Sam Leith

    IN ASSOCIATION WITH THE PRINCIPAL PARTNERS OF SHAKESPEARE’S GLOBE’S 2019 SUMMER SEASON Though the new production of Richard II we’ve been discussing here is taking place at the Globe, it’s perhaps worth remembering that the original didn’t. The play precedes the building of the first theatre by half a decade or so. It is thought to have been written in 1595; its first recorded staging is from the winter of that year in a private house in the presence of Queen Elizabeth’s privy councillor Robert Cecil, Lord Salisbury (who would go on to be a pivotal figure in her reign and the early Jacobean era). Its first appearance in print was in a Quarto of 1597.

    IN ASSOCIATION WITH THE PRINCIPAL PARTNERS OF SHAKESPEARE’S GLOBE’S 2019 SUMMER SEASON I quoted last week that rather Brexit-flavoured passage from John of Gaunt’s deathbed speech in Richard II — noting how it chimed with the times. I didn’t mention that the Globe’s forthcoming production, opening at the Sam Wanamaker Playhouse on 22 February, has an unusual distinction: it will be the first Shakespeare production on a major UK stage to feature a company – directed by and starring Adjoah Andoh — entirely made up of black and minority ethnic women. That adds an extra layer of irony to the play’s treatment of national identity. Is that, as some will grumble, a politically correct anachronism?

In this week’s books podcast, my guest is Robert Alter - who has just published the fruits of decades of labour in the form of his complete new translation of the Hebrew Bible into English. Acclaimed for his Bible translations by Seamus Heaney, John Updike and Peter Ackroyd, Prof Alter tells me how Biblical Hebrew really works, what can and cannot be preserved in translation - and why, as he sees it, nearly every modern translation of the Bible gets it catastrophically wrong.

  IN ASSOCIATION WITH THE PRINCIPAL PARTNERS OF SHAKESPEARE’S GLOBE The Globe was the occasion of drama before the first line was even spoken from its stage. In the snowy winter of 1598, three days after Christmas, Shakespeare and his colleague Burbage resolved a falling-out with the landlord of their then Shoreditch theatre in the liveliest way possible. Noting that the landlord owned the ground on which the theatre stood but not, technically, the theatre itself, they showed up mob-handed with ‘swords daggers billes axes and such like’, pulled the theatre down beam by beam, loaded it on to wagons and headed south.

In this week’s book’s podcast my guest is Jonathan Ames, a writer who has produced everything from memoir (Adventures of a Mildly Perverted Young Writer) to TV writing (Bored To Death), graphic novels (The Alcoholic), pitch-black noir (You Were Never Really Here), Wodehouse hommage (Wake Up, Sir!) and now, in The Extra Man, a comic novel riffing on Henry James. We talk about why he calls so many of his characters “Jonathan Ames”, how he goes about his work, and whether — as a man who has become synonymous with “overshare” — he can ever quite retreat into the background.

In this week’s books podcast I’m talking to Chris Kraus — author of the semi-autobiographical cult novel I Love Dick and the new essay collection Social Practices — about her strange and interesting life in the New York and LA art worlds, about taking Baudrillard to a “happening” in the desert, about ambition and fame, about how art and literature feed into one another — and about why we English should stop sneering at “theory” and learn to love its strangeness and beauty.

In this week’s books podcast I talk to the great trivia expert Mark Mason about his new The Book of Seconds: The Incredible Stories of the Ones Who Didn’t (Quite) Win. Here’s the Christmas present for all the Tory frontbenchers in your life. Who remembers the Christmas number two in the pop charts? Who got silver at the Olympics? Who was the second man to walk on the moon? Mark — my second choice of guest for this week’s podcast — masterfully pulls together the psychological and social implications of not quite cutting the mustard.

‘A is for Amy who fell down the stairs/ B is for Basil, assaulted by bears...’ The Gashlycrumb Tinies, an alphabet in dactylic couplets of the surreal fates visited on a succession of blameless tots, is probably Edward Gorey’s best-known work — and that work forms a pretty coherent whole. Dozens and dozens of tiny booklets, almost all intricately hand-crosshatched in black pen, darkly spoofing established genres, set in a Victorian-Edwardian world of sighing flappers, funerary urns and decaying stately homes. They are filled with surreal menace and random violence or moral horror — much of it offstage — and always played for laughs. The dreamlike, associative drift of Gorey’s work — is that an umbrella or a bat?

“I wondered what would happen if you made Goliath the hero…” In this week’s books podcast I’m talking to the thriller writer Lee Child about the latest in his phenomenally successful Jack Reacher series, Past Tense. Lee tells me why you can’t have a knight-errant in Europe any more, about writing without knowing what happens next, Reacher’s trouble with women, why he can never remember his own titles -- and why liberals love reading about bad guys getting punched in the face. Plus: how he rumbled Robert Galbraith as woman.

In this week’s books podcast I’m talking to Geoff Dyer, one of our most wayward and wittiest writers, about his new book Broadsword Calling Danny Boy, a frame-by-frame discussion of the classic war movie Where Eagles Dare. Learn from Geoff about the importance of squinting in Clint Eastwood’s thespian toolbox, about the joy of snow-patrol Action Man, about why he shied away from plans for "Alistair MacLean: A Critical Reappraisal", and about why on earth Geoff would follow a learned book about Tarkovsky’s Stalker with a discussion of a piece of late-60s schlock. Plus: what happens when you get on the wrong side of Julian Barnes.

In this week's books podcast I'm talking to Ben Schott. The author of Schott's Miscellany, Ben's literary productions have taken an unexpected turn with the publication this week of his first novel. Jeeves and the King of Clubs is a tribute or companion piece to P G Wodehouse's Jeeves and Wooster novels, published with the authorisation of the Wodehouse estate. What the hell was he thinking? Ben tells me -- and also talks about the joys of nerdiness, the difficulty of living up to Plum, and the Spectator's role in the whole story.