punctuated the Modernist period leading up to WW II. Edward Mendelson describes the book: “Everything comes to an end in Between the Acts, and then, as the book itself comes to an end, something unknowable begins.” The book includes a pageant composed of imaginary episodes from 1000 years of English history, and a close examination of the intricacies of village life in England in the days leading up to WW II. As always, it is Woolf’s penetrating consideration of intimate relationships and the places where language fails—but something else transcends—that lift this work from “the doom of sudden death hanging over us” as one of her characters describes.


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. While Woolf was writing this novel, she had written in a letter to Stephen Spender: “I think action generally unreal. It’s the thing we do in the dark that is more real; the thing we do because peoples eyes are on us seems to me histrionic, small boyish” (Letters Volume 6, April 1937). Although Woolf was to invoke the illumination of light, it is the darkness in the human mind that she was becoming more fascinated with as she witnessed Europe spinning towards war as she wrote this, her last book.  As Julia Briggs comments,

Oh beautiful and bounteous light on the table; oil lamp; ancient and out-of-date lamp…are the first words that Woolf typed out in April 1938 (as she began BTA)…

The lamp traditionally stands for illumination…yet this novel seeks for the darkness that lies beyond and beneath light and reason: lust, jealousy, contempt, the eruptions of anger and desire that are part of the night world…( J. Briggs, Virginia Woolf: An Inner Life, p. 373)

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. Between The Acts reflects this ambivalence in its nostalgia for a lost English idyll, celebrated in the world of Pointz Hall as well as the pageant itself.  Studying this work in 2019, we may find much to consider about our current struggle to understand ourselves in reflection of the past: how we might create an idea of a simpler time that edits out the struggle of many whose story does not figure prominently in the revised history. I suggest Woolf in Between the Acts engages this historic myopia and reflects the discomfort and internal hypocrisies that result.

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 pastiche of the pageant—all comment on and expand the central narrative.

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

“If his Russian was music, his English was murder.”   ― Vladimir Nabokov, Pnin

“Pnin. It’s under two hundred pages! You can probably read it in a couple of years.”    ― Gary Shteyngart

Pnin is the hidden gem of the Nabokov canon, a comedy of academic manners, a funny, engaging and beguiling portrait of an emigré Russian professor at an American college.

Timofey Pnin starts off as a M. Hulot figure, setting off to deliver a lecture to the Cremona Women’s Club – “some two hundred versts west” of Pnin’s home campus of Waindell College (inspired by the author’s tenure at Cornell in upstate New York). But Pnin is on the wrong train. From this farcical beginning, the character of Pnin deepens into a memorable portrait of an emigré in a strange land, seeking quiet in his rented room, job security amid the bewildering campus politics, connection with his colleagues and students while trying to come to terms with the family, lovers and culture which he has lost.

The book comes between the two masterpieces Lolita (completed in1955) and Pale Fire (1962). Between the monstrous Humbert Humbert of Lolita and the deranged Charles Kinbote of Pale Fire, Nabokov created the sane and decent Professor Timofey Pnin. Indeed, Nabokov wrote the first chapter while struggling to complete Lolita, calling it in a letter to a friend a “brief sunny escape from Lolita’s intolerable spell”.

Vladimir Nabokov asserted in his Lectures on Literature that : “Curiously enough, one cannot read a book; one can only re-read it.” Pnin is short enough to be read closely in the approved obsessive Nabokovian manner, and re-read, over three Salon sessions. This salon is recommended for readers seeking an accessible introduction to Nabokov and for those salonistas in the midst of huge complex books who might relish an immersion in something short, funny but no less rewarding.

Finally – Pnin is pronounced “P-neen”. Nabokov advised an interviewer “to try the combination “Up North” or still better “Up, Nina!” – leaving out the initial “u”. Pnorth, Pnina, Pnin.”

SALON DETAILS

• Facilitated by Marcy Kahan
• Monday afternoons 12:00 pm – 2:00 pm
• Three meeting study 21st, 28th October 4th November
• Recommended edition: Pnin by Vladimir Nabokov; Penguin Modern Classics(2000); ISBN-10: 0141183756
• £75 for three meeting study includes background materials and opening notes

TO REGISTER for the study, please use the secure Paypal payment button below to pay £75 . Opening notes will be sent shortly after registration.

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

At the London Literary Salon we offer a special blend of great literature, great ideas and great conversation. We also know that our weekly studies are sometimes hard to fit in among the demands of everyday life. If you’re looking to add more meaningful conversation into your life, without another 100 pages a week to read—our Spontaneous Philosophy Study has the answer!

Each month we meet—with no prep necessary—for an on-the-spot close reading of a short passage from the great authors that we read elsewhere in the Salon. This study might also be called Short Works, Big Ideas. We read concise and provocative passages from the likes of Plato, Kant, Marx, Mill, Dewey, James, Confucius, Kafka and lots more.

To add to the fun, the author and reading each month are a surprise: everyone will be seeing the text for the first time, with all the excitement of encountering the ideas fresh together. Together we work our way through one to four pages each time, mostly from the giants of philosophy, but with the occasional short story, poem, or even a fairy tale tossed in—you won’t know until you show up. The emphasis is on close reading and a shared inquiry to build understand of new ideas.

Meetings are on the third or fourth Tuesday of the month, 6:00pm to 8:30pm, at the lovely Rudolf Steiner House just below Regent’s Park.

Registration is £15, which covers our room charge and a bit for the facilitator. After you RSVP, all you’ll need to do is show up and be ready to think! Seats are limited, so be sure to RSVP by registering via Paypal below. If you prefer, you can send an email to facilitator Mark Cwik, as well.

Spontaneous Philosophy is a low-advance-commitment way to practice some intellectual self-care, with a bit of hard thinking and a lot of good discussion.

SALON DETAILS

• Facilitated by Mark Cwik
• Tuesday evenings 6:00 pm – 8:30 pm
• Ongoing monthly study, next meeting 29 October
  
• Meetings in Rudolf Steiner House, Marylebone — 35 Park Road, London, NW1 6XT
• £15 per month, registration via Paypal below
  

TO REGISTER for the Spontaneous Philosophy study, please use the secure Paypal payment button below to pay £15.

November 15 – 17  2019, Valencia Spain

About A Heart So White

Javier Marías is a Spanish writer steeped in the literary canon, and particularly influenced by Shakespeare, Sterne, Proust and Faulkner. Our initial study of ‘The Infatuations’ in Valencia was so enriching that a second Marías novel has been selected for a salon in Valencia in November.

‘I did not want to know, but I have come to know’ is the famous first phrase of ‘A Heart so White’ (the title is a highly apposite quotation from ‘Macbeth’).  What the narrator did not care to investigate was the death, before he was born, of his aunt which led to his own existence as his father then married his deceased wife’s sister. As in many of his closely interlinked novels, Marías begins with an account of a violent episode; its repercussions form the highly discursive ‘plot’ of the book, an underlying structure which allows Marías free rein to dissect, in Proustian sentences, human behaviour,  our relationships, our loves, our jealousies, our dissimulations, our betrayals, our need to know what sometimes we might more comfortably ignore, the power of language to inform or confound.

Marías writes at a time when Spain is at last confronting its civil war and the repercussions of a policy, post-Franco, of ‘forgetting’ the horrors committed on both sides in order to avoid further bloodshed and to democratise the country:  no ‘truth and reconciliation’, no accountability, and therefore no justice. And democracy was swiftly adopted, but every Spanish family carries the effects of that war, and Marías, with others of his generation, explores in his fiction the ambiguities of memory, the question of guilt, the need to enter the narrative and to take responsibility for one’s action – or inaction.

—by Elspeth Ferguson

About Valencia:

Land of paella and palm trees, Beaux Arts buildings , Moorish influence , exotic and joyously authentic… the third largest city in Spain, Valencia is still largely unspoiled and  literally has everything: a vibrant food scene (and oh, the wine!), a pristine Mediterranean beach, cultural attractions including the architecturally stunning City of Arts and Sciences, churches galore (this is Spain, after all) and, for foodies, the glorious Mercat Central – at 8,160 sq. meters, the largest covered fresh food market in Europe.  But what really shines through is the juxtaposition of the general atmosphere of ‘joie de vivre’ – Valencians love a fiesta- and the soul of the city, concealed amongst cobbled alleys and hidden squares, magnificent and crumbling and lit by a most extraordinary light… every stroll an adventure, every vista a revelation, so much to discover.

Ooh- this just in from Forbes magazine:

Five Reasons Why Valencia, Spain Should Be Your Next Holiday Destination

Valencia on the east coast of Spain is the country’s third largest city (after Madrid and Barcelona) and offers many of the same attractions of these two better known cities. If the birthplace of paella with its seven kilometers of sandy beaches and virtually year-round sunshine wasn’t already on your radar, it might be now due to a major exhibition by Spain’s best known impressionist artist Joaquín Sorolla y Bastida (born in Valencia in 1863) …

About the writer:

It is an intellectual journey to consider literature outside of my own cultural view…not realising how limited my understanding of Spanish writing is until pressed to come up with a title other than Don Quixote or Lorca. I have been turning over ideas about the category of national identity for writers: how much is a writer’s voice a product of a particular time & culture, how much does the reader need to understand (or gain an understanding of) a culture’s history and unique concerns through a novel? Contemporary Spanish writers share the global genre evolutions of realism and modernism; their country’s history of violent upheaval, fascism and a re-born democracy imprint the literature. Yet the shared struggles around love, loss, jealousy, betrayal move me into this lesser-known world.

And this:

“Once you’ve finished a novel, what happened in it is of little importance and soon forgotten. What matters are the possibilities and ideas that the novel’s imaginary plot communicates to us and infuses us with.”  From Infatuations by Javier Marais

SALON DETAILS

• Dates: 15-17th Nov First discussion @ 5:30 Friday afternoon; last discussion Sunday 12- 2 ending with Paella meal on the beach
• 6-8 hours of discussion spread over three days
• Participants organise flight and accommodations; our host Robin will provide suggestions (overall, Valencia is quite affordable)
• We will share some meals (Robin is offering to prepare a grilled feast Saturday evening with fresh market offerings—we will share cost); Friday eve & Saturday morning is open for you to discover the city for dinner and wandering
• Cost for the Salon study is £130—includes supporting notes & introductory materials

Please use the Paypal button below to pay £130 and  register for this study. Price includes six hours of discussion and supporting materials.

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

Great Ideas, Great Books is our ongoing, monthly Salon where you will encounter the core texts and core ideas in the western intellectual tradition. Each month, we read a key work by authors such as Homer, Sophocles, Plato, Dante, Shakespeare, Machiavelli, Milton, Marx, Austen and Eliot. Through these works, you will wrestle with the basic and enduring questions of what it means to be human: What is right and wrong? How do we come to know things? What do we owe to our families, our society, ourselves? What is happiness? What is a good life? What is a good society? We will talk about justice, morality, beauty, love, honor, death, government, society, goodness, community.

To encourage careful reading, and to fit our discussions into busy lives, we keep each month’s selection to a manageable length. For longer works, we read the book over two or more months, or we read substantial selections that present an author’s most important ideas.

During our discussions, we examine a reading from many different angles, puzzling over difficult passages, exploring the intricacies of a plot line, the layers of meaning in a poetic phrase, the subtleties of an argument or the implications of a thesis. We examine the ideas an author has set out, and consider them seriously.  We also step back from the details to see whether what an author has to say makes sense and is relevant to us or not.

You don’t need any specialized knowledge or background in classic literature to join Great Ideas, Great Books. It is our expectation that most participants will be reading many of the authors for the first time. All you really need is a willingness to read carefully, listen thoughtfully and entertain new and sometimes-challenging ideas.

In our first year since starting in September 2018, Great Ideas, Great Books has dwelt in the ancient Greek world, with Homer, Herodotus, Thucydides, Sophocles, Plato and Aristotle. As the program progresses, we will move to later works including those from the Roman world, from the Judeo-Christian scriptural tradition, the middle ages and enlightenment, up to modern thought. Great Ideas is structured as a  long-term project, with the flexibility to direct our focus to differing topics and time periods according to the interests of the group.

Our readings so far:

September 2018—Homer, The Iliad, Books 1 – 12

October 2018—Homer, The Iliad, Books 13 – 24

November 2018—Herodotus, The Persian Wars, selection

December 2018—Thucydides, The History of the Peloponnesian War, selection

January 2019—Plato, Meno

February 2019—Sophocles, Oedipus Rex

March 2019— Sophocles, Antigone

April 2019—Aristotle, Poetics

May 2019—Plato, Apology, Crito, Phaedo

June 2019—Euripides, Medea

17 September 2019—The Epic of Gilgamesh

22 October 2019—Plato, Republic, Books 1 – 5

19 November 2019—Plato, Republic, Books 6 – 10

The Great Ideas group currently has two seats available. Registration for Great Ideas, Great Books is in six-month subscriptions. The £25 per month registration includes introductory notes that set the context for each reading, and questions to help focus your reading and prompt your thinking about key aspects of the text.

SALON DETAILS

• Facilitated by Mark Cwik
• Tuesday evenings 6:00 pm – 8:30 pm
• Ongoing monthly study
• Meetings at The Mug House, London Bridge  SE1 2PF
• October/November recommended edition: Republic by Plato, translated by G. M. A. Grube, revised by C. D. C. Reeve; Hackett Publishing Co, Inc (1992); ISBN-13: 9780872201361
• £25 per month, registration in six-month subscriptions
  

TO REGISTER for the study, please use the secure Paypal payment button below to pay £150. Opening notes will be sent shortly after registration.

“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 7:30-9:30 PM 

• Both afternoon and evening studies start January 15th and finish June 23rd ; 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 £400

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 :

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 7:30-9:30 PM 

• Both afternoon and evening studies start January 15th and finish June 23rd ; 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 £400

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 evening study on Tuesdays:

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

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 11th (departure) of May 2020.

SALON DETAILS

• Facilitated by Toby Brothers, Jane Wymark and Caroline Donnelly
• May 3rd-11th 2019; 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 April 27th 7:00-9:30 in London (Skype option available)
• Recommended edition: The Odyssey by Homer, translated by Robert Fagles AND the Emily Wilson translation
• £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 11th 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.

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.

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.