Apologies to overseas readers of this blog, this is very much a UK-focused post. It’s the shortest day today, the winter solstice, but the hours of darkness remain long for some weeks yet, so I will be spending plenty of time indoors. On winter evenings I love reading, but I also love a bit of telly (just a bit!) – it’s a creative industry and there is some fantastic work out there. I am always on the lookout for literary adaptations. I love to see what Directors do with books and stories, how they draw out the salient events, whether they see the characters in the same way as I do, how they visualise each scene. I also love re-watching some of the classic television adaptations of the past. Apart from the wonderful and vital activity of reading with children, it is generally a solitary hobby so TV and radio can enable you to share the joy with others and can turn it into a family or group experience.
Every year I buy the bumper two-week Christmas edition of the Radio Times and go through it in some detail highlighting shows I want to watch. That sounds a bit sad doesn’t it! I do not enslave myself to the schedules, I just want to make sure I know what’s happening when so I don’t miss something wonderful. I may also choose not to watch as we know many programmes and films come around year after year. Here is my pick of all the literary links I can find in this year’s schedules. I have stuck largely to the free channels.
Family viewing
So much to see!
Plenty of Roald Dahl about: the wonderful film The BFG is on BBC1 on Boxing Day, or on the same day there’s The Witches on ITV. Then there’s the Gene Wilder film Willy Wonka and the Chocolate Factory (so different to Johnny Depp) on 30th December on Channel 5.
For little ones there’s We’re Going on a Bear Hunt on Christmas Eve on Channel 4 (might have to watch that even though mine are now teenagers!). Or the wonderful Paddington movie on 30th December on Channel 4.
Both the classic and new versions of The Jungle Book are on BBC1 this year – the 1967 film on New Year’s Day, and the 2016 version on Christmas Day. And it wouldn’t be Christmas without Mary Poppins on Christmas Eve on BBC1.
Other things you might want to catch are The Snowman (Raymond Briggs) on Channel 4 on Christmas Day, The Railway Children (E Nesbit) on BBC1 on New Year’s Day, Jim Carrey’s The Grinch (Dr Seuss) on ITV on Christmas Eve, the brilliant Robin Williams as Mrs Doubtfire (Anne Fine) on channel 4 on Boxing Day, Watership Down (Richard Adams) on BBC1 on 22 December (tissues at the ready), and Swallows and Amazons (Arthur Ransome) on 2 January on BBC2.
If radio is your thing or if you are travelling, try another Mary Poppins (this time with the wonderful Juliet Stevenson) on Radio 4 Extra on 30 December, or Neil Gaiman’s Norse Mythology on Radio 4 on Boxing Day.
The Classics
There are always a few adaptations of the classics around at this time of year. Charles Dickens’ A Christmas Carol was published 175 years ago this week and in its honour you can watch the classic 1951 film Scrooge with Alistair Sim on Channel 5 on Christmas Eve or the 1984 film on Channel 4.
Thomas Hardy’s Far From the Madding Crowd (one of my favourite Hardy novels) is on BBC2 on 23 December, Jane Austen’s Emma (with Gwyneth Paltrow) is on BBC2 on 28 December, Pride and Prejudice (starring Keira Knightley) is on More4 on Christmas Day, and the brilliant 2011 version of Charlotte Bronte’s Jane Eyre (the one with Michael Fassbender as Mr Rochester) is on BBC1 on 2 January.
The big new six-part adaptation of Victor Hugo’s Les Miserables starts on BBC1 on 30 December, and there’s a film version of Evelyn Waugh’s Brideshead Revisited (starring Ben Whishaw), which I wasn’t aware of, on BBC2 on 28 December. Tolkien’s The Hobbit is on ITV1 on 30 December.
Chaucer and Shakespeare
Yes, Geoffrey Chaucer! If like me you’re a fan of Radio 4’s The Archers you’ll be delighted to learn that this year’s Christmas performance of The Canterbury Tales can be heard in full from David and Ruth Archer’s barn in Ambridge on Radio 4 on 29 December.
And for some Shakespeare you can watch Twelfth Night on BBC2, sadly on 23 December and not on 6 January (surely a scheduling oversight!), and Romeo and Juliet on BBC2 on Christmas Eve.
Crime and Thriller
As expected, there is no shortage of Ian Fleming on ITV1 if you’re a James bond fan: Casino Royale on 22 December, Quantum of Solace on Boxing Day, Skyfall on 27 December, and Spectre on New Year’s Eve.
And if Agatha Christie is your thing, there is a bounty of TV for you: the much publicised new series of The ABC Murders (starring John Malkovich as Poirot, and Rupert Grint, aka Ron Weasley of Harry Potter fame) starts on BBC1 on Boxing Day. For a real Christie binge, settle down to BBC2 for New Year’s Eve afternoon and watch Peter Ustinov in Death on the Nile (1978), followed directly by Evil Under the Sun (1982). Or to compare and contrast versions of Murder on the Orient Express watch Albert Finney on ITV3 on New Year’s Day, Kenneth Branagh on 22 December on Sky Thriller or David Suchet on ITV3 on 23 December.
Modern
Finally, for something a little more up to date, you could try The Revenant (Michael Punke) on BBC2 on New Year’s Day – brilliant book, brilliant film, brilliant Leonardo di Caprio. The wonderful Dame Maggie Smith in Alan Bennett’s The Lady in the Van, with Alex Jennings as the author, on BBC2 on Christmas Eve. Yann Martel’s The Life of Pi is on E4 on Boxing Day. The film was not as well-received as the book, but watch it to make up your own mind. Finally, the adaptation of the first book of Elena Ferrante’s fantastic Neapolitan Novels My Brilliant Friend is now available as a box set on Now TV and Sky TV. Hope I can watch that one.
Hope there is something there that tickles your fancy. This is me signing off for Christmas, so have a good one and I will be back blogging in 2019.
Thank you to all followers of this blog, particularly anyone who has liked or commented on my posts this year.
Becoming by Michelle Obama





Ottolenghi Simple by Yotam Ottolenghi








Cooking Up a Storm: The teen survival cookbook – Sam Stern & Susan Stern
As I have been told many times by some of the people in my household, today is the official start of Christmas as it is the first Sunday of Advent (sounds like a bit of an excuse to me since we are not a religious family). Not quite feeling it myself yet, but then I tend to prefer to hold off for another week or two so as not to feel too exhausted by it all when the big day finally arrives. There is no doubt though, when you have children, or just a larger extended family with some children in it, you kind of have to get a little organised otherwise things can get a bit stressful.
Nell is in her late teens and lives with her father, a very religious alcoholic, and her sister, Harper, who has cancer. They are from Manchester but moved to Norway, ostensibly for Harper’s medical treatment. The girls’ mother, we learn, left when they were young and they have had no contact since. Nell is a confused young woman; she is the primary carer for her sister, their father either working or incapable most of the time, and she wants to be a singer-songwriter back in Britain, but finds herself cut off from any possibility of making a career in that field. She attends a local school where she experiences bullying and isolation. She decides to go back to the UK, without her family’s knowledge, for an audition, but gets into a spot of bother en route and meets Lukas, a handsome but mysterious boy. At first it appears he rescues her but we learn later that he in fact engineered the whole episode in order to entrap her.
The books open in 1988 when the central character Frank opens a music shop in a rundown area (Unity Street) of an unnamed city. Frank is passionate about music, something that was instilled in him by his late mother, the eccentric Peg. It is probably the only the good thing that Frank got from her, and as the book goes on, we learn much about the lack of love and security in his childhood. This is important as it helps us to understand Frank’s actions later on. The other thing that Frank is passionate about is vinyl; he refuses to sell either cassette tapes or the new-fangled CDs in his shop, much to the chagrin of the salesmen who tell him he is a dinosaur and will have to change with the times. They gradually abandon him.
My youngest daughter, a keen singer, started getting into the show a year or so ago. She has been listening to and singing along to the soundtrack almost continuously ever since. When it was her birthday earlier this year I decided to get her tickets. I was astonished to discover how difficult these were to obtain (and how expensive!), so she has been waiting patiently for almost six months to enjoy her birthday gift. Last week, during half term, we travelled to London to see the show. It was worth the wait and she promptly declared that it was the best experience of her life. For me, seeing her enjoying something so much and how she has engaged so wholeheartedly with the story, the music and the ethos of the production, has the been the greatest pleasure.
Washington Black’s life is turned around, however, when Erasmus’s younger brother, Christopher, or ‘Titch’, arrives at the plantation. He is an inventor, a man of science like his father, who does not share his brother’s views on slavery. Titch has come to Barbados in order to work on a flying machine he has designed and asks his brother for a helper. Erasmus loans him Washington Black and the boy goes to live in Titch’s quarters, helping him with drawings and experiments as well as practical household tasks. Titch discovers that Washington has considerable artistic talent as well as abilities which will be useful in his science projects and he teaches him to read. This change in Wash’s circumstances means he can probably never go back to being with the other slaves and the question is posed whether Titch has served his protégé well.
The central character is Walker, a man from rural Nova Scotia, who fought with the Allied forces in the D-Day landings. He has seen and experienced terrible events, death and injury that most of us can barely even imagine, and he survived. After the end of the war, he goes back to the United States and finds himself living among the homeless in New York City. The book is divided into four sections: 1946, 1948, 1951 and 1953 each set in a different US city (though Los Angeles is the setting for both 1948 and 1953). As he reflects on his experiences, it becomes clear that it was impossible for him to return home to Canada. He reminisces about the quiet, gentle life he led there, where the rhythms of the seasons, the dependence on the harvests of the seas, and community events (such as village hall dances) dominate everyone’s existence. It’s as if the contrast between that life and the brutality he witnessed in the war means he fears contaminating the innocence of those he has left behind. He can never go back, never unsee what he has seen, and those he once loved will never be able to understand how he has been changed.
Milkman is set in Belfast during the Troubles in Northern Ireland and the central character and narrator is a young Catholic woman who finds herself drawn unwillingly into a relationship with a local paramilitary leader. It is not clear when the book is set, but I am guessing around the late 1970s, early ‘80s. Northern Ireland is known to be socially conservative, but the general sense of the place of women in society suggests to me that it dates back quite some time. Our central character (not named, I’ll come onto this) is from a large family. Her father is dead and she has several siblings, both older and younger. She is in a “maybe-relationship” with a local young man, who she has been seeing for about a year, though they have not made a commitment to one another. She is keen on running as a hobby and shares this with “third brother-in-law”. Whilst out running one day in a local park she finds that she is observed by a man in a white van. Over subsequent weeks he infiltrates her life by stealth, indicating that he expects her to have a relationship with him. He is known only as “Milkman”. It becomes clear to her that he is quite a powerful local figure in the paramilitary world, so not only does she have little choice about whether to become involved with him or not, it is made quite clear to her that as long as she goes along with him no harm will come to her “Maybe-boyfriend”.