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Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Guest artist LAUREN GODFREY joins JILLIAN KNIPE to discuss her work via 'Heartburn' by Nora Ephron. Published in 1983, it tells a recipe rich story of Rachel Samstat and her husband Mark's marriage breakdown as a result of his affair with Thelma Rice. BUY US A COFFEE! SUPPORT US ON PATREON! LAUREN and Jillian's conversation encompasses misogyny, kreploch soup, fat phobia, hot sass, slaying haters, brilliant naivety, acerbic wit, catching glimpses, high drama and potatoes as a signpost for the progress and decline of relationships. Also: losing the plot, aubergine as icon, minutiae of life, mid pregnancy betrayal, magnifying tiny moments, passing on recipes through generations, mapping of time and place through food, flood of linguistic lyricism, the power of choosing clothes, menu choice as an identity market and distilling culture into a witty sentence.   LAUREN GODFREY @laurengodfreystudio laurengodfrey.co.uk 'Pattern Portraits podcast' 'Group Hat' 'What We Wore' GET IN TOUCH with us by EMAIL artfictionspodcast@gmail.com ARTISTS CURATORS Adam Boyd Anni Albers Anthea Hamilton Bethan Laura Wood Bruce MacLean Capability Brown Cinzia Ruggeri Dr George Vasey 'Harrow March 31st 2005...' George Richardson Gunta Stöltzl Holly Graham JB Blunk Jennie Moncur Luke Burton Marcus Coates 'Nature Calendar' Maria Zahle Martin Parr Mary Godfrey Nadia Hebson Patrick Heron Rosalind Nashashibi Rosie Gibbens Tacita Dean 'Kodak 2006' BOOKS AUTHORS WRITERS AA Gill Asako Yuzuki 'Butter' Bob Woodwood Carl Bernstein Carmen Callil David Sedaris JD Salinger 'The Catcher in the Rye' 'Franny and Zooey' John Updike Lena Dunham Lennie Goodings 'Virago founder Carmen Callil was a powerhouse who changed the publishing world for the better' The Guardian 18 Oct 2022 Michelle Zauner of Japanese Breakfast 'Crying in H Mart' Miranda July 'All Fours' Nora Ephron 'Forget the Hamsters' The Guardian 6 Nov 2004 Phillip Roth Raven Smith 'Men' 'Trivial Pursuits' Salena Barry Tank Magazine 'Pancake Day' Vanessa Murrell Virago Books Modern Classics ART INSTITUTIONS Bauhaus Coal Drops Yard De La Warr Pavillion Design Museum Gasworks Goldsmiths CCA Harewood House Trust ICA Kingsgate Project Space Krupa Gallery The Memphis Group New Contemporaries Vital Arts at Newham Hospital FILM Anijam animation initiative Cher 'Ghostbusters' 'Julie and Julia' Meg Ryan Meryl Streep 'Sex and the City' Silkwood Stanley Tucci 'Taste: My Life Through Food' When Harry Met Sally Woody Allen CHEFS Elizabeth David Julia Childs ORGANISATIONS Taylors of Harrogate Selfridges NOTED PEOPLE James Callaghan Margaret Thatcher Margaret Ann Jay, Baroness Jay of Paddington Maria Montessori Melanie Klein CREDITS Griffin Knipe - music Joanna Quinn of Beryl Productions - logo  

Chair: Anne Summers Hilary McPhee, together with her business partner Di Gribble, established Australia's first woman-owned publishing house in 1975. For over two decades, McPhee discovered new writers who are now revered as greats of the Australian literary canon, including Helen Garner, Tim Winton and Drusilla Modjeska. Monkey Grip, Puberty Blues and Cloudstreet are just some of the books this Grand Dame of Australian letters nurtured into being. In this insightful conversation, McPhee talks about those halcyon days, her friend the late Carmen Callil and the state of modern publishing. Event details: Mon 06 Mar, 2:30pm on the East Stage

In memory of the great Carmen Callil, we are replaying the first of her two appearances on Backlisted. Joining Andy and John in this episode is Carmen Callil, the legendary publisher and writer, who is best know for founding the Virago Press in 1972. Once described by the Guardian as ‘part-Lebanese, part-Irish and wholly Australian', Carmen settled in London in 1964 advertising herself in The Times as ‘Australian, B.A. wants job in book publishing'. After changing a generation's taste through her publishing at Virago, and in particular the Virago Modern Classics, which continues to bring back into print hundreds of neglected women writers, Carmen went on to run Chatto & Windus and became a global Editor-at-Large for Random House. In 2006 she published Bad Faith: A History of Family & Fatherland, which Hilary Spurling called ‘a work of phenomenally thorough, generous and humane scholarship'. Appointed DBE in 2017, she was also awarded the Benson Medal in the same year, awarded to mark ‘meritorious works in poetry, fiction, history and belles-lettres'. The book under discussion is one of her favourite novels, The Tortoise & the Hare by Elizabeth Jenkins, first published by Gollancz in 1954 and triumphantly reissued by Virago Modern Classics in 1983. Also in this episode we explore the new audio version of one our favourite writer's best novels - The Unfortunates by B.S. Johnson, famously published in a box containing 27 randomly ordered sections in 1969. And last but very much not least: this episode also features our very first canine guest - Effie, Carmen's extremely well-behaved border terrier. Timings: (may differ due to variable advert length) 8'10 - The Unfortunates by B.S.Johnson 21'16 - The Tortoise and the Hare by Elizabeth Jenkins * To purchase any of the books mentioned in this episode please visit our bookshop at uk.bookshop.org/shop/backlisted where all profits help to sustain this podcast and UK independent bookshops. * For information about everything mentioned in this episode visit www.backlisted.fm *If you'd like to support the show, listen without adverts, receive the show early and with extra bonus fortnightly episodes, become a Patreon at www.patreon.com/backlisted

In this first episode in a new series, interviewer Chloe Fox conducts what will turn out to be the Australian-born publisher Carmen Callil's last interview. Topics covered include Catholic scruples, abortion, inequality in the workplace and what truly matters when you come to the end. Hosted on Acast. See acast.com/privacy for more information.

This week, writer, professor & critic Marina Warner joins the show to talk about her new book about her parents, Esmond and Ilia: An Unreliable Memoir (New York Review Books). She gets into the memory of her father's Cairo bookshop getting burned down in a riot, the huge cache of letters and documents her mother left behind and what it taught her about her mother's life & deep sadness, how this book transitioned from novel to memoir and what novelistic aspects it retained, and why she disagrees with the standard memoir's notion of an integral self. We also talk about transformations from Ovid to COVID, her upcoming work on the concept of sanctuary and her interest in refugees, what it means to be at home in the world and how to give refugees a sense of attachment through imagination, why fairy tales and myth need to be reinterpretable and not fixed in meaning, how it felt to have one of her books cribbed by WG Sebald, how the myrrh bush captured her imagination, and why I think she should watch Bill & Ted's Excellent Adventure. Plus, we discuss the loss of Carmen Callil and the need to champion women writers, her role as the first woman president of the Royal Society of Literature from 2017 to 2021 and the RSL's recent unwillingness to hold an event in support of Salman Rushdie, and a lot more. Follow Marina on Twitter • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

Dame Carmen Callil, who died in October this year, founded feminist publisher Virago Press in 1972 to promote women's writing. In this programme first broadcast in 2019, she tells Claire Bowes how she hoped to put women centre stage at a time when she and many others felt side-lined and ignored at work and at home. Music: Jam Today by Jam Today courtesy of the Women's Liberation Music Archive. (Photo: Dame Carmen Callil 1983. Credit: Peter Morris/Fairfax Media via Getty Images)

Matthew Bannister on Dame Carmen Callil (pictured), the Australian-born publisher who founded the feminist Virago Books. Ivy Jo Hunter, known as the 'forgotten man of Motown', he co-wrote Dancing In The Street for Martha Reeves and the Vandellas. Kathleen Booth the mathematician and pioneering computer designer. Dietrich Mateschitz, the billionaire who turned the Red Bull energy drink into a global success by sponsoring sports clubs and daring stunts, including backing two Formula One motor racing teams. Producer: Neil George Interviewed guest: Harriet Spicer Interviewed guest: Graham Betts Interviewed guest: Ian Booth Interviewed guest: Amanda Booth Interviewed guest: Nina Baker Interviewed guest: Chris Medland Archive clips used: BBC Radio 4, Desert Island Discs – Carmen Callil; Audible Audio/ Spoken Realms, My Brilliant Career by Miles Franklin 30/03/2021; The Red Bull Company, Rapunzel commercial 1991; BBC One, Formula 1 – The Abu Dhabi Grand Prix 14/11/2010; Red Bull Stratos, Red Bull Space Dive 14/10/2012; TikTok.com @pianograndad – Alan Melinek.

An independent review launched after up to 15 babies died at a hospital trust will be published later this morning. The report into maternity services at East Kent Hospitals, which is expected to be "harrowing", examined up to 200 cases involving mothers and babies. The medical experts reviewed an 11-year period from 2009 at two hospitals in Margate and Ashford. Two mothers who lost their babies at a hospital trust at the centre of a maternity scandal say they felt they were blamed for the deaths. Earlier our presenter Krupa Padhi spoke to one of those mothers Helen Gittos as she and her husband Alan, and other families, waited to be allowed to read the report. They lost their daughter Harriet in 2014. The cartoonist Kate Beaton has written a memoir about her time working in the oil fields of Canada aged 21 to pay off her student debt. Her memoir 'Ducks' tells of her loneliness and vulnerability in the male-dominated space and the kindness she found there too. The dirty machinery and blasted landscapes alongside the Northern Lights inspired her as an artist and her book offers a rare insight into the lives of the people who surface our oil . Carmen Callil, the publisher and writer who championed female writers and transformed the canon of English literature, has died of leukemia aged 84. She founded the feminist imprint Virago Press, where she published contemporary bestsellers including Margaret Atwood and Maya Angelou. She worked with writers such as Angela Carter, Alan Hollinghurst and Toni Morrison. She was also the first publisher of Hilary Mantel. We discuss her life with chair of Virago Press, Lennie Goodings, a long-term friend and former colleague of the late publisher and writer. Child-free women in the 20-something age bracket are sharing videos outlining what their day-to-day lives look like as #StayAtHomeGFs on TikTok. The hashtag has garnered 170 million posts and refers to one partner in a relationship whose role is to stay at home to look after their breadwinner boyfriend who goes to work and funds their lives. The content appears to be quite aspirational for many. We discuss the trend with the digital culture commentator Hannah Van de Peer and Alex Holder, a personal finance expert and author of Open Up: Why Talking About Money Will Change Your Life. Google searches for sterilisation peaked in the US in the aftermath of the overturning of Roe v Wade – and the morning after pill sold out. It's even made some women rethink whether or not they want children, and reports suggest younger women are even considering permanent sterilisation so they can't become pregnant again. 23-year-old Olivia from Massachusetts joins Krupa, alongside USA correspondent Holly Honderich and NHS gynaecologist Dr Larisa Corda, to chat about the implications of female sterilisation. Presenter: Krupa Padhi Producer: Kirsty Starkey Interviewed Guest: Helen Gittos Interviewed Guest: Kate Beaton Interviewed Guest: Lennie Goodings Interviewed Guest: Hannah Van de Peer Interviewed Guest: Alex Holder Interviewed Guest: Holly Honderich Interviewed Guest: Dr Larissa Corda

Oscar-winner Dame Emma Thompson on women's pleasure and full frontal nudity in her latest acting role in Good Luck To You, Leo Grande. Are you a 'flusher' or a ‘binner'? New research says 2.4 million tampons are flushed down UK toilets every day leading to sewer blockages and pollution. We talk to Martha Silcott who's developed a simple product to encourage you to bin and Daisy Buchanan who says more needs to be done to make a product which flushes without causing environmental harm. In 2017 surgeon Ian Paterson was jailed for 20 years after being found guilty of 17 counts of wounding with intent. Mr Paterson was diagnosing cancer when there wasn't any and cutting his patients open for no reason, performing unnecessary and damaging surgery. He also carried out unregulated "cleavage-sparing" mastectomies, in which breast tissue was left behind, meaning cancer returned in many of his patients. Ahead of a new ITV documentary Emma speaks to the whistleblower who raised concerns about Ian Paterson – Mr Hemant Ingle, and one of Paterson's victims Debbie Douglas, who is still campaigning for a change in the law to prevent anything like this from happening again. 50 years ago this month the first edition of the iconic feminist magazine Spare Rib was published. Also in that year - 1972 – and inspired by its founders, Rosie Boycott and Marsha Rowe, Carmen Callil founded the book publisher Virago which still gives a voice and platform to female writers today. Emma hears from the three trailblazing women. Can platonic love survive romantic love as we grow up? The writer Dolly Alderton on her new BBC TV series, an adaptation of her 2018 memoir ‘Everything I Know About Love'. Presenter: Anita Rani Producer: Dianne McGregor

The singer songwriter Joan Armatrading received an Ivor Novello Award for Outstanding Contemporary Song Collection in 1996. Best known for hits such as Love And Affection, Me Myself I and Drop The Pilot, she has released more than 20 studio albums. Later this week Joan will receive The Music Producers Guild Outstanding Contribution Award. She joins Emma to discuss her music and this latest achievement. 50 years ago this month the first edition of the iconic feminist magazine Spare Rib was published. It set out to offer an alternative to existing women's magazines at a time when the women's liberation movement was challenging women's secondary place in society. Also in that year - 1972 – and inspired by its founders, Rosie Boycott and Marsha Rowe, Carmen Callil founded Virago – the book publisher which still gives a voice and platform to female writers today. Tonight a party is being held at the British Library in celebration, and Emma is joined by all three women. Prime Minister Boris Johnson has won the backing of a majority of Tory MPs in a confidence vote despite a significant revolt against his leadership. He won 59% of the vote, meaning he is now immune from a Conservative leadership challenge for a year. In all, 211 Tory MPs voted they had confidence in the PM's leadership while 148 voted against him. We've since heard from a number of male MPs, but where are all the female MPs? Vanishingly few women from the Conservative Party have spoken publicly on this - especially from the rebel side. Emma is joined by Victoria Prentis, Minister of State for the Department for Environment Food and Rural Affairs. Every year HIV, tuberculosis, and malaria kill more than 5 million people. Much has been done to try to eradicate these diseases, and international donor funds are intent on curing them by 2030. The UK has historically been one of the main donors, but due to the covid-19 pandemic, priorities have shifted and some funds have been redirected. The Kenyan campaigner Maurine Murenga, who lives with HIV herself, is asking for the international community to bring their attention back to these deadly diseases. She joins Emma in the studio. If you happened to be strolling along the seafront at Plymouth at the start of the Jubilee weekend you may have looked down and spotted a very large gathering of mermaids sunning themselves. Pauline Barker organised the event to kick off celebrations in the city by the sea, and to try and break a Guiness world record - she tells Emma how it went.

Virago is a London-based British publishing company committed to publishing women's writing and books on "feminist" topics.  Established by women in the 1970s in tandem with the Women's Liberation Movement (WLM), Virago has done much to address inequitable gender dynamics in the publishing world, and, unlike anti-capitalist publishing ventures, has branded itself a commercial alternative in a male dominated publishing industry, seeking to compete with mainstream international presses.   Initially known as Spare Rib Books, Virago was founded by  Carmen Callil in 1973 primarily to publish books by women writers. From the get-go the company sought two sorts of books: original works, and out-of-print books by neglected female writers. The latter were reissued under the "Modern Classics" label, which launched in 1978   In 1982, Virago became a wholly owned subsidiary Random House, USA, but in 1987 Callil, Lennie Goodings and others put together a management buy-out. After a downturn in the market, the board decided to sell Virago to Little, Brown, of which Virago became an imprint in 1996 (with Lennie as Publisher).  In 2006, Virago became part of the Hachette publishing group with Lennie acting as editor and publisher. She is now Chair of Virago.   Today the company's stated mission is to "champion women's voices and bring them to the widest possible readership around the world. From fiction and politics to history and classic children's stories, its writers continue to win acclaim, break new ground and enrich the lives of readers."   I met Lennie via Zoom to talk about her life with Virago, as described in her new memoir A Bite of the Apple, published by OUP around the world, and by mighty Biblioasis in Canada. 

Film reviews of Hillbilly Elegy, Finding Jack Charlton and Billie, CMAT on Dolly Parton's new book and author Carmen Callil.

Film reviews of Hillbilly Elegy, Finding Jack Charlton and Billie, CMAT on Dolly Parton's new book and author Carmen Callil.

The indomitable Carmen Callil – mother of Virago Press, writer, publisher, fierce feminist, joyful crone, enraged person and self-proclaimed difficult woman – is one hell of a role model. And one hell of a writer. Callil's latest book, Oh Happy Day: Those Times And These Times, brims with eloquent rage as she delves into her ancestors’ lives to tell a gripping story of Empire and the poverty and injustice of 19th Century England, and how that led to her family's migration to Australia. It’s brimming with eloquent rage and truly wonderful. And as the title suggests – and as Carmen and Mickey discuss – those times aren’t so different from these times for a lot of people living in poverty in modern Britain. They also talk Virago, Angela Carter, rage, Thatcher, progress or its lack, going grey, and new books for your shelves. Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.

There's been some good news! At long ruddy last! So this Bush Telegraph is the chirpiest it's been for a long time, but that's not all there is to enjoy in this week's podcast. Mickey chats to publishing legend and utter delight Carmen Callil about founding Virago press, class, poverty, history, the need for revolution, and being a difficult woman. Meanwhile, ahead of Alcohol Awareness Week, Hannah chats to Ailsa Clarke about raising a son with FASD and why the conversation about alcohol and pregnancy remains so contentious in the UK. And in Rated or Dated, we watch 1999's The Green Mile, which is apparently “sometimes long”. You're telling us, Hanks, you're telling us! Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.

Sam's guest in this week’s Book Club podcast is the publisher and historian Carmen Callil, whose new book Oh Happy Day: Those Times and These Times, tells the story of how her 18th-century ancestors were transported to Australia. She uses their story as a window into a densely imagined account of English and Aussie social history, and of the darker side of empire. She tells Sam why the Industrial Revolution wasn’t always a good thing, why it isn’t over the top to compare the British state apparatus to the Nazis - but also about her own childhood in Melbourne and why as a fervent anti-imperialist she accepted a Damehood.

My guest in this week’s Book Club podcast is the publisher and historian Carmen Callil, whose new book Oh Happy Day: Those Times and These Times, tells the story of how her 18th-century ancestors were transported to Australia. She uses their story as a window into a densely imagined account of English and Aussie social history, and of the darker side of empire. She tells me why the Industrial Revolution wasn’t always a good thing, why it isn’t over the top to compare the British state apparatus to the Nazis - but also about her own childhood in Melbourne and why as a fervent anti-imperialist she accepted a Damehood.

Virago Press opened as a feminist publisher in 1972 to promote women's writing. Its founder, Carmen Callil, says she wanted both men and women to benefit from the female perspective. She tells Witness how she hoped to put women centre stage at a time when she and many other women felt sidelined and ignored at work and at home. Photo: Carmen Callil, 1983 (Photo by Peter Morris/Fairfax Media) Music: Jam Today by Jam Today courtesy of the Women's Liberation Music Archive.

Andy and John are joined by Carmen Callil, publisher, writer and critic and founder of Virago Press, to discuss The Tortoise and the Hare by Elizabeth Jenkins, a novel first published in 1954 and then republished by Carmen in the 1980s as a Virago Modern Classic. Producer Nicky Birch also talks about her work on a new interactive adaptation of B.S. Johnson's novel The Unfortunates for BBC and Amazon Alexa.

We talk to publisher, editor and friend of Angela Carter, Carmen Callil.Where to start with Angela Carter: http://po.st/WhereToStartACarterFollow us on twitter: twitter.com/vintagebooksSign up to our bookish newsletter to hear all about our new releases, see exclusive extracts and win prizes: po.st/vintagenewsletter See acast.com/privacy for privacy and opt-out information.

Carmen Callil, writer, editor and founder of Virago, tells Rosemary Hill how she made her way in 1960s London.Read more by Rosemary Hill in the LRB: lrb.me/hillpodSign up to the LRB newsletter: https://lrb.me/acast See acast.com/privacy for privacy and opt-out information.

Melbourne prides itself on being the 'cultural and sporting capital of Australia'. It's a UNESCO City of Literature. As the Melbourne Symphony Orchestra perform at tonight's Prom concert the publisher Carmen Callil, founder of Virago Press, and novelist Helen Fitzgerald discuss Melbourne. The programme is presented by Rana Mitter and was recorded in front of an audience at the Royal College of Music as part of the BBC Proms. To find out further information about the events which are free to attended go to bbc.co.uk/proms

Germaine Greer chooses The Getting of Wisdom by the Australian novelist Henry Handel Richardson. Published in 1910 it's a story of friendship and betrayal set in a girls boarding school in Melbourne. Presented by Mark Lawson. The interview is followed by selected clips from the BBC archive: Carmen Callil on Henry Handel Richardson; Henry Handel Richardson reading her work in 1944; Germaine Greer, Thomas Kineally and David Williamson on Australia's Cultural Cringe and Germaine Greer on why feminists should not aim for equality with men. Full archive details are available at http://www.bbc.co.uk/programmes/p016p5mb/profiles/germaine-greer

Mariella Frostrup talks to novelist Thomas Keneally, publisher and writer Carmen Callil and critic Geordie Williamson about Australian classic novels asking if Australia has neglected its literary heritage. Robert Hudson tells us about his hilarious new novel The Dazzle - a fishy tale set in 1930's Scarborough. And the latest developments in literary neuroscience - what exactly is the human brain doing when we are reading a good book?

Sue Lawley's castaway this week is the editor and publisher, Ursula Owen. Twenty-five years ago she helped create Virago - the feminist publishing house which promotes women writers. A huge success, it became the focus of much attention when she and her colleague, Carmen Callil, fell out in what became a very public row. Recently, she has revamped the magazine Index on Censorship, which debates the issues surrounding freedom of speech and publishes the work of persecuted writers. The daughter of a Jewish family who fled to Britain from Nazi Germany, she was a quiet, reserved and conformist child. Her friends, she says, still wonder how she grew up to be such an outspoken, strong-minded and opinionated woman.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Der Rosenkavalier The Trio From Act Three by Richard Strauss Book: The collected works by Anton Chekhov Luxury: Family photo album

Sue Lawley's castaway this week is the editor and publisher, Ursula Owen. Twenty-five years ago she helped create Virago - the feminist publishing house which promotes women writers. A huge success, it became the focus of much attention when she and her colleague, Carmen Callil, fell out in what became a very public row. Recently, she has revamped the magazine Index on Censorship, which debates the issues surrounding freedom of speech and publishes the work of persecuted writers. The daughter of a Jewish family who fled to Britain from Nazi Germany, she was a quiet, reserved and conformist child. Her friends, she says, still wonder how she grew up to be such an outspoken, strong-minded and opinionated woman. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Der Rosenkavalier The Trio From Act Three by Richard Strauss Book: The collected works by Anton Chekhov Luxury: Family photo album

Sue Lawley's castaway is publisher and writer Carmen Callil.Favourite track: Adagio In E Flat by Franz Schubert Book: Maurice Guest by Henry Handel Richardson Luxury: Film - The Commitments

Sue Lawley's castaway is publisher and writer Carmen Callil. Favourite track: Adagio In E Flat by Franz Schubert Book: Maurice Guest by Henry Handel Richardson Luxury: Film - The Commitments