Secret Life of Books

In April 1819, the poet John Keats, aged 23, told his brother George that he was done with poetry. A few days later, he smashed out the first poem in what is arguably the greatest streak in literary history, with "La Belle Dame Sans Merci." This was followed in quick succession by four odes, including "Ode to a Nightingale" and "Ode to a Grecian Urn." And then as summer faded, he had a thing to say about the season of mists and mellow fruitfulness in "To Autumn." Throughout this, he also wrote one of his most under-rated longer poems - the mini epic Lamia. All that in six months!
God only knows what marvels 1820 might have had in store, but at the start of the year he suffered his first lung haemorrhage, confirming his fears of tuberculosis, and announced to his friend Charles Browne that he was dying - as indeed he was.
Not only do Keats' Odes stand amongst the greatest in the English language, but their influence was unparalleled in that century. Tennyson, the Pre-Raphaelites and the Aesthetic Movement that we associate with Walter Pater, William Morris and Oscar Wilde directly descend from Keats’ work, frequently quoting the final lines of "Ode to a Grecian Urn" as their credo: ‘Beauty is truth, truth beauty, - that is all ye know on earth, and all ye need to know’.
So the big question in this episode is simply ‘how?’. How did the 23-year-old Keats manage to do it? What was going on in his life and his art, his friendships as well as the world at large to enable this to happen? And what is it that makes these poems so truly unforgettable? We’re going to be talking about madness, revolution and medicine in Regency England. We’re going to run through a brief history of birds - particularly nightingales - in English literature, and explain what an ode is and where it comes from? There’s love, friendship, laughter, despair, and something called Negative Capability, which is more exciting than it sounds.

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In 1751, a little-known Cambridge academic called Thomas Gray published “Elegy Written in a Country Churchyard” and became a household name. His poem was a funeral elegy about the sun going down over the graves of long-forgotten people whom Gray didn’t know. They happened to be buried in the same small country churchyard as his aunt and mother (and, eventually, himself), in the village of Stoke Poges. It was an instant smash, topping the literary charts and going into multiple reprints, editions, and translations - and spawning a minor sub-industry of satires and parodies.
If you’ve ever heard of the “graveyard school” of poetry, Thomas Gray is its genius, and “Elegy Written in a Country Churchyard” by far its most famous and influential poem.
Gray had a huge impact on the Romantic poets - Wordsworth, Colerdige, Keats and Percy Bysshe Shelley. Tennyson, Browning, T.S. Eliot and Philip Larkin were all indebted to him – and countless others.
Generations of British schoolchildren know Gray’s poem by heart, so today Sophie and Jonty are digging up the dirt on this graveyard poem to ask what all the fuss is about. Why is this one of the most important and prized works in English poetry, and which heavy-hitter authors came before Gray, paving the way for this poetic game-changer?

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A special collaboration between Sophie and the celebrated writer and podcaster Gretchen Rubin, of Happier with Gretchen Rubin, recorded live from New York City. Join Sophie and Gretchen on a literary pilgrimage to the Upper East Side of New York, where they celebrate a shared favourite children's book, From the Mixed Up Files of Mrs. Basil E. Frankweiler, by the extraordinary E.L Konigsburg.
Sophie and Gretchen walk out on the streets of Manhattan and through the galleries of the Met, visiting favorite landmarks from the novel, and discussing what makes this children's book so perfect, both a glorious product of its time and place, and an immortalizing of the Met and New York City for future generations of children and their parents.
It's part of a series Gretchen and her sister are doing called MOVE 26 in '26, to get readers and listeners exercising for at least 26 minutes a day, during 2026!
Check it out here, and sign up:
https://gretchenrubin.com/move26in26/
And learn more about Gretchen and her work on a happier life here:
https://gretchenrubin.com/

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Talent shows like The X Factor, Got Talent and their many spin offs began in the 1380s, not the 1980s! They were invented by Geoffrey Chaucer, who wrote his masterpiece The Canterbury Tales at the end of a successful and glamorous diplomatic career in medieval Europe.
This is the literary pilgrimage to top all literary pilgrimages, the imagined story of a group of medieval odds and sods, who meet up to in a London pub and walk to Canterbury Cathedral. The owner of the pub, a local MP named Harry Bailey (a real guy), decides that they’ll have a storytelling competition to pass the time while they travel. The winner will get dinner at, you guessed it, Harry's pub.
No one had ever written anything remotely like this before, and Chaucer’s version of pub-mike night became a literary sensation.
The Canterbury Tales is one of the most famous works of English Literature ever, and a perennial favorite on "Intro to English Lit" syllabuses. It's written in Middle English, which isn't an easy read now, but has a lot of fascinating local color that has disappeared from modern English. In the first installment of our “Long(ish) Poems” series, Sophie and Jonty explain why the Canterbury Tales remains an evergreen literary staple, what makes Chaucer’s characters so brilliant, and what’s important about the "General Prologue" that kick-starts the whole tale cycle. [Editor's note: work on your titles, Geoffrey!]

Here is Harvard's easy to use version of the Canterbury Tales in Middle English with a modern English translation: https://chaucer.fas.harvard.edu/pages/general-prologue-0

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2026 is the year of the Horse. It is also the Year of Classic Literature, thanks to the current crop of high-profile screen adaptations. And, when it comes to the classics, SLOB is all about the small screen.

Most film directors have enormous egos. All too often they use a classic as a departure point to - frankly - just show off. To try and show they are as brilliant as the author. And we don’t like it! Or very rarely. Our hearts lie with the small screen. There the classics can unfold faithfully and with all the time they deserve. Think of the BBC’s adaptations of Pride and Prejudice, Middlemarch and Jane Eyre, as well as modern classics like Wolf Hall and Normal People.

It’s fair to say that the breakout hit of the hour is the BBC’s adaptation of Janice Hadlow’s The Other Bennet Sister - a bold rewrite of Pride and Prejudice - starring Ella Bruccoleri, Richard E Grant and Ruth Jones. So, we’re delighted to have Janice on the show this week to talk about not only adapting Pride and Prejudice, but having her book in turn adapted for the screen.

Anyone familiar with Jane Austen’s Pride & Prejudice will know that Elizabeth Bennet has a very unappealing younger sister called Mary, who - with Austen’s characteristic talent for cruelty - is portrayed as a plain-looking prig, unable to say the right thing, and generally lowering spirits with her moralising comments and sub-par musical performances. You might recall the famous Mr Bennet line spoken about Mary: "That will do extremely well, child. You have delighted us long enough. Let the other young ladies have time to exhibit."

In this episode, we're joined by author Janice Hadlow to chat all about Mary, TOBS, and what it looks like when you champion the underdog.

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