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

—William Faulkner

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

We offer an opportunity to read one of the greatest novels of all time in the company of others. Our work with this book will widen your perspective and deepen your experience of the power of language.

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 best 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 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

SALON DETAILS

• We are offering this morning study from 11.00 am-1.00 pm (UK time), comprising 20 meetings starting on Tuesday 16 January and finishing on Tuesday 25 June 2024, with three Sunday meetings (dates and times to be confirmed) and NO meetings on 13 February, 2 April, 7 May and 4 June.
• The total cost for the 20 meeting study, with all notes and resources materials, is £500
• Please purchase these editions in preparation for our study:

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

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

—William Faulkner

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

We offer an opportunity to read one of the greatest novels of all time in the company of others. Our work with this book will widen your perspective and deepen your experience of the power of language.

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 best 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 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

SALON DETAILS:

• We are offering this evening study from 5.45-7.45pm (UK time), comprising 20 meetings starting on Tuesday 16 January and finishing on Tuesday 25 June 2024, with three Sunday meetings (dates and times to be confirmed) and NO meetings on 13 February, 2 April, 7 May and 4 June.
• The total cost for the 20 meeting study, with all notes and resources materials, is £500
• Please purchase these editions in preparation for our study:

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

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

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

Toby Brothers, Founding Director, The London Literary Salon

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

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

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

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

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

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

STUDY DETAILS:

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

BOOKING

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

ADDITIONAL COSTS

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

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

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

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

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

Incidental expenses: drinks, lunches, extra trips etc.

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

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

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

Session 1: Appearance x Essence

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

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

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

JOINING DETAILS:

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

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

A series of four meetings (which can also be booked individually). In each we will explore the literature of sixteenth and seventeenth century England through some of its texts, placing them in dialogue with iconic images or objects.

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

Session 1: Appearance x Essence

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

Session 2: Transformation

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

Session 3: Human Passions

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

Session 4: Swift-footed Time

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

JOINING DETAILS:

• Four meetings on Zoom led by Vivien Kogut
• Mondays 5:30-7:30 pm (UK), 20, 27 May & 3, 10 June 2024
• £120 for four sessions (or sessions can be booked individually at £35 each, see separate listings) to include opening notes and resources.

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

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

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

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

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

JOINING DETAILS:

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

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

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

Session 2: Transformation

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

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

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

JOINING DETAILS:

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

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.”

Marcel Proust

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

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

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

JOINING DETAILS:

• It may be possible for new members to join this group of readers. If you are interested please email litsalon@gmail.com using the subject heading: ‘Joining Proust Group’.
• Facilitated by Toby Brothers
• Mondays, 1.00-3.00 pm (UK time)
• Thirteen meeting study: 5 weeks from 3 June – 1 July 2024, resuming for 8 weeks from 9 September (beginning with a free ‘regathering’ session for all three Proust groups together from 6.00-8.00 pm) and then 16 September – 18 November 2024 at the normal times (N.B. no meetings on 30 September and 7 October)
• Recommended edition: Vintage Classics (Moncrieff/Kilmartin/Enright)  ISBN-13: 978-0099362418
• £390 for thirteen meetings, includes background materials, literary criticism, opening notes and discussion notes

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.”

Marcel Proust

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

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

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

JOINING DETAILS:

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

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

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

Session 3: Human Passions

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

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

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

JOINING DETAILS:

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

“Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.”

Marcel Proust

Here is how one Salonista describes the pleasure and work of reading Proust: “This is a velvet jewel of a book that demands the attention of a lover full of enchantment and obsession, we need not get impatient as all good lovers perfect their art in taking their time.”

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

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

JOINING DETAILS:

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

King Lear opens with a focus on the divisions that will pit the characters against each other for the rest of the play. Audiences are invited to listen to two earls discussing the King’s favourites, not just among his subjects but even between his sons-in-law. The conversation unfolds to reveal the scene’s “darker purpose” – Lear’s plan to divide his kingdom among his daughters, relinquishing his responsibility but not the privileges that come with power. 

Division, then, is at the heart of this play, and leads to hatred, mistrust and death. In this world of fracture and betrayal, Lear learns important lessons about greatness and vulnerability. He loses his kingship to become human. If King Lear was only about the titular character’s allegorical journey, the play would be simply another morality tale and a far cry from the full-blown nihilistic tragedy that it actually is.

As we examine this play, we shall discuss that nihilism, along with the many other themes for which it is so well known: loyalty, suffering, madness and self-knowledge.

STUDY DETAILS:

• Eight-meeting study led by Jane Wymark & Toby Brothers
• Wednesdays, 1.00-3.00 pm (UK), 5 June – 24 July 2024
• £280 for 8 meetings with two facilitators, to include opening notes and resources
• We will use the Arden Shakespeare edition edited by R.A. Foakes: ISBN-13 978-1903436592, but other editions are welcome, particularly the Folger and RSC editions (it’s useful to have a range of footnotes).

King Lear opens with a focus on the divisions that will pit the characters against each other for the rest of the play. Audiences are invited to listen to two earls discussing the King’s favourites, not just among his subjects but even between his sons-in-law. The conversation unfolds to reveal the scene’s “darker purpose” – Lear’s plan to divide his kingdom among his daughters, relinquishing his responsibility but not the privileges that come with power. 

Division, then, is at the heart of this play, and leads to hatred, mistrust and death. In this world of fracture and betrayal, Lear learns important lessons about greatness and vulnerability. He loses his kingship to become human. If King Lear was only about the titular character’s allegorical journey, the play would be simply another morality tale and a far cry from the full-blown nihilistic tragedy that it actually is.

As we examine this play, we shall discuss that nihilism, along with the many other themes for which it is so well known: loyalty, suffering, madness and self-knowledge.

STUDY DETAILS:

• Eight-meeting study led by Jane Wymark & Julie Sutherland
• Wednesdays, 6.00-8.00 pm (UK), 5 June – 24 July 2024
• £280 for 8 meetings with two facilitators, to include opening notes and resources
• We will use the Arden Shakespeare edition edited by R.A. Foakes: ISBN-13 978-1903436592, but other editions are welcome, particularly the Folger and RSC editions (it’s useful to have a range of footnotes).

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

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

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

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

JOINING DETAILS:

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

“This literature – which to us can sometimes seem difficult, exotic, highbrow, remote – is the product of a certain sensibility and a particular context. The idea of these sessions is to find little doors through which to step into that world and find ways to relate to it through the poetry and human artefacts as representations of that time.”

Vivien Kogut

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

Session 4: Swift-footed Time

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

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

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

JOINING DETAILS:

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

Engaging with literature in shared discussions gives us a deeper understanding of great authors such as Joyce, Proust and Shakespeare, and of ourselves. If you have ever wanted to do the same with great works of art, this study is for you.

Building on the success of our ‘Reading Great Paintings’ visits to London’s National and Tate Galleries led by Sean Forester, the LitSalon is pleased to offer an online visual art study. Using Looking at Pictures by Susan Woodford as our guiding text, we will look closely at masterpieces of portraiture, still life, landscape, religious and narrative painting.

We invite you to join us as we discuss the language of painting – composition, colour, light and shade, symbolism, visual narrative – as well as the cultural context in which artworks were created.

JOINING DETAILS:

• Nine-week study on Zoom led by Sean Forester
• Wednesdays, 4.30-6.30pm (UK)
• 14, 21, 28 August, 4, 11, 18, 25 September, 9, 16 October 2024
• Reference text: Looking at Pictures by Susan Woodford, ISBN-13: 978-0500293218
• £270 for nine meetings

As co-facilitators with different cultural backgrounds and experiences, we both consider this to be one of the greatest and most influential works of American literature. The unnamed protagonist’s search for identity in a world that will not see him gives us as readers an opportunity to try to understand the psychological devastation of racism in its subtle as well as its violent forms, and to consider how each of us participates in the fate of all humanity. Ellison weaves in themes and images from Virgil, Dante, Emerson, and TS Eliot while also using the structure and transcendence of jazz to create a work that haunts and stirs to the core of our experience.

Why read this book? Toby explains in more detail here:

Includes extracts from the recording of the spiritual ‘No More Auction Block‘ performed by Martha Redbone, accompanied by Aaron Whitby on piano, in the BAM Howard Gilman Opera House on 21 March 2017. Based on the work of Howard Zinn (1922–2010), directed by Anthony Arnove In association with Voices of a People’s History of the United States (peopleshistory.us), co-presented by Brooklyn Academy of Music and the Onassis Cultural Center New York Part of Onassis Programs at BAM. View the whole performance here.

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

“It is commonly felt that there is no strength to match the strength of those powers which attack and cripple modern mankind. And this feeling is, for the reader of modern fiction, all too often confirmed when he approaches a new book. He is prepared, skeptically, to find what he has found before, namely, that family and class, university, fashion, the giants of publicity and manufacture, have had a larger share in the creation of someone called a writer than truth or imagination that Bendix and Studebaker and the nylon division of Du Pont, and the University of Chicago, or Columbia or Harvard or Kenyon College, have once more proved mightier than the single soul of an individual; to find that one more lightly manned position has been taken. But what a great thing it is when a brilliant individual victory occurs, like Mr. Ellison’s, proving that a truly heroic quality can exist among our contemporaries. People too thoroughly determined and our institutions by their size and force too thoroughly determine can’t approach this quality. That can only be done by those who resist the heavy influences and make their own synthesis out of the vast mass of phenomena, the seething, swarming body of appearances, facts, and details. From this harassment and threatened dissolution by details, a writer tries to rescue what is important. Even when he is most bitter, he makes by his tone a declaration of values and he says, in effect: There is something nevertheless that a man may hope to be. This tone, in the best pages of Invisible Man, those pages, for instance, in which an incestuous Negro farmer tells his tale to a white New England philanthropist, comes through very powerfully; it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence. In a time of specialized intelligences, modern imaginative writers make the effort to maintain themselves as unspecialists, and their quest is for a true middle-of-consciousness for everyone. What language is it that we can all speak, and what is it that we can all recognize, burn at, weep over, what is the stature we can without exaggeration claim for ourselves; what is the main address of consciousness?

“I was keenly aware, as I read this book, of a very significant kind of independence in the writing. For there is a way for Negro novelists to go at their problems, just as there are Jewish or Italian ways. Mr. Ellison has not adopted a minority tone. If he had done so, he would have failed to establish a true middle-of-consciousness for everyone.”

Saul Bellow

JOINING DETAILS:

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

It is now a Salon tradition to spend some time each year in St Ives reading Virginia Woolf’s work and enjoying a place she loved and in which she spent significant parts of her childhood. In 2024 we will again offer two Woolf studies in St Ives: To the Lighthouse (29 September to 2 October) and Jacob’s Room (4 to 7 October).

The Cornish coastal town of St Ives serves as a prism through which we will explore Woolf’s perspectives on landscape, domesticity and identity in To the Lighthouse. We have already completed five magical journeys through this book in the environment that inspired it – this is an incredible experience!

During our visit 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. If weather allows, there will be an optional boat trip to Godrevy Lighthouse and we also hope to look at Talland House, Woolf’s childhood summer home (now privately owned). 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 travelled back in 1905 following the death of their father in 1904.

“What is the meaning of life? That was all – a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.”

Virginia Woolf, To the Lighthouse

“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, half 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 surface 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.”

Virginia Woolf, “Sketch of the Past”, begun in June 1939

Feedback from participants in previous St Ives studies:

“The studio where the discussion took place is a beautiful, extraordinary place, the participants were imbued with the light and landscape, creating a friendly and committed atmosphere. The two facilitators were wonderful . . .”

“The collaboration between participants and facilitators was rich indeed, and I wonder how it was accomplished that everyone in the group was so insightful and intelligent and I might even say soul-searching . . . I also think it was just a superb group of people.”

Read Salonista Leah Jewett’s account of a Salon Study in St Ives here.

SALON DETAILS:

• Please use the form below to secure your place with an initial registration deposit of £20.00. Once you have registered we will then send you details for payment of the balance owing (£500) to complete your booking (N.B. bank details may be different from those you have used on previous occasions).
• Facilitated by Toby Brothers
• Our meetings will take place in the fabulous Porthmeor Studios
• 29 September to 2 October 2024
• Recommended edition: To the Lighthouse, by Virginia Woolf, with introduction by Hermione Lee, Penguin Classics, ISBN: 9780241371954
• Cost £520, includes notes and critical resources (N.B. travel, food and accommodation are NOT included and participants are responsible for arranging their own travel, accommodation and insurance).
• Recommended places to stay include No 4 St Ives, 3 Porthminster Terrace, Blue Sky, The Olive Branch, Rivendell and the Harbour View Hotel, but PLEASE check web details and review sites before booking to make sure they meet your needs.

---

More on the study:   

As one of the primary modernist works, To the Lighthouse demonstrates Woolf at play with language; testing the ability of language to truly reflect human experience by recording the life of the mind not just action. One of the characteristics of modernist writing is a shifting centre of narrative perspective, reflecting a questioning of ultimate and moral authority at a time experiencing the dissolution of Imperialism and absolute values.

Writing from the edge of the violent shift from the Victorian to the Modernist era, Woolf’s ambivalence is demonstrated in her work. She struggles against the boundaries and structures of the Victorian age while holding a great longing and nostalgia for the noble traditions of the time. Her model, Mrs. Ramsey, (queen-like) holds her daughters to the awe of the noble men that surround her and allows them to “sport with infidel ideas…of a life different…in Paris perhaps; …for there was in all their minds a mute questioning of deference and chivalry…though to them all there was something in this of the essence of beauty, which called out the manliness in their girlish hearts…” (To the Lighthouse, pages 10-11).

This quote also demonstrates the Modernist reworking of absolute truth…it is not a question of either this (a male-dominated world) or that (a world of female emancipation): the apparently rigid gender roles borrow from each other — “manliness in their girlish hearts”, “Indeed, she had the whole of the other sex under her protection…” — there is another imperialism here, an intimate imperialism of female over male. The truth in this work is not rigid (although Mr. R would like it to be) but can be permeated, blended — seen from another view.

Re-reading Hermione Lee’s biography of Virginia Woolf (a review of which is quoted below) has me turning over the search one makes for lost childhood, often for a place that might hold a time but, of course, never does. For Woolf, that search included a grappling with the impact and idealisation of the parent figures — especially the lost mother, whose influence and contradictions continue to wrap around the child inside. Virginia Woolf and a few of her siblings returned to the house in St Ives (that we are lucky enough to visit) years after her mother’s death and the sale of the house. They were like ghosts, sneaking around the gardens, peering in the windows: as though searching for their lost selves and a past that can never be recaptured. That visit — and the need to lay to rest her grief-enwrapped memories of her mother — was the catalyst for To the Lighthouse.

For those who want to go further, here is an excerpt from a review of Hermione Lee’s Virginia Woolf which is a great read:

“Ms. Lee documents the evolving perception of her subject from ”the delicate lady authoress of a few experimental novels and sketches, some essays and a ‘writer’s’ diary, to one of the most professional, perfectionist, energetic, courageous and committed writers in the language.” She does this without recourse to the politicised agendas of the academy or special pleading (all of Woolf’s flaws are on display here); this account sets itself above the fray, the better to home in on the glittery and elusive creature at its centre — the prize catch in what one critic has described as the Bloomsbury pond. From its very first page, Ms. Lee’s book is informed by current thinking on how to approach the writing of someone’s life: “There is no such thing as an objective biography, particularly not in this case. Positions have been taken, myths have been made.” But it is also infused with a very personal passion for her subject, which enables the author to cut crisply through the labyrinth of theories that have sprung up…”

– Daphne Merkin, This Loose, Drifting Material of Life

Although To the Lighthouse is not autobiographical, many critics and readers have found close parallels between Woolf’s early life and the world presented in the book. As we go into the read, it may help you to have a sense of Virginia Woolf and her precarious position as a visionary on the edge of a violently changing world. I will have more biographical notes for you when we start.

It is now a Salon tradition to spend some time each year in St Ives reading Virginia Woolf’s work and enjoying a place she loved and in which she spent significant parts of her childhood. In 2024 we will again offer two Woolf studies in St Ives: To the Lighthouse (29 September to 2 October) and Jacob’s Room (4 to 7 October).

As one of the key members of the celebrated Bloomsbury Group, Woolf is often seen as a London writer, but the Cornish coastal town of St Ives – where she spent many childhood summers – serves as a prism through which we can explore her perspectives on landscape, domesticity and identity.

In 1922, Jacob’s Room, Virginia Woolf’s third novel, was the first book to be published by the Woolfs’ own imprint, the Hogarth Press. This book is the linchpin between the more traditional novel form and Woolf’s leap forward into the modernist mode. She lets go of event and character development to make room for the intensity of living — that incredible burning that may look from one angle like inconsequence, but from another angle the very heart of being. 

This was also the form she chose to address the unimaginable moment of war — ripping into the heat of life and leaving only gaping space where a beloved son had been. Her decision not to narrate the war and the resultant deaths directly, but to use her art to demonstrate the gashed web of connection that is left behind, was controversial for her contemporary audience. How do we narrate the unliveable events that circumscribe our identity in the historical moment? This is in part what Woolf responds to – not philosophically, but aesthetically. 

Woolf is also engaging the question she will pursue through all of her literature: how do we know each other? How do the various planes of personality, the glimpses of each other’s interior, add up to an authentic being?

“. . . having this afternoon arrived at some idea of a new form for a new novel. Suppose one thing should open out of another . . . only not for 10 pages but 200 or so–doesn’t that give the looseness and lightness I want; doesn’t that get closer and yet keep form and speed, and enclose everything, everything? My doubt is how far it will enclose the human heart–Am I sufficiently mistress of my dialogue to net it there? For I figure that the approach will be entirely different this time: no scaffolding; scarcely a brick to be seen; all crepuscular, but the heart, the passion, humour, everything as bright as fire in the mist. Then I’ll find room for so much—a gaiety–an inconsequence – a light spirited stepping at my sweet will. Whether I’m sufficiently mistress of things – that’s the doubt; but conceive ‘Mark on the Wall ‘, ‘Kew Gardens’ and Unwritten Novel taking hands and dancing in unity. What the unity shall be I have yet to discover; the theme is a blank to me . . .”

Virginia Woolf, A Writer’s Diary, 26 January 1920

During our visit 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. If weather allows, there will be an optional boat trip to Godrevy Lighthouse and we also hope to look at Talland House, Woolf’s childhood summer home (now privately owned). 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 travelled back in 1905 following the death of their father in 1904.

“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, half 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 surface 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.”

Virginia Woolf, “Sketch of the Past”, begun in June 1939

Feedback from participants in previous St Ives studies:

“The studio where the discussion took place is a beautiful, extraordinary place, the participants were imbued with the light and landscape, creating a friendly and committed atmosphere. The two facilitators were wonderful . . .”

“The collaboration between participants and facilitators was rich indeed, and I wonder how it was accomplished that everyone in the group was so insightful and intelligent and I might even say soul-searching . . . I also think it was just a superb group of people.”

Read Salonista Leah Jewett’s account of a Salon Study in St Ives here.

SALON DETAILS:

• Please use the form below to secure your place with an initial registration deposit of £20.00. Once you have registered we will then send you details for payment of the balance owing (£540.00) to complete your booking by bank transfer.
• Facilitated by Toby Brothers and Sarah Snoxall
• Our meetings will take place in the fabulous Porthmeor Studios
• 4 to 7 October 2024
• Recommended edition: Jacob’s Room by Virginia Woolf, Vintage Classics, ISBN-13: ‎ 978-1784877958
• Cost £560, includes notes and critical resources (N.B. travel, food and accommodation are NOT included and participants are responsible for arranging their own travel, accommodation and insurance).
• Recommended places to stay include No 4 St Ives, 3 Porthminster Terrace, Blue Sky, The Olive Branch, Rivendell and the Harbour View Hotel, but PLEASE check web details and review sites before booking to make sure they meet your needs.