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In The Portrait of a Lady, Henry James borrows from Eliot, Austen, folktales and potboilers, but ‘the thing that he took from nowhere was Isabel Archer’. James transformed the 19th-century novel through his evocation of Isabel, a woman who wants and suffers in a profoundly new (and American) way.

Deborah Friedell and Colm Toíbín join Tom to discuss the novel that established Henry James as ‘the Master’. They dissect James’s and his characters’ complicated motivations, the significance of his 1905-6 revisions, and the ways in which a ‘primitive plot’ irrupts in a painstakingly subtle and stylish novel.

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‘The very word “America” remains a new, almost completely undefined and extremely controversial proper noun,’ James Baldwin wrote in 1959. ‘No one in the world seems to know exactly what it describes, not even we motley millions who call ourselves Americans.’ Donald Trump’s vision of Fortress America, at war with immigrants, shadowy globalists and itself, is a violent attempt to resolve what Baldwin called the ‘rich confusion’ of American identity. But there are other possible Americas, some, like Baldwin's, described from voluntary exile. What can they offer at the present moment?

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Few poets have had the courage (or inclination) to rhyme ‘Plato’ with ‘potato’, ‘intellectual’ with ‘hen-peck’d you all’ or ‘Acropolis’ with ‘Constantinople is’. Byron does all of these in Don Juan, his 16,000-line unfinished mock epic that presents itself as a grand satire on human vanity in the tradition of Cervantes, Swift and the Stoics, and refuses to take anything seriously for longer than a stanza.

But is there more to Don Juan than an attention-seeking poet sustaining a deliberately difficult verse form for longer than Paradise Lost in order ‘to laugh at all things’?

In this episode Clare and Colin argue that there is, in this free episode from their Close Readings series ‘On Satire'. They see in Don Juan a satire whose radical openness challenges the plague of ‘cant’ in Regency society but drags itself into its own line of fire in the process, leaving the poet caught in a struggle against the sinfulness of his own poetic power, haunted by its own wrongness.

Introduced by Clare and Colin with Thomas Jones.

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Not for the first time, theorists of politics are turning to the unconscious and its strange workings – repression and fantasy, libido and death drive, disavowal and displacement – to understand the present conjuncture: a conjuncture of authoritarian strongmen, anti-democratic populism, regressive sexual morality and genocidal war. What form of knowledge does psychoanalysis give us of politics, and to what practical purpose can this knowledge be put? Does psychoanalysis merely describe the world, or could it also change it?

This lecture was delivered as part of the LRB's Winter Lecture series in December 2025.

Read more by Amia in the LRB: https://lrb.me/srinivasanwlpod

From the LRB

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Wordsworth was not unusual among Romantic poets for his enthusiastic support of the French Revolution, but he stands apart from his contemporaries for actually being there to see it for himself (‘Thou wert there,’ Coleridge wrote). This episode looks at Wordsworth’s retrospective account of his 1791 visit to France, described in books 9 and 10 of The Prelude, and the ways in which it reveals a passionate commitment to republicanism while recoiling from political extremism. Mark and Seamus discuss why, despite Wordsworth’s claim of being innately republican, discussion of the intellectual underpinnings of the revolution is strangely absent from the poem, which is more often preoccupied with romance and the imagination, particularly in their power to soften zealotry.

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