Literary Pursuits returned to the BBC Radio 3 airwaves in July with Episode 5 on E. M. Forster’s secret book Maurice. With the Forster archives on my doorstep at King’s College Cambridge, I didn’t have to travel far for this one, but the book itself had a remarkable journey from Cambridge to America, passed hand to hand by men risking imprisonment to transport it from Forster to Christopher Isherwood. I start with this journey in order to discover the wonderful and moving story behind this seminal text in the history of gay literature.
After 6 months in solitary academic confinement, and with The Book triumphantly written, the beginning of 2017 has seen me return to life beyond my study with renewed enthusiasm and vigour. I’ve spent the past few months steeped in the Martian imaginings of our greatest writers and scientists for a BBC Radio 4 documentary on mankind’s romance with the red planet, for which I had the great if exhausting pleasure of a weekend trip to Mars’ Earth analogue, Arizona. We visited Percival Lowell’s Flagstaff observatory to learn more about how it all began, and then descended to Phoenix to talk about where we are now, with contemporary Mars scientists at Arizona State University. There may also have been a morning spent barsooming around the Arizona desert – as close to Mars as I’m ever going to get – imagining encounters with magnificent and fearsome six-limbed Tharks. And if that sounds a little frivolous, I can assure you that it was actually very illuminating: standing on red rock, looking across the barren desert to the dust clouds on the distant horizon, it suddenly made sense why that landscape inspired the original literary visionary of Mars – Edgar Rice Burroughs – whose experiences on those plains and encounters with their native inhabitants shaped his Martian imaginings. The programme will be broadcast as part of Radio 4’s Martian Festival at the beginning of March – more details to follow.
I also had the pleasure this week of a stimulating hour’s conversation with SF writers Roz Kaveney and Aliette de Bodard for an episode of Radio 4’s Beyond Belief on religion and science fiction, which will be broadcast on Monday 13th March. And, to knock a little realism into me, next month I’ll start recording my new series of Literary Pursuits by investigating the story behind the story of E. M. Forster’s posthumously published Maurice. Fortunately, neither interplanetary nor transatlantic travel is necessary to get started on that investigation, since a treasure trove of Forster’s papers sits on my doorstep in King’s College Cambridge’s modern archives.
The third and fourth episodes in my literary detective documentary series for BBC Radio 3 – Literary Pursuits – will be broadcast to bracket the Hay Festival at 6.45pm on Sunday 29th May and Sunday 5th June. Episode 3 investigates the story behind the posthumous publication of Jane Austen’s Persuasion whilst episode 4 travels to Dublin to unravel the mystery behind a singed proof copy of James Joyce’s Dubliners, dated 4 years before the book’s publication. In previous episodes I investigate Charles Dickens’ Great Expectations and Jean Rhys’ Wide Sargasso Sea. All the episodes in the series can be listened to on the Literary Pursuits page of the BBC iplayer and my thoughts on the series can be found here.
My scholarship and my creativity have been put to a new test over the past 6 months as I’ve been making the first two episodes in my new Sunday Feature Series for BBC Radio 3: Literary Pursuits. I think radio and television confront a real challenge when it comes to literary broadcasting – how do you avoid succumbing to the cult of the author and actually stay in contact with what people really love and want to hear and know about: the text?
Academically, I was schooled in Cambridge practical criticism and poststructuralist literary theory – a not incongruous combination since both approaches hold that the text alone is a sufficient object of study, that the words on the page, if paid close enough attention to, tell you everything you might want to know. Of course, these are just two schools of thought amongst the many approaches one finds in academic literary criticism: historicism places the text within its cultural context of production; biographic criticism reads it via its connection with the author’s own life; the study of material texts looks at what we can learn from the physical histories of texts as they move from the first handwritten jottings, through annotated typescripts to final published versions (with many stages in between). If you were to pick up any introduction to literary criticism and theory, you might be forgiven for thinking that these approaches are mutually exclusive, that never the twain shall meet. But as I’ve moved further along in my career, I’ve realised that some of the most powerful literary criticism combines two or more of these approaches. That all of them alone, but more so in combination, can open up works of literature in revelatory ways.
Having come to that conclusion in my academic work, I was delighted to be given the opportunity to try out this idea in broadcasting. What would a radio programme look like if it, too, combined these seemingly different approaches to texts? Could we take a great work of literature and weave together close attention to the themes as well as to the style, form and technique, with investigation into the author’s life and times, and archival research into the book’s textual history? Yes, I thought we could, but how could we do all that and meet the cardinal rule of radio broadcasting – telling a good story?
That’s where the genius of my producer came in – we would turn it into a detective story. So that’s just what we did. In my Literary Pursuits episodes I start with a mystery that I want to solve: in the first, it is why did Charles Dickens change the ending of Great Expectations, right at the last minute?; in the second, it is why does it take nearly a quarter of a century for Jean Rhys to publish Wide Sargasso Sea? Each of these mysteries sets me off on a quest to find out the story behind the story, to follow the clues to discover how great works of literature were written. And of course, those clues are thematic, stylistic, biographical, historical, material and more – all of these diverse literary critical methodologies become my investigative tools, and all are needed to solve the textual mystery.
I have learnt so much over the past six months, about the joys of working closely, creatively and collaboratively with a brilliant producer, but also about these two works of literature which I thought I already knew so well. The Great Expectations episode was picked out as a choice of the day for Sunday in this week’s Radio Times, and the Series is featuring in the radio review section of The Times on Saturday. So it definitely seems to have caught the imagination of some journalists out there. When it’s broadcast, I hope it brings as much pleasure and knowledge to its listeners as I had and gained making it.
The new page for the Series is here, where you can also listen back to episodes via the BBC iplayer if you miss the first broadcasts. It begins with Great Expectations on Sunday 10th January, followed by Wide Sargasso Sea on the 17th. Enjoy!