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Chicago, sometime. Two people meet in the armory of the Art Institute by chance. Prior to their encounter, he is a doctoral student who manages his destructive thoughts with compulsive calculations about time travel; she is a bipolar counterfeit artist undergoing court-ordered psychotherapy. After their meeting, those things do not change. Everything else, however, is slightly different.

Women warriors planned and led slave revolts on slave ships during the Middle Passage. They fought their enslavers throughout the Americas, and then they were erased from history. Wake tells the story of Dr. Rebecca Hall, a historian, granddaughter of slaves, and a woman haunted by the legacy of slavery. The accepted history of slave revolts has always said that enslaved women were not involved, but Rebecca decides to look deeper.

CHICAGO, SOMETIME— Two people meet in the Art Institute by chance. Prior to their encounter, he is a doctoral student who manages his destructive thoughts with compulsive calculations about time travel; she is a bipolar counterfeit artist, undergoing court-ordered psychotherapy. By the end of the story, these things will still be true. But this is not a story about endings.

Tonight, Osmond Box, the reclusive yet wildly successful writer/director known for his completely surprising Broadway plays, is debuting his seventh and most highly anticipated production of his career: The Guilty. Nothing is known about the story, the setting, the premise, or even the actors involved. The first people to discover the truth will be the lucky ones sitting in those seats opening night.

Some would say the Market is the last authentic part of the city centre. This northern city has reinvented itself as a business and financial centre, bristling with designer shops and bars. A cosmopolitan, twenty-four hour city. Yet slap bang in the centre the Victorian City Market remains what it has always been; a place where you can get anything and see anything - a place teeming with life. The market is the real face of the city - mucky, multicultural and magnificent. Listen to this immersive collection of full-cast BBC radio dramas exploring the high and lows of this unique place.

Peepolykus (pronounced 'people-like-us') has toured its irreverent brand of comic theatre in more than 100 towns across four continents. Now the group has taken to the airwaves, hijacking the great works of fiction to hilarious effect. Assuming the roles of minor characters in major works, they derail the plots through their own hapless buffoonery, and from Madame Bovary to Macbeth, familiar stories take an unexpected turn.

Jonathan Lethem's new collection of stories is a feast for his fans and the perfect introduction for new listeners: a smorgasbord of fantastic, amusing, poignant tales written in a dizzying variety of styles. Lethem is a trailblazer of a new kind of literary fiction, sampling high and low culture to create fictional worlds that are utterly original.

Blake Ritson, David Warner, Hattie Morahan and John Hurt star in this BBC Radio 4 dramatisation of Dante's epic poem. Inferno: Thirty-five year old Dante finds himself in the middle of a dark wood, in extreme personal and spiritual crisis. Hope of rescue appears in the form of the venerable poet Virgil, now a shade himself, who offers to lead Dante on an odyssey through the afterlife, beginning in the terrifying depths of Hell.

The History Plays is a series of five two-hander plays by Vent author Nigel Smith, which are imagined conversations at key moments in recent history, moments that have permanently changed the British psyche. Starting with Mick Jagger's conviction for drug possession and the surprising pro-Jagger line taken in a Times editorial through the fragmented morality of John Stonehouse, the Indian summer of patriotism over the Falklands, the death of Diana, and the end of the Blair years, The History Plays are a satirical and thoughtful exploration of huge social forces.

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John Blake grew up in a Black neighborhood in inner-city Baltimore that became the setting for the HBO series The Wire. There he became a self-described “closeted biracial person,” hostile toward white people while hiding the truth of his mother’s race. The son of a Black man and a white woman who met when interracial marriage was still illegal, Blake knew this much about his mother: She vanished from his life not long after his birth, and her family rejected him because of his race. But at the age of seventeen, Blake had a surprise encounter that uncovered a disturbing family secret.