The search for Utopia

Photo by Matt Palmer on Unsplash

In troubled times we all hope for better things. The current state of the world and its problems – global warming, pandemics, political extremism, economic crises to name just a few – lead many of us to speculate with dread about a dystopian future.

So, could there be a better time to reflect on the concept of Utopia, the perfect and ideal state?  Seductive but unobtainable, what did Thomas More, the originator of Utopia (literally ‘no place’) really mean when he wrote his most famous work, published in 1516? How much have things changed over the centuries? How much can they change when the fundamentals of human nature and motivation remain the same?

Vivien Kogut’s four-week exploration of Thomas More’s Utopia will discuss society, power and freedom. Subjects of relevance in the sixteenth century remain just as topical in today’s world: social inequality, individual freedom, the motivation of politicians, how to limit power.

Ultimately the study will consider whether a more egalitarian society is viable, what would an ideal world look like and where we are today.

Vivien Kogut’s Thomas More’s Utopia (part of a series on The Renaissance through texts and objects) begins on 18 October 2022.

What do we mean by ‘Writing for Wellbeing’?

Photo by Marija Zaric on Unsplash

Everything we do at the London Literary Salon is in some way about the power of words. Often this means reading and sharing responses to literature with others, but we are also committed to the idea of providing opportunities for people to use writing as a means of promoting their own mental wellbeing and resilience.

Our ‘Reading and Writing for Wellbeing’ workshops led by Alison Cable help participants to write, with the primary aim of encouraging self-development. Some people regard it as a kind of literary yoga!

The focus is always on process rather than product. People may be invited to share their work with others in the group – and many choose to do so – but this is entirely voluntary. Sessions often begin with a short free-writing warm-up which Alison describes as “a continuous blurt” with no worries about grammar, spelling, content, form or audience. She explains “Start with your grocery list, or a doodle, if that’s where you are. Anything at all. No one will read it unless you want them to.”

For many of the writing exercises Alison uses prompts from poetry and prose by well-known writers which members of the group read together. For example, the theme of ‘place’ inspired by Virginia Woolf’s eerie and puzzling story The Haunted House in which a ghostly couple search for their ‘hidden joy’. Writers are free to use fantasy, reality, metaphor – anything that works – with no pressure to label or focus on personal experience.

These workshops provide a safe and supportive environment in which to cultivate self-exploration and expression. The groups are guided by principles embodied in the acronym CARE – confidentiality, attention, respect and empathy. Participants are welcome to share their writing and reflections without judgement or criticism, Alison stresses that “whatever you write is right!”

Some feedback from past participants:

“Alison Cable creates such a safe, fun, non-judgmental space that even I can’t turn it into a struggle . . . In this space both reading and writing are joyful.”

“A great experience. Alison strips away the pressure and self-criticism often associated with writing and enables participants to write first and foremost for themselves.”

Writing for Wellbeing workshops currently booking:

Experience Poetry 2 (starts 5 October)

Urban Places and Wild Spaces (starts 1 November)

Experience Poetry 3 (starts 2 November)

BBC Arena ‘James Joyce’s Ulysses’

For Ulysses readers past, present and future who didn’t catch Adam Low’s film James Joyce’s Ulysses on BBC2 last night, it will remain available to view online for the next eleven months.

Over an hour and a half the film visits Trieste, Zurich, Paris and Dublin, telling the tale of how Joyce came to write his masterpiece, the struggle to get it published and how he and Nora Barnacle lived their lives together. With archive footage and contributions from scholars and writers including Salman Rushdie, Colm Tóibín, Anne Enright, Howard Jacobson, Eimear McBride, Paul Muldoon, John McCourt, Nuala O’Connor, Vivien Igoe and many others. Apologies to those who can’t access the BBC but catch it if you can!

Bloomsday 2022!

So, in the centenary year of Ulysses, this year’s Bloomsday on 16th June was – perhaps slightly confusingly – the 100th (from publication) or the 116th (from the setting of the book in 1904).

Either way, devotees of James Joyce and his most famous work continue to use the day as as a reason to celebrate all things Joycean and in particular the fabulous characters that populate Ulysses, most notably Leopold and Molly Bloom and Stephen Dedalus. Below are some of this year’s highlights for the LitSalon.

‘Bloomsday’ by Nick Midgley on RTE Radio 1

Nick Midgley’s radio play Bloomsday, dramatising the relationship between James Joyce and his brother Stanislaus and their time together (with Nora Barnacle) in Trieste, was broadcast on RTE Radio 1 on Sunday 12 June and can still be heard online.

The Bootleg Balloonatics’ Bloomsday Walk in Tufnell Park,
12 June 2022

The Bootleg Balloonatics – organiser Chris Bilton, Paul Dornan and John Goudie – invited Toby Brothers to join them (playing Molly, Milly and Mrs Breen) for a two-hour recreation of Leopold Bloom’s Dublin perambulations in London’s Tufnell Park, performed for an appreciative travelling audience of around 50, ending with gorgonzola sandwiches in the Dartmouth Arms . . . Read more in the Camden New Journal here.

Bloomsday in Dublin, 16 June 2022

A group of intrepid Salonistas – including Sheila Fitzgerald, Leah Jewett, Paul Caviston, Zita Moran (to name just a few) – visited Dublin to enjoy Bloomsday celebrations in situ. The day included the Dublin Balloonatics’ Bloomsday Walk led by founder Paul O’Hanrahan, an early morning swim from the Forty Foot (that’s Toby diving in), a variety of period costumes, a visit to The James Joyce Centre, and an Eccles Cake (or perhaps it’s a toasted teacake) in Eccles Street . . . a good time was had by all!

At a specially convened celebratory lunch on the following day, Toby – who has guided so many in the Salon through this extraordinary literary journey – recited her poem about launching a new Ulysses study:

Launching Ulysses study

A new study begins…
First time faces gather in Hollywood Squares
Alarmed face asks me
Why did he come?
Courtesy or an inward light?

Will they find their way?
Will they stumble and fall into ineluctable modality of the impossible?
This reader wants into the fray, but
I’m not a believer myself, that is to say…
A believer in the narrow sense of the word.”
And I want to say:
Shut your eyes and See.

Another reader takes tentative steps forward
Her reading wobbles but Buck draws her near
“Are we supposed to like him – or not?”
In Joyce, there are no easy answers. 
In the stilted dance of Telemachus
I hope she will catch a grip
And Joyce whispers close:
That’s the bucko that’ll organise her, take my tip.”

A frustrated reader who hasn’t yet learned to swim in Jim
Scratches at the text
But it is himself he fears
Plenty to see and hear and feel yet.
The only thing is to walk,
Then you’ll feel a different man. 
It’s not far – lean on me.

I hope they will hear in a profound 
Ancient male unfamiliar melody
The accumulation of the past.  

I hope that they will hear
The chant of a quick young male form
The predestination of the future.

Look out—gender fireworks ahead
Who will stumble? O, so many rocks!
Possess her once take the starch out of her”
“O wept! Aren’t men frightful idiots!”
She does whack it, by George!
So many cocks. 

But if—o, but if they can find
The ample bed-warmed flesh

Yes                Yes        
FORWARD woozy Wobblers!
Old Ulyssians – Make more room in the Bed!

Reading Ulysses is not only a wonderful literary adventure, it’s also great fun! Our next Ulysses studies (a six-month study beginning in January 2023 and an extended ‘slow read’ option starting in October 2022) are now open for booking.

Also in Dublin . . .

Meanwhile, Salonista Geoff Strange has kindly allowed us to publish below an account of his own independent visit to Dublin for Bloomsday 2022.


The day was long, starting with a brisk walk to the Martello Tower in Dalkey, then walking the strand in Sandymount, then Sweny’s, then The National Museum and for then what we hoped to be a relieving park bench in St Stephen’s Green before our next “appointment.” But could we find a spare park bench anywhere? No! Literally all benches were occupied and occupied, I might add, by a cacophony of bonnet/boater wearing Edwardians, some of whom were even playing American football! At last, we spied a shady bench and after a dash that would impress Usain Bolt, the bench was duly nabbed! We sat and napped only to discover on awakening that we were sat opposite non other than our very own Jim! There he was, plinthed and peering back at us with those dodgy eyes of his. It’s as if he had bequeathed his very own bench to a couple of foot weary flaneurs in our hour of need!   

Suitably reinvigorated we left our bench, said bench soon to be taken up as temporary dug-out for those Edwardian garbed American footballers, and made our way to MoLI for a lecture by Paul Muldoon, Irish poet and general polymath about town. He was giving the inaugural Dedalus Lecture entitled, “Spinoza’s Shillelagh: Some Thorny Issues in Ulysses. We were treated to an hour of poetic investigation of, wait for it, the first three words of the novel. Can you remember them? Of course: stately, plump, and buck. To Muldoon, the whole book is bound within those three words. It was a fanciful and entertaining romp through Irish and Classical literature! 

The whole sixty minutes was, in a way, quite Joycean, not through design but in the way he was initially interrupted by the reggae band in the garden, then a stream of late attendees with himself, no less, showing them to their seats and then to cap it all, the gentle murmur of somebody’s mobile phone. All of us reached for our pockets but all but one was safe in the knowledge that it was not ours. For the poor eejit that discovered that it was his phone was bad enough but his woeful inability to firstly find the correct pocket and then work out how to switch the damned thing off, all the time the volume of its inane ringtone getting louder and louder, made me think of how Joyce would actually have loved this! 

After that there was only one final destination on the agenda: pints and a toasted sandwich at Peter’s Pub. No, not mentioned by Joyce but this favourite Dublin haunt of mine is so redolent of a bygone era of manners, stools at the bar and none of that musak, maybe similar to Davy Byrne’s in its heyday. As you walk in, they say “how are yer, what’ll you have,” to which the response is two pints please (no need for clarification in this boozer). “No matter, you sit down, and I’ll bring them over. Toastie?” No need to tell you the answer to that! 

Several hours later we are back on the DART speeding past Sandymount Strand with not a firework in sight! We look left across the sea denuded strand, peering into eternity. 

What a day!

Hope your day was special!

And just to say, Toby, how grateful I am to you for your amazing guidance on this epic journey. You certainly opened an old door very carefully to another way of reading and I can’t thank you enough. 

Go raibh mile maith agaibh


The Waves – novel or poem?

Is it a novel? Is it a poem? What exactly was Virginia Woolf trying to achieve when she wrote The Waves?

In his review in the New York Times in October 1931, critic Louis Kronenberger wrote:

“This prose, this imagery, is not in other words a medium, but an end in itself. The texture of the prose is a warp of sensory impressions woven into woof of poetical abstraction. As prose it has very often a high distinction–it is clear, bright, burnished, at once marvelously accurate and subtly connotative. The pure, delicate sensibility found in this language and the moods that it expresses are a true kind of poetry. And since literature comes before the novel, and “The Waves” reaches the level of literature, whether it is a good or bad novel, or any novel at all, is not really important. Bernard’s summing up at the end, for instance, of what their lives have meant–a cohesive, exquisite and sometimes moving stretch of writing–must be allowed, if no precedent exists for it, to set its own.”

Over the years The Waves has remained one of Woolf’s lesser-known works, perhaps because it defies categorisation and lacks the narrative unity of novels such as Mrs Dalloway and To the Lighthouse. Yes, it can seem difficult, but it is also extraordinarily beautiful, the writing complex and daring. There will be much to discuss during our time in St Ives and two places remain on the Salon study this October!

Calling all Joyce enthusiasts – Bloomsday looms!

Salon Director Toby Brothers & salonista Sheila Fitzgerald celebrating Bloomsday 2021

Ulysses – the story of Leopold Bloom’s day-long Dublin odyssey on 16 June 1904 – was published in February 1922, making this year’s Bloomsday the one-hundredth anniversary.

A quick reminder of some of the Salon-related celebrations taking place over the coming week (click on links for more information):

Meanwhile, a group of enthusiastic salonistas will be visiting Dublin to join the festivities on location . . .

Enjoy!

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