Sherds Podcast

The House of Hunger was originally published in by Heinemann in 1978. The book is a collection of harrowing, autobiographical short stories in which Marechera’s experiences both in his native Rhodesia (now Zimbabwe), and as a university student at Oxford, are channeled into a psychedelic cascade of blistering imagery and broken stream-of-consciousness narratives. In his own words, writing in English - his second language - rather than the Shona he grew up speaking, meant confronting the inherent racism of the language, “discarding grammar, throwing syntax out, subverting images within […] developing torture chambers of irony and sarcasm, gas ovens of limitless black resonance”. 

 Over the course of the episode, we discuss the violence and vibrancy of Marechera’s prose, consider his attitude to the newly independent Zimbabwe, and his torturous love affair with the English language. 

 Bibliography: 
 'African Doppelganger: Hybridity and Identity in the Work of Dambudzo Marechera' by David Buuck in Research in African Literatures, Vol. 28, No. 2, Autobiography and African Literature (Summer, 1997), pp. 118-131 'On Dambudzo Marechera: The Life and Times of an African Writer' by Helon Habila in The Virginia Quarterly Review, Vol. 82, No. 1, A Special Report: Aids in Africa (Winter 2006), pp. 251-260 ‘Reveling in Genre: An Interview with China Miéville’ in Science Fiction Studies, Vol. 30, No. 3, The British SF Boom (Nov., 2003), pp. 355-373 

Juan Rulfo’s Pedro Páramo was originally published in Spanish in 1955. The book is published by Serpent’s Tail, the translation is by Margaret Sayers Peden and the readings in this episode are by Jakub Blank. The book concerns the journey of a young man to his mother’s native village of Comala, where he will search for his father, the elusive figure, Pedro Páramo. What he finds upon his arrival is a ghost town, the spectral image of a once vital community whose voices rise up to assail him with lamentations from beyond the grave. Somewhere within this chorus of the dead unfolds the tale of the landowner, Don Pedro, whose iron grip upon the town may well have been the source of its desolation. Over the course of the episode, we discuss Rulfo’s intriguing use of structure, Mexican rituals surrounding death, and the brutality of its central character. Bibliography: ‘The Fractal Structure of Pedro Páramo: Comala, When Will You Rest?’ by Elizabeth Sánchez in Hispania, Vol. 86, No. 2 (May, 2003) ‘Landscape and Loss in Juan Rulfo's Pedro Páramo’ by M. Ian Adams in Chasqui, Vol. 9, No. 1 (Nov., 1979) ‘Introduction to Juan Rulfo’s Naming Strategies in Pedro Páramo’ by Margaret V. Ekstrom in Literary Onomastics Studies (1979)

In this episode, I spoke to the writer, Rebecca Lloyd, about her novel, The Child Cephalina (2019), which is published by Tartarus Press: Rebecca Lloyd’s superb Gothic novel explores friendship, obsession and the uncanny in teeming mid-Victorian London. At its heart is a tale of human relationships threatened by an unknowable force.’ From the very first, the child Cephalina brought conflict into the otherwise peaceful, if eccentric, household at number 12 Judd Street. Robert’s fascination with her was instant, but he could never decide if this eleven-year-old was innocent and lonely, or clever and manipulative. It worried him. His encounters with her were both enchanting and unnerving. All the while his devotion to her was growing, until in the end, nothing could save him from a fate he would never have believed could be his . . . Find out more about Rebecca Lloyd’s work at her website: beccalloyd.org Over the course of the episode we discuss spiritualism in the nineteenth century, Henry Mayhew, who was the inspiration for the novel’s narrator, and consider some of the taboo relationships depicted in the novel.

Sweet Days of Discipline by Fleur Jaeggy was originally published in Italian in 1989.  The translation is by Tim Parks, and the book is published by And Other Stories.   The novel concerns the early years in the life of a young student at an exclusive boarding school in the Swiss mountains.  Throughout the book, her strained relationship with her environment, her peers, and her inner self are subject to cold examination. In crystalline, almost clinical, prose, all is dissected and laid bare - the innocent exterior of school life is peeled away, and the rotting core exposed. 

I’m joined by Stefan Głowacki to discuss Cinnamon Shops, a collection of short stories by Bruno Schulz, which was originally published in Polish in 1934. In this episode, we discuss this classic of Polish literature in its most recent translation by Madeline G. Levine, which is published by Northwestern University Press. The readings are by Marceli Sommer. In these magnificent autobiographical stories, Schulz writes about the sleepy town of Drohobych where grew up, transforming it into a mythical landscape in which every object blushes under the intensity of his gaze. Over the course of the episode, we discuss the importance of Schulz’s critical text, Mityzacja rzeczywistości (The Mythologising of Reality), which some have called his manifesto. We also debate his similarity to Franz Kafka, and examine the figure of the father in Schulz’s aesthetic project. The artwork for this episode is ‘Night Walk’ by Alicja Nikodem, which she based on Shculz’s stories. More of her work can be found here: http://www.alicjanikodem.com/ Bibliography: Regions of the Great Heresy: Bruno Schulz, a Biographical Portrait by Jerzy Ficowski (W. W. Norton, 2003), trans. Theodosia S. Robertson Opowiadania. Wybór esejów i listów (Wydawnictwo ossolineum, 1989) ed. Jerzy Jarzębski 

Samuel R. Delany’s Dhalgren was originally published in 1975. Since its publication, Dhalgren has had its fair share of proponents and enemies - it has been called both the best and the worst book ever to come out of the field of science fiction.  Over the course of its eight-hundred pages, we follow our main character, the Kid, as he wanders listlessly through devastated city of Bellona, located somewhere in the United States on the border between utopia and dystopia.  It is a city where time dilates and contracts, buildings spontaneously combust, obscuring mists curl through the streets.  And here, all society’s misfits and outcasts have gathered under its twin moons.    In this conversation we discuss the extent to which Dhalgren can be considered science fiction, examine the role of its metafictional games, and think about its presentation of racial and sexual politics.   The readings in this episode are by Daniel Mills, host of the true crime podcast, These Dark Mountains: https://thesedarkmountains.com/ Bibliography: ‘The Convergence of Postmodern Innovative Fiction and Science Fiction: An Encounter with Samuel R. Delany's Technotopia’ by Teresa L. Ebert Poetics Today, Vol. 1, No. 4, Narratology II: The Fictional Text and the Reader (Duke University Press, Summer, 1980) ‘Rites of Reversal: Double Consciousness in Delany's Dhalgren’ by Mary Kay Bray in lack American Literature Forum, Vol. 18, No. 2, Science Fiction Issue (Summer, 1984) ‘Playing at Birth: Samuel R. Delany's Dhalgren’ by Todd A Comer in Journal of Narrative Theory, Vol. 35, No. 2 (Summer, 2005)  https://lithub.com/dont-romanticize-science-fiction-an-interview-with-samuel-delany/

The Naked Woman by Armonía Somers was originally published in Spanish in 1950. The translation was made by Kit Maude and the book is published by The Feminist Press. On her thirtieth birthday, the main character, Rebeca Linke undergoes a violent physical and mental transformation. She leaves her home in only an overcoat and wanders through the local forests and fields. When she is spotted in broad daylight, divested of her clothes, the event sends tremors through the rural village, penetrating the hearts, bodies and minds of its inhabitants. Some view her as the return of Eve, some as a malignant curse. In either case, the village must confront this happening, and undergo its own transformation. Over the course of the episode, we discuss the author’s violent expression of feminine autonomy, consider it in the context of the gothic, and examine the response of a staid patriarchal society to the concept of feminine desire. The readings in this episode are by Gaja Hajdarowicz. Bibliography: ‘Armonía Somers’ Permeable Boundaries’ by Alexandra Fitts in Hispanófila, No. 137 (2003), pp. 101-114 ‘Gótico y género: El viaje decapitado de "La mujer desnuda”’ by Nadina Olmedo in Letras Femeninas Vol. 36, No. 2 (I2010), pp. 215-227  Women's Voices from Latin America: Interviews with Six Contemporary Authors (Wayne State University Press, 1987) ed. Evelyn Picon Garfield https://www.wordswithoutborders.org/dispatches/article/on-translating-armonia-somerss-the-naked-woman-kit-maude

Octavia Butler’s Bloochild and Other Stories was originally published in 1995.  The book collects seven stories from throughout Butler’s career, and in this episode we focus on the title story, which depicts a social and sexual relationship between humans and a race of alien beings.  Later, we discuss the penultimate story in the collection, Amnesty, which explores the complexities of confrontation with the alien other.    Over the course of the episode, we examine the degree to which the stories may be said to engage with slavery and American history, and consider Butler’s implementation of the ‘pregnant man’ motif.  Bibliography: ‘Mama's Baby, Papa's Slavery? The Problem and Promise of Mothering in Octavia E. Butler’s Bloodchild’ by Kristen Lillvis in MELUS, Vol. 39, No. 4, Gender, Transnationalism, and Ethnic American Identity (Winter, 2014) Octavia E. Butler: Modern Masters of Science Fiction (University of Illinois, 2016)  by Gerry Canavan

Jean Ray’s The Mainz Psalter was originally published in 1930.   We read the story in Jeff and Ann Vandermeer’s anothology, The Weird, and the translation is by Lowell Blair. The story tells the grizzly tale of The Mainz Psalter, a ship en route to Greenland under the ownership of the shadowy figure of the schoolmaster, with a purpose that remains a mystery to its crew.  As the ship sails deeper into northern waters, reality begins to bend in peculiar directions and the crew’s number dwindles.  Those who remain have doubts as to whether this is indeed the reality they had known.  Over the course of the episode, we discuss the literary lineage of Jean Ray’s tale, its relationship with cosmic horror, and the peculiar treatment of religion within the text. Bibliography:  Lyrical Ballads (1798) by William Wordsworth & Samuel Taylor Coleridge ‘Supernatural Horror in Literature’  (1927) by H. P. Lovecraft The Time Machine (1895) by H. G. Wells http://weirdfictionreview.com/2011/11/ghosts-fear-and-parallel-worlds-the-supernatural-fiction-of-jean-ray/

Caradoc Prichard’s One Moonlit Night was originally published in Welsh in 1961. The book is a classic of Welsh literature, which though greatly admired in its native country, is still shamefully neglected in the English-speaking world. Set in a small village in North Wales, One Moonlit Night is the breathless monologue of a young boy who unveils the sorrows and torments, the ecstasies and revelations of a poverty stricken, but close-knit community as it weathers the distant storm of the First World War. Over the course of the episode, we discuss the significance of The Great War in the book, Prichard’s narratorial style, and consider whether One Moonlit Night may be thought of as a political novel. The readings in this episode are by Tris Rhys, a listener who very kindly offered his services and his Welsh-language skills, for which we’re very grateful. Bibliography: Welsh Gothic by Jane Aaron (University of Wales Press, 2013) https://www.walesartsreview.org/the-winner-of-the-greatest-welsh-novel-is-un-nos-ola-leuad-by-caradog-prichard/ https://biography.wales/article/s10-PRIC-CAR-1904#?c=0&m=0&s=0&cv=26&manifest=https%3A%2F%2Fdamsssl.llgc.org.uk%2Fiiif%2F2.0%2F4633846%2Fmanifest.json

Lud-in-the-Mist by Hope MIrrlees was originally published in 1926. Lud-in-the-Mist is the capital of the fictional free state of Dorimare, a country which shares a border with Fairyland, just across The Debatable Hills. Centuries ago, under the rule of Duke Aubrey, Fairy things had been part of life and culture in Dorimare. After a violent revolution, a new merchant class took over the country. Duke Aubrey was expelled and all mention of Fairies and Fairy lore became taboo. The smuggling of hallucination-inducing fairy fruit into Dorimare continues, however, behind closed doors. When Nathaniel Chanticleer, the Mayor of Lud-in-the-Mist finds that his son has ingested some of this heinous fruit, the old ways, the traditions and romance of the Fairies can no longer be ignored. Over the course of the episode, we discuss the methods Mirrlees’ novel has in common with Modernist practice, the various allegorical interpretations that offer themselves throughout the text, and the emergent class politics suggested by her discussion of the fairy folk. Bibliography: Attebury, Brian, ‘“Make it Old”: The Other Mythic Method’ in The Mirror of the Past, ed. Bogdan Trocha, Aleksander Rzyman, Tomasz Ratajczak (Cambridge Scholars Publishing, 2014) Mirrlees, Hope, Collected Poems, ed. Sandeep Parmar, (Fyfield Books, 2011)

The Birds by Tarjei Vesaas was originally published in Nynorsk in 1957, and is available from Peter Owen books and now as a Penguin Modern Classics  edition.  The translation is by Michael Barnes and Torbjorn Stoverud.  The central character of The Birds is Mattis, a mentally disabled man, living with his sister in a small rural community in Norway.   We observe Mattis as he attempts to navigate the obstacles of everyday life - the obligations of work, family relationships and even romantic love.  Mattis’ transcendental, or even visionary inner life, keenly evoked by Vesaas’ spare and lucid prose, is far richer than it appears to those around him.  At the core of the novel, is Mattis’ struggle with the border between experience and expression in a world where birds seem to understand more than people.   Over the course of the programme, we discuss the role of the woodcock as a symbol, Vesaas’ sensitive and generous treatment of mental disability, and the possibility of viewing Mattis as an artist figure.

On this episode of Sherds Podcast, I’m joined by writer, Quentin S. Crisp, to discuss his new novel, Graves (2019), published by Snuggly Books, who give the following description of the book: In Graves, Damien, a male nurse and self-styled ‘thanatophile’, is in love with death in its purer and more ideal form. However, as he casts around for some authentic way to defy the void of modernity, his thanatophilia is swiftly and insidiously corrupted. Scavenging what ‘materials’ he can, he works in isolation like a reverse Doctor Frankenstein, wishing to understand the secrets of death, not life, in order to break the narrative power of science over the modern mind.Set against the backdrop of anomie-drenched 21st-century London, Graves, Quentin S. Crisp’s second major novel, is a work of Gothic horror that confronts the ‘hard problem’ of consciousness in a world where it is easier to believe in artificial intelligence than human intelligence. Over the course of the programme we discuss the influence of Japanese Literature on Crisp’s work, the importance of Mary Shelley’s Frankenstein to Graves, and the moral complexities of antinatalism. Footnotes: Some of the authors mentioned by Crisp throughout the programme are: Nagai Kafu - you can read about Quentin S. Crisp’s relationship with this writer here: https://mathewfriley.com/2010/08/quentin-s-crisp-the-book-i-would-like-to-be-buried-with/ Justin Isis - http://justinisis.blogspot.com/ - whose two collections of stories, I Wonder What Human Flesh Tastes Like (2011), and Welcome to the Arms Race (2015) are both published by Chômu Press: http://chomupress.com/ Jeremy Reed - http://www.jeremyreed.co.uk/ Zdravka Evtimova - http://www.contemporarybulgarianwriters.com/1-writers/evtimova-zdravka/ Brendan Connell - whose novel, Clark (2016), is singled out for special mention: http://www.snugglybooks.co.uk/clark/ About the Author: Quentin S. Crisp was born in 1972, in North Devon, UK. He studied Japanese at the University of Durham and graduated in 2000. He has had fiction published by Tartarus Press, PS Publishing, Eibonvale Press and others. He currently resides in Bexleyheath, and is editor for Chômu Press.

In this episode, I’m joined by Patricia Pulham, Professor of Victorian Literature at The University of Surrey, to discuss Vernon Lee’s collection of supernatural tales, Hauntings (1890). The book collects four of Vernon Lee’s ghost stories, ‘Amour Dure’, ‘Dionea’, ‘Oke of Okehurst’, and ‘A Wicked Voice’, which together represent some of the finest examples of the genre, and reflect Lee’s deep engagement with Italian art, her sensitivity to place, and her imaginative relationship with the vestigial, fragmentary manifestations of history. Over the course of the programme, we discuss Lee’s preference for a more restrained form of horror, her evocation of the settings in her texts, and take an in-depth look at music in her story, ‘A Wicked Voice’. Bibliography: Art and the Transitional Object in Vernon Lee's Supernatural Tales by Patricia Pulham (Ashgate Publishing, 2008) Vernon Lee: Decadence, Ethics, Aesthetics ed. Patricia Pulham, Catherine Maxwell (Palgrave, 2006) Vernon Lee: A Literary Biography by Vineta Colby, (University of Virgina Press, 2003).

D. O. Fagunwa’s Forest of a Thousand Daemons was first published in 1938; it marks the first full-length novel published in Yoruba and has become a classic work of African literature. The delightfully rich translation is by the Nobel laureate, Wole Soyinka and is published by City Lights Books. The book concerns the life of the brave hunter, Akara-Ogun, whose encounters with spirits, bog-trolls and other supernatural creatures are related orally with great flair for an enraptured audience which grows bigger with each night’s telling, and an author who takes down the hunter’s words that they might provide a record of his days upon this earth. The book stands at a crossroads between oral and written culture, between Christianity and traditional Yoruba beliefs, and takes place in a world in which the boundary between the natural and the supernatural is a distinctly porous one. To open its covers is to witness this complex metamorphosis taking place. Over the course of the programme, we discuss the choices Wole Soyinka makes in his translation, religious syncretism, and the strong emphasis the book places on the body. Bibliography: ‘Compound of Spells: The Predicament of D. O. Fagunwa’ by Olakunle George in Research in African Literatures, Vol. 28, No. 1, The Oral-Written Interface (Spring, 1997), pp. 78-97 (Indiana University Press) An interview with Anthony Olajide Fayemi: https://www.thenewsnigeria.com.ng/2014/05/hidden-facts-about-fagunwa/

The Witches of Kyiv and Other Gothic Tales collects a range of stories by Ukrainian Romantic author, Orest Somov which were originally published between 1827 and 1833.  This collection comes from Sova Books and the translations are by Svitlana Yakovenko.  The book also features a helpful glossary and annotations, as well as excellent introduction by Svitlana Krys.   Though written in Russian, these gothic tales draw heavily on Ukrainian folklore, and introduce a distinctly regional flavour to the palette of the Romantic literature of the 1820s and ‘30s.  Bold Cossack warriors, perilously seductive water sprites, and cunning witches haunt the pages of the collection, and bring into being the theories espoused by Somov in his seminal essay of 1823, ‘On Romantic Poetry’.   In this episode, I’m joined by Dr Keith Walmsley to discuss the work and influence of this forgotten innovator of Romantic prose in Russian.  Over the course of the programme, we discuss Somov’s role as the originator of many motifs that will echo throughout Russian and Ukrainian literature, consider his relationship with Russia, and examine the import of the various folkloric figures which populate his tales.    Bibliography: ‘Orest Somov: An Introduction’ by John Mersereau in The Slavonic and East European Review, Vol. 43, No. 101 (June, 1965), pp. 354-370 (the Modern Humanities Research Association and University College London) The Holy Fool in Russian Culture by Ewa Thompson (University Press of America, 1987) Russian Romantic Criticism: An Anthology edited by Lauren G. Leighton (Greenwood Publishing Group, 1987) Russia and Ukraine: Literature and the Discourse of Empire from Napoleonic to Postcolonial Times (McGill-Queen’s Press, 2001)  Были и небылицы, Орест Михайлович Сомов (Сов. Россия, 1984)

Marlen Haushofer’s The Wall was originally published in German in 1963.  Our protagonist and narrator is a woman in her 40s. While visiting friends at a hunting lodge in rural Austria, she finds herself divorced from all human contact when an invisible wall descends, cutting her small region off from the rest of the world.  She is quickly forced into a struggle to survive, and must learn to become self-sufficient. Willingly or not, she must become the ruler of her own destiny.   Often interpreted as an allegory of female emancipation, this Robinsonade places questions of identity and society at its core by describing a world in which their very existence becomes questionable.  Over the course of the programme, we discuss the rich interpretive possibilities the book offers, delve into its treatment of nature, and ponder the recurrent reading of the novel as a feminist text. The readings in this episode were performed by Ola Wittchen Bibliography: Wahrscheinlich bin ich verrückt: Marlen Haushofer - Die Biographie by Daniela Strigl (List, 2007) marlenhaushofer.ch Robinson Crusoe (1719) by Daniel Defoe ‘Marlen Haushofer–eine Feministin aus Österreich’ by Dagmar C. G. Lorenz in Modern Austrian Literature, Vol. 12, No. 3/4, Special Issue on Austrian Women Writers (1979), pp. 171-191 ‘Behind the Transparent Wall Marlen Haushofer's Novel "Die Wand"‘ by Hugo Caviola in Modern Austrian Literature, Vol. 24, No. 1 (1991), pp. 100-112

One contemporary reviewer referred to The Hill of Dreams as the “study, rather than the story, of a morbid temperament.” Often regarded as Machen’s masterpiece, this beautiful and idiosyncratic novel concerns the short life of a young writer, Lucian Taylor, and follows his journey from the Welsh countryside of his boyhood to the squalor of late 19th-century London. In an attempt to commune with a reality beyond our own, a plane of existence accessible only to the true artistic visionary, Lucian sacrifices himself and becomes a martyr to aesthetic ideals. Over the course of the programme, we discuss the book’s place within the decadent movement, Machen’s moral position regarding his main character, and the traces of opium that stain the novel’s pages. Bibliography: ‘Arthur Machen: Ecstasy and Epiphany’ by NIcholas Freeman in Literature and Theology, Vol. 24, No. 3 (September 2010), pp. 242-255 ‘Abominable Transformations: Becoming-Fungus in Arthur Machen’s The Hill of Dreams’ by Anthony Camara in The EcoGothic in the Long Nineteenth Century (Manchester University Press) Mark Valentine’s ‘Introduction’ in The Hill of Dreams by Arthur Machen (Tartarus Press) The Friends of Arthur Machen website: http://www.arthurmachen.org.uk/ ‘Lucian in the Labyrinth: London Locations in The Hill of Dreams’ in The Library of the Lost : In Search of Forgotten Authors by Roger Dobson (Caermaen Books and Tartarus Press, 2015) Decadent and Occult Works by Arthur Machen, ed. by Denis Denisoff (Modern Humanities Research Association, 2018)

Ghada Samman’s ‘Beirut Nightmares’ was originally published in Arabic in 1976. Set at the height of the Lebanese Civil War, this autobiographical novel concerns two weeks in the life of a journalist and writer living at the heart of the warzone. With the conflict raging outside, and snipers on every corner, she is unable to leave her flat. The horror of the waking world soon finds its way into the dreamscape where disembodied limbs roam the flaming streets, and mannequins come to life. Over the course of the programme, we discuss the strange mixture of realistic depictions of war and fantastical nightmares, boredom as a literary theme, and the clash between ideology and aesthetics within the novel.

Edogawa Rampo’s short story, ‘The Human Chair’,was originally published in Japanese in 1925. The story is taken from the collection, Japanese Tales of Mystery and Imagination, translated by James B. Harris, and published by Tuttle Publishing. ‘The Human Chair’ is a tale of the grotesque in which a master carpenter entombs himself inside a chair in order to gain the intimacy that society has denied him. The longer he spends inside the chair, pressed close to the bodies of strangers, the harder it becomes to return to his ordinary life. As well as being a superb example of the uncanny tale, ‘The Human Chair’ is a rich palimpsest that reveals layer upon layer of sexual, social and national anxieties.

Karel van de Woestijne’s novella, ‘The Dying Peasant’, was originally published in Dutch in 1918. It is now available for the first time in an unabridged translation by Paul Vincent, published by Snuggly Books. The book concerns an elderly farmer, Nand, who lies on his deathbed and is visited by five figures, each representing the one of the five senses. As the fragmentary reflections occasioned by these sensory avatars tell the rich story of Nand’s life, van de Woestijne evokes a deep reverence for the surface of things, and the simplicity and beauty of ordinary life.

Russell Hoban’s Riddley Walker was originally published in 1980.  The novel is set in Kent some two or three thousand years after a nuclear holocaust which has destroyed the land, plunging society back to iron-age levels of technology.   Its foundational myth, the Eusa story, grown out of the scattered fragments of ancient history, is the story of how technological progress led to the nuclear war and the long dark age which is referred to as “Bad Time.”  After the death of his father in an accident at work, Riddley, our narrator, eventually finds himself leaving the community and heading out alone on a quest to rediscover and perhaps return to prosperity of the ancients.  The story is told in an imagined, future dialect of English which, though rugged and decayed, has its own alien poetry.  Over the course of the episode, we discuss Hoban’s invented dialect, his plundering of English folklore, what it means to create a mythology, and the pivotal significance of the figure of The Green Man. Bibliography: Sir Gawain and the Green Knight: A New Verse Translation by Simon Armitage (Faber & Faber, 2007) The Death of Tragedy by George Steiner (Faber & Faber, 1961) ‘Hoap of a Tree in Riddley Walker’ by David Huisman in Christianity and Literature, Vol. 43, No. 3/4 (Spring-Summer 1994) ‘Dialect, Grapholect, and Story: Russell Hoban’s Riddley Walker as Science Fiction’ by R. D. Mullen in Science Fiction Studies Vol. 27, No. 3 (Nov., 2000)

Anna Kavan’s Ice was originally published in 1967 by Peter Owen books. The book is Kavan’s final and best known work, and appeared just one year before her death. In the aftermath of a nuclear war, society is rapidly crumbling as a wall of ice threatens to engulf the entire planet. Our unnamed narrator roams through this barren, frozen wasteland in pursuit of a young girl with a halo of hair as bright as spun glass; his designs on her are decidedly sinister. The novel proceeds with the torturous, cyclical quality of an inescapable nightmare in which the reader is cocooned. Over the course of the episode, we discuss the extent to which Kavan's heroin addiction influenced the novel, consider the novels place in the tradition of post-apocalyptic fiction, and explore the unique brutality of the novel's narrator. Bibliography: A Stranger on Earth: The Life and Work of Anna Kavan (2006) by Jeremy Reed (Peter Owen) 'The Fiction of Anna Kavan' by Victoria Walker (PhD Thesis, 2012) https://qmro.qmul.ac.uk/xmlui/handle/123456789/8627 The Drowned World (1962) by J. G. Ballard

Hans Henny Jahnn was a German organ-builder, playwright and novelist. In this episode, we look at the only novel of his available in English, The Ship (1949), a beguilingly dark, allegorical tale set aboard a wooden ship with blood red sails which embarks upon an unknown mission, carrying an unknown cargo, a mystery to both captain and crew. The reasons for the journey are perhaps understood only by the shady figure of the supercargo as well as the shipowner, whose presence is as uncertain as the contents of the boxes in the ship's hold. The captain, Waldemar Strunck, has a daughter, Ellena, who follows him on this voyage, while Gustave, her fiancé, takes himself aboard as a stowaway in order not to be separated from his beloved. In the middle of the ship's journey, Ellena disappears, and in the search for her, Gustave must confront the very fabric of reality. Over the course of the episode, we discuss Jahnn's curious mixing of genres, the interplay between the hidden and the revealed, and speculate upon the possible allegorical intentions of the text. Bibliography: 'Apologie des Untergangs: Ästhetische Erfahrung in Hans Henny Jahnns "Fluß ohne Ufer"' by Christoph Zeller in Poetica, Vol. 35, No. 1/2 (2003) Hans Henny Jahnn: eine Biografie (1986) by Thomas Freeman The Theme Of The Black Race In The Works Of Hans Henny Jahnn by Richard Detsch in Mosaic: An Interdisciplinary Critical Journal, Vol. 7, No. 2, LITERATURE AND IDEAS (Winter, 1974)

‘The Wind’ concerns the fate of Letty, a young girl plucked out of a life of ease in Virginia and forced to move to the plains of Sweetwater, Texas at the height of a terrible drought in the 1880s. Letty struggles to acclimatise in this new, hostile environment – its ugly, arid vistas and its harsh manners – but it is the incessant wind that strikes her most deeply. As her isolation increases, she begins mentally to imbue the wind with supernatural power, coming to believe that it intends to destroy her and everything she holds dear.

In this episode, we discuss Mary Butts's novel of 1928, 'Armed with Madness'. Over the course of the programme, we consider the possible reasons for the descent of Butts' reputation, the mythological and literary underpinnings of the novel, and think about the ways in which her it expands the palette of we think of as modernism.

Jasieński's 'I Burn Paris' upset the French authorities enough to have him expelled from the country on the novel's publication. The story concerns a plague that breaks out in Paris, exposing the worst tendencies of the city's inhabitants. As the death toll rises, groups begin to isolate themselves according to ethnicity, nationality and ideology. In today's political climate, the book is perhaps more relevant than ever and serves as a stark warning about the perils of isolationism.

In this episode, I'm joined by Stefan Glowacki to discuss Tadeusz Rózewicz's long poem, 'Et in Arcadia Ego' (1961). Over the course of the episode, we consider how the poem might be thought of as Rózewicz's idiosyncratic 'Italian Journey', written in response not only to Goethe's text, but as an attempt to confront the ghosts of classicisim, a journey undertaken to see if the ideals of Western art can still be found among the wreckage of postwar Europe.

In this episode, we look at Algernon Blackwood's story, 'The Man Whom the Trees Loved', which was published in his collection 'Pan's Garden' (1912). The story concerns David and Sophia Bittacy, a married couple living on the edge of the New Forest. Under the influence of the bohemian painter, Sanderson, David becomes increasingly obsessed with the inner life of the trees in the neighbouring forest. Over the course of our discussion, we consider Algernon Blackwood's place in the Gothic tradition, the symbolism of cedars, and explore the dual possibilities of supernatural and psychological readings of the story.

In this episode, we look at Zyranna Zateli's 'At Twilight They Return' (1993), translated by David Connolly. Set during the final decades of the 19th century, the novel tells the vivid and meandering history of several generations of a single family in northern Greece. As the modern world begins to encroach upon the ancient, the border between the mythic and the real becomes porous, and in Zateli's hands, both are able to exist in a perpetual twilight. Over the course of our discussion, we consider the transitional period of the book's setting, the symbolism of wolves, and examine Zateli's curious weaving together of folklore and mythology.

In this episode, we look at Boris Vian's 'Red Grass' (1950), a surrealist science fiction novel in which the main character, Wolf, creates a machine that allows him to erase his own memories. Over the course of our discussion, we consider Vian's playful complexity, his parodies of psychoanalytical and existentialist thought, and the possible significance of 'Red Grass' in terms of French collective memory in the wake of the Second World War.

In this episode, we discuss Nan Shepherd's The Living Mountain (1977), a work of topographical and philosophical speculation centred on the Cairngorms in Scotland 

In this episode, we discuss Ronald Fraser's 'Flower Phantoms' (1926), an obscure fantasy in which Judy, a student of botanical sciences, engages in a psycho-sexual communion with the soul of an orchid in Kew Gardens. We were beguiled by this strange, orchidaceous novella. Over the course of the programme, we consider Fraser's at once fascinating and problematic treatment of female sexuality, his preoccupation with epistemological questions, and his meditations on the creative act itself