Last year, the SLoBlight lingered briefly on Agatha Christie when we celebrated the centenary of The Murder of Roger Ackroyd from 1925. This book, more than any other, heralded the start of the so-called Golden Age of Detective Fiction between the two world wars. 

Taught, short and fraught with menace, these novels were in large part a response to the chaos and brutality of the First World War. The public needed order and diversion. Highly regulated games became popular - contract bridge, crosswords, Mah Jong - and so did detective fiction. These games indeed frequently appear in As the initiation ceremony to the Detection Club shows, detective fiction was a sort of literary game - with clear rules of engagement and a puzzle for the reader to unravel. 

In this mini-series on the Golden Age of Detective Fiction we’re looking at what happened after Roger Ackroyd. As the 1930s darkened with the great depression, the rise of fascism and - dare we say it - the rather bleak view of human nature contained within Freudian psychoanalysis, so too did detective fiction. At the forefront of these changes were the so-called Queens of Crime - Agatha Christie, Dorothy L Sayers, Ngaio Marsh and Margery Allingham.

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George Eliot’s Middlemarch is the Mount Everest of Victorian fiction. A book so brilliant and monumental that it’s taken us a year of planning to take it on. But as we close out 2025, we’ve established our Middlemarch base camp and started the climb.

To put it another way, we’ve recorded an episode in which we treat listeners to the story behind the story of the greatness that is Mary Ann Evans, the woman who became George Eliot. Middlemarch is, in many people’s opinions, the greatest novel in English. To help understand why it’s so amazing, how Eliot learned to write like this, and her life as a reader, writer, daughter and lover (plus, the story behind her pen name), we give you this primer episode.

Starting this Friday, we have new subscriber-only episodes every two weeks about Middlemarch itself, going book by book through this magnificent classic. This is how Eliot meant Middlemarch to be read - through 8 stages. One for each of the serialized volumes that ran through 1871 and 1872 before the book was published as a whole in 1874.

Join up for the bookclub by becoming a paid subscriber on Patreon, and come along with us for the adventure.

Books discussed in this episode:

George Eliot, Middlemarch

George Eliot’s translated works: David Friedrich Strauss, The Life of Jesus, Critically Examined; Ludwig Feuerbach’s The Essence of Christianity; Benedictus de Spinoza, Ethics

George Eliot, Scenes of Clerical Life

George Eliot, Adam Bede

George Eliot, The Mill on the Floss

George Eliot, Silas Marner

George Eliot, Romola

George Eliot, Felix Holt, The Radical

George Eliot, Daniel Deronda

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It won't come as a surprise to SLOB fans that the literary classics invented Christmas.

But if you've got your finger on the buzzer and are already mouthing the words "Dickens, A Christmas Cracker" think again.

We take you back to Christmas Eve, somewhere in North Wales, around about 1385 (brrrr). Cue the giant, jolly yet murderous Greene Knight, who shows up in the local mead hall, and issues a complicated and charmingly allegorical seasonal challenge to the Knights of the Round Table.

From there we pay visits to the frankly unsatisfactory Christmases of the English Renaissance (wet, high-fiber pudding porridge, anyone?), the austere anti-Christmases of Puritan England, the weak-tea Christmas-adjacent efforts of the eighteenth-century, and then — boom — the advent of Victorian Christmas excess, with trees, fairy lights, turkeys, and giant inflatable santas in every front yard.

We wish all our beloved SLOB listeners a Merry Christmas, and whether you celebrate or not we know you'll find the Cracker a veritable trove of literary trinkets and tidbits.

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Unless you've been living under a rock, you'll know that Jane Austen has a big birthday this week -- her 250th to be exact. Happy Birthday Jane!

Over here on SLOB we're throwing Jane a party, and we've invited guests. They're truly the guests of honor. The women who made Jane Austen. You may not know all of their names, or any of them. We introduce some literary superstars from their own day, who influenced Austen's craft, storytelling, irony and encouraged her appetite for wild, subversive stories.

We tend to see Austen as a lone genius, carving out a voice for women in a world where they were often unheard. She was, in fact, just a particularly brilliant member of a wider social and literary movement. She was great, and she was great because she stood on the bonnets of giantesses. 

Please meet the bolters, bad-asses, barn-stormers, bold adventurers. The bloody-minded and the bloody-brilliant.

Writers and books mentioned in the episode:

Aphra Behn, Oroonoko and Love-Letters Between a Nobleman and His Sister

Delarivier Manley, The New Atlantis

Eliza Haywood, Love in Excess

Charlotte Lennox, The Female Quixote and Henrietta

Ann Radcliffe, A Sicilian Romance; The Romance of the Forest; The Mysteries of Udolpho; and The Italian

Mary Wollstonecraft, A Vindication of the Rights of Women; A Short Residence in Sweden, Norway and Denmark; Maria; or, the Wrongs of Woman

Frances Burney, Evelina, Cecilia, Camilla and The Wanderer

Charlotte Smith, Elegiac Sonnets and The Old Manor House

Elizabeth Inchbald, A Simple Story

Maria Edgeworth, Castle Rackrent, Harrington and Belinda.

Jane Austen, The Beautifull Cassandra (juvenilia)

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Are you a cat-person or a tyger-person? William Blake was both. Find out why such a big fuss about "The Tyger," which never fails to show up in google searches for the best poem in English.

"The Tyger" has a lot going for it: short, punchy, mystical and definitely about a tiger.

But beyond that, everything is up for grabs. Who was this William Blake, not just one of the most loved poets of all time, but among the strangest. Had he actually seen a tiger in 1794, or is his tiger a metaphor for other powerful, scary, orange things, like the French Revolution, child-labor, or other Romantic Poets? Why were tigers in the news at the time, and what does Blake's poem have to do with much-loved mechanical tiger in the Victoria and Albert museum? Sophie and Jonty discuss Blake's quirky brilliance as an illustrator, his similarity to Chagall, his early life and late obsession with John Milton, and the literary rarity of Blake's being both a Great Poet and a Nice Guy.

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Stephen King and Shirley Jackson agree that The Turn of the Screw is the GOAT of ghost-stories. It’s a gripping, excellently creepy potboiler about a mad governess and a pair of haunted children in a scary Victorian country house.

Henry James already had 14 novels and a load of short fiction behind him when he wrote The Turn of the Screw, and he channeled his talent for opaque, ambiguous storytelling to come up with one of the most truly chilling psychological thrillers ever written.

The novella – yes we’re happy to report that this is a short read – was serialized over three months in a magazine called Collier’s Weekly and then reprinted with another story as The Two Magics. It was a hit, which it needed to be because avid listeners to SLOB will remember that the 1890s in London was a competitive time for supernatural page turners. We’re looking at you, Dracula, Sherlock Holmes and The Picture of Dorian Gray. Find out why this is the decade of the unputdownable classic

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One of the world's favorite novelists, on his own favorite novelist. Colm Toibin has written many beloved novels, for which he has won many prestigious prizes. The novels include Brooklyn and Long Island; The Magician and The Master. This last is Colm's fictional recreation of Henry James' extraordinary career-save in which he bounced back from the failure of his West End play, Guy Domville, to write, in rapid succession, several of the greatest masterpieces of 19thC fiction.

It takes confidence imaginatively to inhabit the mind and creative life of Henry James, the writer who, more than anyone before him, worked out how to inhabit his characters' minds and creative lives. Not only does Colm pull it off in The Master, he repeats the trick in many other novels, giving us characters of immense emotional and psychological depth.

Sophie and Jonty quickly realized why Colm had felt able to tackle the ultimate challenge of mind-reading Henry James. Colm, it quickly emerges, is a staggeringly astute literary critic and craft-teacher. Aspiring writers, masters of their craft, and curious readers alike will be blown away by the fluency and virtuosity of Colm's account of what he's learned from Henry James, his own development as a writer, and much more.

Colm Toibin, The Master, Brooklyn, Long Island.

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Many readers consider The Portrait of a Lady to be the greatest novel in English. But for some reason, James' fellow novelists loved to dump on him. Nabokov called him a "pale porpoise," and said his books were strictly for "non-smokers." Virginia Woolf, who knew him as a family friend, wrote, "we have his works here, and I read them, and can’t find anything but faintly tinged rose water, urbane and sleek, but vulgar, and as pale as Walter Lamb. Is there really any sense in it?" T.S. Eliot said that he had "a mind so fine no idea could penetrate it." Ouch.

Sophie and Jonty beg to differ. For once, we think Virginia Woolf got it completely wrong. Serialized simultaneously in America and Britain over 1880/81, A Portrait of Lady is one of the great peaks of English writing. It tells the story of Isabel Archer, an American heiress, who is determined to enjoy a life of travel and independence, only to fall into the clutches of a gaslighting con-artist called Gilbert Osmond.

James' first masterpiece is a gripping domestic thriller, which marked a revolution in the portrayal of women in literature, creating a heroine who is psychologically complex, outspoken, transgressive and determined not to be pinned down by Victorian moral standards.

It also marks a revolution in our understanding of the human mind. Henry James’ brother was the so-called Father of American Psychology William James. Both of them tackled the question of what really goes on in the mind in different ways. It has one of the best opening sections ever, and one of the most fascinating and ambiguous endings. It's not for the faint-hearted reader, sure, but it repays every moment of a reader's attention.

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SLoB is turning 1! To celebrate, Sophie and Jonty re-read one of their all time favorites, My Family and Other Animals by Gerald Durrell.

My Family and Other Animals (1956) is the beloved, hilarious, brilliant chronicle of a childhood idyll — which is also a series of comic disasters — set on the Ionian Greek Island of Corfu.

The memoir is the first part of a trilogy that includes Birds, Beasts and Relatives and The Garden of the Gods and Gerald Durrell wrote dozens of other books about his life as a naturalist and conversationist. 

But My Family was his break-out hit that made him into a celebrity-animal whisperer, and royalties from the book allowed him to establish the famous Jersey Zoo for wildlife conservation. Long before the zoo, however, came the celebrity animals of the Corfu years, whom we meet in this glorious memoir: Quasimodo the pigeon, Achilles the Tortoise, Aleko the seagull, Ulysses the Owl, Sally the Donkey, Widdle and Puke the puppies and of course, Roger the dog.

Sophie and Jonty dive into the story behind the story of everyone’s favorite animal story and learn what was really going on behind the scenes of this delightful but dysfunctional family. Find out why “Mother,” Mrs. Durrell, moved with her children to Greece after a life in British India and Bournemouth; learn about the full identity of the irascible and hilarious brother Larry, and hear what happened to the other Durrell siblings after they became famous.

And for all the beauty and bucolic happiness of Corfu in the 1930s, there was backdrop of complex and fascinating geopolitical unrest across the Eastern Mediterranean, which Sophie wants to discuss in much greater depth than Jonty has patience for.

Mentioned in the episode:

Gerald Durrell, My Family and Other Animals, Birds, Beasts and Relatives, The Garden of the Gods.

Lawrence Durrell, The Alexandria Quartet; Prospero’s Cell

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Salem’s Lot (1975) is Stephen King’s second published novel, and many would say it's his best. It tells the story of a plague of vampires running amok in a blue-collar town in New England and the band of heroes who come together to fight them. 

We’re aware that many listeners may not have read a Stephen King novel, although they will probably have seen - and enjoyed - a film adaptation, and may wonder what Salem’s Lot has to do with a podcast about classic books. 

This episode answers that question by telling the story of how and why Stephen King became the biggest horror writer in the world. Since his debut with Carrie in 1974, he has published 60 novels and sold over 400 million books. He is one of the most successful writers ever - and films adapted from his books and stories include The Shawshank Redemption, The Shining, Stand by Me and Misery - all landmarks of cinema based on brilliant writing. And though only one of these four books is a horror novel, in this episode we stay firmly in the horror lane and get to work figuring out what makes Salem’s Lot so enduringly gripping.

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Chocolate Mouse, anyone? Rosemary’s Baby was a smash hit on release - the best selling horror novel of the 1960s, eventually selling over 4 million copies. The year after publication it was adapted into one of the greatest films of the decade - directed by Roman Polanski with Mia Farrow as the eponymous heroine.  

At first glance, it seems that Ira Levin’s story was at odds with the prevailing spirit of free love - read the room, baby! But as we’re going to find out - the secret of Rosemary’s Baby is that it perfectly captured the spirit and anxieties of the age. Ira Levin would repeat the trick with the Stepford Wives in 1972 and The Boys From Brazil in 1976, but Rosemary’s Baby is his masterpiece. A book which is simultaneously an outlandish fantasy and one of the greatest novels about coercive gaslighting relationships. 

Sophie and Jonty ask a tough question: is Levin's depiction of a coercive relationship just too real? Do we come away feeling that Rosemary has real power and agency that speaks to us now, or is the book's depiction of domestic violence and misogyny and trapped in its own cultural moment just as much as the stuffed mushrooms and Gibsons the couple consume on the fateful night that the horror takes hold?

Content Warning: the book and film — and this conversation — contain descriptions of sexual violence, rape and abusive relationships.

Books and Film Referred to:

Ira Levin, Rosemary's Baby

Roman Polanski, Rosemary's Baby

F. Scott Fitzgerald, The Great Gatsby

Jane Austen, Emma

J.D. Salinger, The Catcher in the Rye

Tom Wolfe, The Bonfire of the Vanities

Betty Friedan, The Feminine Mystique

Charlotte Bronte, Jane Eyre

Adrienne Rich, "In the Evening"

Valerie Solanas, SCUM Manifesto

Andrea Dworkin, Women Hating

Julia Kristeva, Powers of Horror

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Who's afraid of American horror? Sophie and Jonty, for starters. To celebrate halloween, SLOB is taking a deep dive into three classics of the American Horror genre. We've chosen novels published after 1945, and we're asking how the war - and its many aftershocks and resonances in American domestic and political life - transformed horror as a literary genre. We won't spoil the surprises by telling you all the titles ahead of time. But be warned: read and listen at your own peril.

We’ll be looking at these books in chronological order. The first is Shirley Jackson's The Haunting of Hill House, published in 1959 and is now considered one of the most influential horror novels of all time. It is beautifully written, incredibly funny and genuinely scary. It's imbued with a spirit of cynicism and evil. As a result it disorientated many readers who knew Jackson not as a horror writer, but for her charming memoirs about life as a housewife in 1950s suburbia.

Join us as we enter the locked gates of Hill House and explore how this gripping, poignant, strange — and above all, scary — ghost story took shape and how Shirley Jackson came to be regarded as one of the greatest mid-century American writers.

Further Reading and listening:

Shirley Jackson, "Life Among the Savages" (1953)

Shirley Jackson, "The Haunting of Hill House" (1959)

Shirley Jackson, "We Have Always Lived in the Castle" (1962)

Ruth Franklin, Shirley Jackson: A Rather Haunted Life, 2016

On the Road with Penguin Classics Halloween episode with Ruth Franklin: https://podcasts.apple.com/gb/podcast/the-haunting-of-hill-house-with-ruth/id1549179379?i=1000633191567

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Jonty and Sophie were separated by an ocean while Sophie and her family went back to New York and Jonty stayed in Sydney - so they made lemonade out of life's lemons, and created two miniature episodes about the great 16th-century French essayist Michel de Montaigne.

Montaigne isn't just any old essayist — he's the man who invented the form, with three volumes of brilliant, surprising, constantly fresh and astonishingly modern sallies on every possible topic. To introduce Montaigne and unpack his brilliance and immense influence, Sophie talked to the Renaissance scholar Stephen Greenblatt. Meanwhile, Sydney-side, Jonty had a conversation with the historian and writer Rowan Tomlinson, a specialist on Montaigne and Renaissance studies at the University of Bristol. They take the Montaigne chat in many unexpected directions, and Jonty initiates discussion of the Reformation off his own bat, with Sophie nowhere to be found.

Further Reading:

The Complete Essays of Michel de Montaigne, (Penguin 1993)

Sarah Bakewell, How to Live: Or A Life of Montaigne in One Question and Twenty Attempts at an Answer, (2011)

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Sophie talks to one of the world's leading literary scholars, who co-founded a whole branch of literary studies known as "The New Historicism," before reinventing Shakespeare for new generations of readers, and then turning the Roman poet Lucretius into an (almost) household name. Stephen Greenblatt is professor of English at Harvard University, he's a Pulitzer Prize winner and the author of Will in the World, The Swerve, and a host of other acclaimed and brilliant books. Most recently he's the author of Dark Renaissance, the story of Shakespeare's rival and shadow double, Christopher Marlowe.

But today he talks about the writer he turns to whenever he thinks about what makes the Renaissance so distinct a period -- the age in which Europeans truly became modern. That writer is the great French essayist Michel de Montaigne. Montaigne is a stealth heavy-hitter, an MVP of classic literature who is now all too rarely read. To explain what makes Montaigne's influence and legacy so important, and why he's truly one of the GOATs, Sophie and Jonty have decided to bring you two companion conversations with a pair of very different scholars.

Further Reading:

Stephen Greenblatt, ed. Shakespeare's Montaigne: The Florio Translation of the Essays (2014)

Stephen Greenblatt, Dark Renaissance: The Dangerous Times and Fatal Genius of Shakspeare's Greatest Rival (2025)

Stephen Greenblatt, The Swerve: How the World Became Modern (2012)

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With The Moonstone, Wilkie Collins published yet another giant sensation, this time pioneering the detective novel and mystery/heist genre. It was published in 1868 and serialised - just as The Woman White was - in Dickens’ All the Year Round, making it one of the most popular books of Victorian Britain. Jonty and Sophie will show how The Moonstone gave the world most of the key ingredients of the detective genre, which have remained unchanged ever since. The country house setting. The bungling local constabulary. The celebrated, ingenious but curmedgeonly investigator. A large cast of false suspects. Plenty of red herrings. A final twist in the plot in which the least likely suspects suddenly become implicated. It's all here.

If all The Moonstone did was shape a new genre of literature, we’d still be talking about it. But on top of that, Wilkie Collins’ masteripece is also a critique of colonialism, of the British caste system and Victorian morality. 

And it reveals a fascinating shadow story about Wilkie Collins and his life, including a long struggle with opium addiction that he used to treat pain, making this a novel written mostly in an hallucinatory state.

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As part of our ongoing “That’s Classic!” series, we're joined by the wonderful Jennifer Egan to chat about the sensational thriller The Woman in White.

Jennifer is one of the most loved, admired and critically acclaimed writers in America, with fans all over the world. Jennifer is a Pulitzer Prize winner and was President of the vitally important PEN America. She's the author of many books, including the brilliant, genre-defying Visit from the Goon Squad and its follow up The Candy House. There's more than a touch of gothic in her writing, alongside the compelling social realism, so when we asked her to choose a classic that matters, we were thrilled that she chose Wilkie Collins' The Woman in White.

This gripping page-turner and perennial bestseller was published between 1859-60 in Charles Dickens’ serial All the Year Round. It's a gothic page-tuner about a mysterious young woman dressed entirely in white, who becomes the key to a thrilling tale of emotional entrapment and gaslighting in Victorian England. Jennifer joins Sophie in a brilliant discussion of why The Woman in White is such a literary touchstone, paving the way for modern thrillers including Gone Girl and The Girl on the Train.

Further Reading:

Wilkie Collins, The Woman in White

Jennifer Egan, A Visit From the Goon Squad

Jennifer Egan, The Candy House

Jennifer Egan, The Keep

Jennifer Egan, Manhattan Beach

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The Woman in White was a sensation when it was serialised in Charles Dickens’ magazine All The Year Round in 1859 and 1860. It begins with an uncanny late-night meeting on the road to London between a young man and a woman dressed entirely in white. It ends with a sensational cat and mouse game between a villain and his pursuers. One of the unsung secrets of Wilkie Collins's novel is the brilliant, unorthodox counter-heroine Marian Halcombe. Another is that Wilkie Collins identified with disfigurement and disability, and used the woman in white to explore some of his own sense of being an outsider.

At the time it Collins's novel belonged to new kind of writing called sensation fiction, which today we call thrillers. It aimed to shock the public by preying on their deepest anxieties, going beyond the facade of Victorian respectability to show ordinary families riven by secrets, including illegitimacy, adultery, madness and criminal activity. The literary inheritors of The Woman in White today are novels like The Girl on the Train and Gone Girl.

Find out how it all started - and why The Woman in White is still a compulsive page-turner 150 years later.

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For several weeks we've been recording a subscribers-only mini series on the history of the sonnet in English. Sonnets are crowd-pleasers - short, sometimes sweet, and they always deliver a lot of bang for the reading buck.

Today, one of the world's great living poets, Paul Muldoon, Pulitzer Prize winner and former poetry editor of the New Yorker, joins us to talk about the pleasures and challenges of this glorious short form.

Paul has recently compiled a spectacular anthology of sonnets, Scanty Plot of Ground, published this month by Faber in the UK.

Making this episode free for all because it's such a special conversation and gateway back into reading the classics.

Listeners to our show can order the book from faber.co.uk and enter the code Podcast25 for a discount with UK shipping.

Paul Muldoon, ed, Scanty Plot of Ground, Faber 2025

Paul Muldoon, Joy in Service on Rue Tagore, Farrar, Strauss and Giroux, 2025

Paul Muldoon, Horse Latitudes, Farrar, Strauss and Giroux, 2006

Paul Muldoon, Moy Sand and Gravel, Farrar, Strauss and Giroux, 2004

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It was five o’clock on a winter’s morning in Syria. Alongside the platform at Aleppo stood the train grandly designated in railway guides as the Taurus Express. So Agatha Christie began her sleeper [car] hit, Murder on the Orient Express (1934).

All aboard! In the latest of SLoB's much-loved special episodes on surprising, fun, and always deeply revealing literary themes, Sophie and Jonty take an all-stations train journey through literary locomotion.

One of life's great pleasures is reading a good book on a train, as it rattles through scenic countryside. But what's more annoying than cramming onto a packed underground train at 8am, desperate for a moment with a book before work, only to be wedged between an armpit and a stroller? Trains are social levelers: a means of bringing unlikely people together; and often keeping them apart. Trains help tell stories about social divisions and distinctions in status, love affairs and heartbreak, unwanted changes in landscapes and the ever-increasing encroachments of modern life.

Tune in to find out why, in short, trains are at the heart of many great books, and why train travel turned out to be the ideal metaphor for the experience of reading modern fiction.

Books mentioned in this episode:

George Eliot, Middlemarch

Henry David Thoreau, Walden

Charles Dickens, Our Mutual Friend, "The Signal Man"

Leo Tolstoy, Anna Karenina

Bram Stoker, Dracula

Agatha Christie, Murder on the Orient Express

J.K. Rowling, Harry Potter and the Philosopher's Stone

Graham Greene, The Little Train

Lev Grossman, The Silver Arrow

Edward Thomas "Adlestrop"

Jilly Cooper, Rivals

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