The Prime of Muriel Spark: Three Novellas 1961-1970
Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: The Prime of Miss Jean Brodie (1961), The Public Image (1968), and The Driver’s Seat (written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers.
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This in-college course examines Muriel Spark’s prime concerns as a writer - and with what a deft, graceful, and entertaining hand she explored them.
Ranked the 8th Greatest British Writer since 1945 by The Times, Muriel Spark was frequently considered the greatest contemporary novelist, as viewed by her peers – other writers. So much more than a ‘writer’s writer’, she made postmodern narrative accessible, engaging , and immersive.
We’ll consider: the role of predestination and free will, the power of an enigmatic personality, the cult of a milieu, the role of satire, irony and mockery, the cult of celebrity, the inter-relationship between fiction and reality, fakes and authenticity, identity and performance, representations and lies, misinformation, the role of a presiding ‘author’ and authority, metanarrative, the fixational nature of reality, complicity and victimhood, and the very nature of belief and nihilism.
What will we cover?
The Prime of Miss Jean Brodie: we’ll analyse and debate the self-mythologising characteristics of her teacher, Jean Brodie, the paradoxes surrounding her attitude to education – whether she facilitates her students’ views or dangerously moulds them, her cultural elitism and support of Mussolini, and her deliberate gatekeeping of insiders-and-outsiders in her cultivating a favoured ‘Brodie Set’. Is Jean Brodie inspiring, a villain, or a complex moral character upon whom Spark refuses to judge? We’ll explore the infectiousness of Spark’s humour, satire, and irony.
In The Public Image: we’ll consider how Spark was ‘ahead of her time’ in viewing reality as a set of myth making narratives. How is Annabel appropriated by the Italian film-industry, and remythologised into an alluring and powerful ‘tigress’. Who is Annabel? Is she real, a fake, or authentic? A novella which gave Johnny Rotten’s second band it’s name, it endures as an outstanding demythologising force in contemporary literature.
The Driver’s Seat: a grotesquely dark-comic novella, which Muriel Spark always considered her finest work. An inverted murder-mystery, a ‘whydunnit’, where Spark turns many of the conventions of detective fiction inside-out. We’ll consider how Spark examines the role of victimhood, complicity, and desire. Who is determining the events? The author? Or is Lise too far removed to come under the spell of Spark’s authorial control?
What will I achieve? By the end of this course you should be able to...
Appreciate the challenges and rewards of Spark’s novellas
Understand Spark’s major concerns in her fiction
Identify a range of narrative devices, including irony and structural patterning
Discuss contexts, traditions, and Spark’s inventiveness
What level is the course and do I need any particular skills?
Some experience of the study of literary fiction would be useful but all with an interest in Muriel Spark are welcome.
Learners will need to have an enthusiasm for novellas, an open-mindedness towards different approaches to interpretation, and a willingness to listen to the views of others.
How will I be taught, and will there be any work outside the class?
There will be a mixture of tutor presentation and small-group and whole-class discussion. We will study key passages from each text in class and you will need to read the stories before the session.
You will need to read the novellas, using the guided reading support materials to advance understanding. These materials help a focused approach to independent study, aiding readers to focus on specific moments in relation to life-writing. Key extracts will be provided in advance of the class.
Are there any other costs? Is there anything I need to bring?
You will need to borrow or buy:
The Prime of Miss Jean Brodie, Penguin Modern Classics, 978-141181424
The Public Image, Virago Modern Classics, 978-1844089673
The Driver’s Seat, Penguin Modern Classics, 978-0141188348
When I've finished, what course can I do next?
Look for other Fiction courses in the Literature programme under History, Culture and Humanities at www.citylit.ac.uk.
Alexander has taught advanced Literature and English Language for over twenty-five years. A Former Head of English, Alexander currently teaches Literature courses to adults at The Questors Theatre, Ealing, and to students at a 6th Form College in Kensington. He has been writing a book on the critical reception of JG Ballard, worked at three top ten 6th Form Colleges, and trained A level teachers how to teach ‘Critical Discourse Analysis’. He holds an MA distinction in Shakespeare Studies, a PGCE, a first in English Literature BA (hons.), and a DipEngl in English Language. An FRSA, he brings a passionate commitment to life-long learning, to making connections between disciplines, and to creating supportive and engaging learning environments.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/the-prime-of-muriel-spark-three-novellas-1961-19703025543The Prime of Muriel Spark: Three Novellas 1961-1970https://www.citylit.ac.uk/media/catalog/category/autobiography-into-poetry-hw640-1024.jpg179179GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Literature/Courses/Culture, history & humanities/Literature/Fiction22851177118711881228511771187<p>Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: <em>The Prime of Miss Jean Brodie </em>(1961),<em> The Public Image </em>(1968), and <em>The Driver’s Seat </em>(written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers. </p>003025537The Prime of Muriel Spark: Three Novellas 1961-1970179179https://www.citylit.ac.uk/media/catalog/category/autobiography-into-poetry-hw640-1024.jpgInStockDaytimeWedKeeley StreetAvailable courses5-10 weeksWeekday2026-06-03T00:00:00+00:00Jun 2026Culture, history & humanitiesHLT380179179The Prime of Muriel Spark: Three Novellas 1961-1970143116179Alexander Fairbairn-Dixonthe-prime-of-muriel-spark-three-novellas-1961-1970/hlt380-2526<p>Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: <em>The Prime of Miss Jean Brodie </em>(1961),<em> The Public Image </em>(1968), and <em>The Driver’s Seat </em>(written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers. </p>0000-Available|2026-06-03 00:00:00<p>This in-college course examines Muriel Spark’s prime concerns as a writer - and with what a deft, graceful, and entertaining hand she explored them.</p><p>Ranked the 8th Greatest British Writer since 1945 by The Times, Muriel Spark was frequently considered the greatest contemporary novelist, as viewed by her peers – other writers. So much more than a ‘writer’s writer’, she made postmodern narrative accessible, engaging , and immersive. </p><p>We’ll consider: the role of predestination and free will, the power of an enigmatic personality, the cult of a milieu, the role of satire, irony and mockery, the cult of celebrity, the inter-relationship between fiction and reality, fakes and authenticity, identity and performance, representations and lies, misinformation, the role of a presiding ‘author’ and authority, metanarrative, the fixational nature of reality, complicity and victimhood, and the very nature of belief and nihilism. </p><p>Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: <em>The Prime of Miss Jean Brodie </em>(1961),<em> The Public Image </em>(1968), and <em>The Driver’s Seat </em>(written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers. </p><p><em>The Prime of Miss Jean Brodie</em>: we’ll analyse and debate the self-mythologising characteristics of her teacher, Jean Brodie, the paradoxes surrounding her attitude to education – whether she facilitates her students’ views or dangerously moulds them, her cultural elitism and support of Mussolini, and her deliberate gatekeeping of insiders-and-outsiders in her cultivating a favoured ‘Brodie Set’. Is Jean Brodie inspiring, a villain, or a complex moral character upon whom Spark refuses to judge? We’ll explore the infectiousness of Spark’s humour, satire, and irony.</p><p>In <em>The Public Image</em>: we’ll consider how Spark was ‘ahead of her time’ in viewing reality as a set of myth making narratives. How is Annabel appropriated by the Italian film-industry, and remythologised into an alluring and powerful ‘tigress’. Who is Annabel? Is she real, a fake, or authentic? A novella which gave Johnny Rotten’s second band it’s name, it endures as an outstanding demythologising force in contemporary literature. </p><p><em>The Driver’s Seat</em>: a grotesquely dark-comic novella, which Muriel Spark always considered her finest work. An inverted murder-mystery, a ‘whydunnit’, where Spark turns many of the conventions of detective fiction inside-out. We’ll consider how Spark examines the role of victimhood, complicity, and desire. Who is determining the events? The author? Or is Lise too far removed to come under the spell of Spark’s authorial control? </p><p><br/> </p><ul><li>Appreciate the challenges and rewards of Spark’s novellas</li><li>Understand Spark’s major concerns in her fiction </li><li>Identify a range of narrative devices, including irony and structural patterning</li><li>Discuss contexts, traditions, and Spark’s inventiveness </li></ul><p> </p><p>Some experience of the study of literary fiction would be useful but all with an interest in Muriel Spark are welcome.<br/><br/>Learners will need to have an enthusiasm for novellas, an open-mindedness towards different approaches to interpretation, and a willingness to listen to the views of others. </p><p>There will be a mixture of tutor presentation and small-group and whole-class discussion. We will study key passages from each text in class and you will need to read the stories before the session. </p><p>You will need to read the novellas, using the guided reading support materials to advance understanding. These materials help a focused approach to independent study, aiding readers to focus on specific moments in relation to life-writing. Key extracts will be provided in advance of the class.</p><p>You will need to borrow or buy:</p><p><em>The Prime of Miss Jean Brodie</em>, Penguin Modern Classics, 978-141181424</p><p><em>The Public Image</em>, Virago Modern Classics, 978-1844089673</p><p><em>The Driver’s Seat</em>, Penguin Modern Classics, 978-0141188348</p><p> </p><p>Look for other Fiction courses in the Literature programme under History, Culture and Humanities at www.citylit.ac.uk.</p>LiteratureFictionvirtual143179116HLT380NONEWed03/06/26 - 08/07/2615:00 - 17:0015:0017:006 sessions (over 6 weeks)65-10 weeksDaytimeWeekdayKSKeeley StreetAlexander Fairbairn-DixonAvailable courses2026-06-03T00:00:00+00:00Jun 2026Culture, history & humanities179179The Prime of Muriel Spark: Three Novellas 1961-1970the-prime-of-muriel-spark-three-novellas-1961-1970/hlt380-2526<p>Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: <em>The Prime of Miss Jean Brodie </em>(1961),<em> The Public Image </em>(1968), and <em>The Driver’s Seat </em>(written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers. </p>0000-Available|2026-06-03 00:00:00<p>This in-college course examines Muriel Spark’s prime concerns as a writer - and with what a deft, graceful, and entertaining hand she explored them.</p><p>Ranked the 8th Greatest British Writer since 1945 by The Times, Muriel Spark was frequently considered the greatest contemporary novelist, as viewed by her peers – other writers. So much more than a ‘writer’s writer’, she made postmodern narrative accessible, engaging , and immersive. </p><p>We’ll consider: the role of predestination and free will, the power of an enigmatic personality, the cult of a milieu, the role of satire, irony and mockery, the cult of celebrity, the inter-relationship between fiction and reality, fakes and authenticity, identity and performance, representations and lies, misinformation, the role of a presiding ‘author’ and authority, metanarrative, the fixational nature of reality, complicity and victimhood, and the very nature of belief and nihilism. </p><p>Come and explore ethe rewards of reading Muriel Spark at her prime. We’ll read, analyse, and debate three of her greatest novellas, all written in the 1960s: <em>The Prime of Miss Jean Brodie </em>(1961),<em> The Public Image </em>(1968), and <em>The Driver’s Seat </em>(written 1969, published 1970). Playful, witty, acerbic, profound, and at times, terrifying, Muriel Spark is regarded as one of the greatest British post-WWII writers. </p><p><em>The Prime of Miss Jean Brodie</em>: we’ll analyse and debate the self-mythologising characteristics of her teacher, Jean Brodie, the paradoxes surrounding her attitude to education – whether she facilitates her students’ views or dangerously moulds them, her cultural elitism and support of Mussolini, and her deliberate gatekeeping of insiders-and-outsiders in her cultivating a favoured ‘Brodie Set’. Is Jean Brodie inspiring, a villain, or a complex moral character upon whom Spark refuses to judge? We’ll explore the infectiousness of Spark’s humour, satire, and irony.</p><p>In <em>The Public Image</em>: we’ll consider how Spark was ‘ahead of her time’ in viewing reality as a set of myth making narratives. How is Annabel appropriated by the Italian film-industry, and remythologised into an alluring and powerful ‘tigress’. Who is Annabel? Is she real, a fake, or authentic? A novella which gave Johnny Rotten’s second band it’s name, it endures as an outstanding demythologising force in contemporary literature. </p><p><em>The Driver’s Seat</em>: a grotesquely dark-comic novella, which Muriel Spark always considered her finest work. An inverted murder-mystery, a ‘whydunnit’, where Spark turns many of the conventions of detective fiction inside-out. We’ll consider how Spark examines the role of victimhood, complicity, and desire. Who is determining the events? The author? Or is Lise too far removed to come under the spell of Spark’s authorial control? </p><p><br/> </p><ul><li>Appreciate the challenges and rewards of Spark’s novellas</li><li>Understand Spark’s major concerns in her fiction </li><li>Identify a range of narrative devices, including irony and structural patterning</li><li>Discuss contexts, traditions, and Spark’s inventiveness </li></ul><p> </p><p>Some experience of the study of literary fiction would be useful but all with an interest in Muriel Spark are welcome.<br/><br/>Learners will need to have an enthusiasm for novellas, an open-mindedness towards different approaches to interpretation, and a willingness to listen to the views of others. </p><p>There will be a mixture of tutor presentation and small-group and whole-class discussion. We will study key passages from each text in class and you will need to read the stories before the session. </p><p>You will need to read the novellas, using the guided reading support materials to advance understanding. These materials help a focused approach to independent study, aiding readers to focus on specific moments in relation to life-writing. Key extracts will be provided in advance of the class.</p><p>You will need to borrow or buy:</p><p><em>The Prime of Miss Jean Brodie</em>, Penguin Modern Classics, 978-141181424</p><p><em>The Public Image</em>, Virago Modern Classics, 978-1844089673</p><p><em>The Driver’s Seat</em>, Penguin Modern Classics, 978-0141188348</p><p> </p><p>Look for other Fiction courses in the Literature programme under History, Culture and Humanities at www.citylit.ac.uk.</p>LiteratureFictionconfigurable
11881187Fictionhttps://www.citylit.ac.uk/courses/humanities/literature/fiction1/2/285/1177/1187/11881/Courses/Culture, history & humanities/Literature/Fiction
