The story of why, and how, an arrow ended up in Harold's eye in the Bayeux Tapestry is tied to the politics of the early 19th century, to Napoleon's ambitions and Britain's national pride, and the work of two antiquaries, Anne and Charles Stothard, who travelled to northern France several times to make drawings of the great embroidery.

In this episode from our series on Romantic History, originally released in 2022, Rosemary Hill talks to Roey Sweet about the emergence of the Bayeux Tapestry as an artefact of political importance in the early 1800s and the new breed of multi-disciplinary investigators, who, in the years after the French Revolution, studied everything from woollen threads to tombstones in their efforts to imagine the past.

Listen to other episodes in this series:

From Waterloo to the British Museum, with Neil MacGregor:

Apple Podcasts: https://lrb.me/rhep4

Spotify: https://lrb.me/rhep4s

LRB website: https://lrb.me/rhep4lrb

Salisbury Cathedral, with Tom Stammers:

Apple Podcasts: https://lrb.me/rhep1

Spotify: ⁠https://lrb.me/rhep1s

LRB website: ⁠https://lrb.me/rhep1lrb

Balmoral, with Colin Kidd:

Apple Podcasts: https://lrb.me/rhep2

Spotify: https://lrb.me/rhep2s⁠

LRB website: ⁠⁠⁠⁠https://lrb.me/rhep2lrb

Or find them in all in this Spotify playlist: https://lrb.me/rhspotify

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In the late 160s AD, the Roman armies of Marcus Aurelius recruited large numbers of troops from the islands east of Jutland, in what is now Denmark. After Marcus’ death in 180, his German campaigns were abandoned and the Romans withdrew to the Danube. Some of the demobilised troops returned north and ‘revolutionised their cultural world’, as Michael Kulikowski wrote recently in the LRB, ‘by adapting the lessons they had learned in Roman service’. On this episode, Michael joins Tom to discuss his review of an ‘extraordinary book’ by Dagfinn Skre, ‘which gives Scandinavia an ancient history for the very first time’. There is no written record of the period, ‘no text to impose its tyranny of words’, but the proxy evidence – coins, arms, stones, seeds – ‘converges on the existence of a late second-century watershed that produced a complete transformation in Scandinavian society in response to interaction with Rome’. Whether or not a pair of polar bears made it to the Colosseum, however, remains an open question.

Read Michael's piece: https://lrb.me/kulikowskipod

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Italo Calvino’s novella Invisible Cities is a hypnagogic reimagining of Marco Polo’s time in the court of Kublai Khan. Polo describes 55 impossible places – cities made of plumbing, free-floating, overwhelmed by rubbish, buried underground – that reveal something true about every city.

In this free episode from their Close Readings series ‘Fiction and the Fantastic’, Marina Warner and Anna Della Subin read Invisible Cities alongside the Travels of Marco Polo, and explore how both blur the lines between reality and fantasy, storyteller and audience. They discuss the connections between Calvino’s love of fairytales and his anti-fascist politics, and why he saw the fantastic as a mode of truth-telling.

Listen to the full series of ‘Fiction and the Fantastic’, and all our other Close Readings series, with a Close Readings subscription.

Get 50% off a 12-month subscription to Close Readings with the code SUMMER50 at checkout when you sign up here:

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Many thinkers have characterised modernity by its investment in the idea of pluralism, ‘of things being various’, in Louis MacNeice’s phrase. How do the virtues of plurality and difference fit with the more traditional virtues of poetic unity and imaginative order? Seamus Perry considers the ways in which modern poets have responded to the demands of pluralism, and whether Auden was right in thinking that a poem that exemplified the pluralist values of liberal democracy would be ‘formless, windy, banal and utterly boring’.

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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.

Get 50% off a 12-month subscription to Close Readings with the code SUMMER50 at checkout when you sign up here:

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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

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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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China is racing ahead in electrification, while the US turns its back on green energy in favour of a new era of fossil fuel machismo. An alignment between the three major petrostates – the US, Saudi Arabia and Russia – no longer looks implausible. The outlines of a new Cold War are becoming visible, one which will be determined by a novel mixture of ideology, critical technologies, supply chains and control of energy flows. How will these geopolitical dynamics play out – and what will it mean for global warming?

Adam Tooze is the Kathryn and Shelby Cullom Davis Professor of History and director of the European Institute at Columbia University. A columnist at Foreign Policy and a regular contributor to the LRB, he also writes Chartbook, a newsletter on economics, geopolitics and history. His books include ‘Crashed: How a Decade of Financial Crises Changed the World’ and ‘Shutdown: How Covid Shook the World’s Economy’.

Adam Tooze's LRB Autumn Lecture was delivered at the New School, NYC on 27 October 2025

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