Spoken Word

Christina Hardyment
Friday 15 January 1999 19:02 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

A Man in Full

by Tom Wolfe

BBC,

5hrs, pounds 12.99

WITH AMBUSH at Fort Bragg, Talkie of the Year in 1998, Tom Wolfe showed us how well his writing works as spoken word. But Ambush at Fort Bragg was just a continental breakfast and Bonfire of the Vanities a half-finished lunch in comparison with the five-course dinner that is , a skilfully plotted novel of Dickensian range set in the murky and corrupt world of over-extended American capitalism. The linchpin of the essentially optimistic, very funny story is, unlikely as it may seem, the teachings of the Stoic Epictetus concerning man's essential freedom. William Hootkins reads with evident relish.

Bleak House

by Charles Dickens

BBC, 5hrs, pounds 12.99

LIKE MOST people I know, I have been meaning to read the original Dickens ever since I can remember. But until I get round to it, there could be no better substitute than the BBC's growing list of excellent full-cast dramatisations. The latest is Bleak House, one of the most tangled and confusing of tales. But producer John Dryden orchestrates his varied and vital cast compellingly as Sacha Puttnam's haunting music builds up to an awesome crescendo, the doomed Lady Dedlock confesses her sins, and avaricious lawyers claw in all that is left of the legendary process of Jarndyce versus Jarndyce.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in